Nat Goodwin's Book

by Nat. C. Goodwin

I consider "In Mizzoura" one of the greatest of American plays.

It has inspired many authors, particularly David Belasco, author of "The Girl of the Golden West."

Wilton Lackaye met Sydney Rosenfeld, the author, on the grounds at the Chicago World's Fair. Lackaye said, "Where are you going to-night, Sydney?" Sydney replied, "I'm going to Thomas' opening, at Hooley's." Lackaye said, "Well, I'll see you there as I'm going to Nat's opening."

How clannish we actors and authors are!

During one of the rehearsals of "Mizzoura," Burr McIntosh and I had a scene that sadly bothered poor Burr. He fancied that he must be a trifle more pathetic than I. His speeches should have been given in a simple, matter-of-fact manner, but as I used a low tone Burr would go me one better until we were both down in the sub-cellar of the drama! We went over the scene many times but, try as he might, McIntosh failed to understand the meaning or motive of the scene. Thomas would go over the scene with me and place Burr in front to watch it to endeavor to make him comprehend the author's meaning. Then Burr would try and try, always forcing me to the basement. Finally, after hours of rehearsing this scene, Thomas said, "Burr, stop. The trouble is you're thinking when I wrote this part I had you in my mind. I did—but I wrote it for your feet, not your head."

After "A Gilded Fool" was launched I at once made a contract with Carlton for another play and in a few weeks he submitted a scenario to me which I accepted. This play was to follow "In Mizzoura." During the interim between "A Gilded Fool" and "In Mizzoura" Carlton wholly evolved the plot of "Ambition." In time he submitted two acts. I was more than pleased as the character of Senator Beck appealed to me. It had a fine story and all the parts were unique and full of character. After receiving the two acts I looked about for adequate people for the rôles and was fortunate enough to secure the services of Annie Russell, Henry Bergman and Clarence Montaine and with the other members of my company, I considered it a perfect cast. Later I was fortunate enough to be surrounded by such players as George Fawcett, Louis Payne, John Saville, Estelle Mortimer and Jeane Claire Walters.

I arranged to open my season early in September at Miner's Fifth Avenue Theatre, New York, and called my company for rehearsals of "David Garrick." I was anxious to appear in that rôle in New York, having previously performed it on the road with some degree of success. My idea was to put on "Garrick" for one week and follow with "Ambition." I still had only two acts of the Carlton play. I had been trying for weeks to get possession of the last act, having some anxiety as to how Carlton intended ending the play, but it was impossible to locate him.

He turned up on the first night of "Garrick," promising me my last act of "Ambition" on the following day, assuring me it was finished. I waited until Wednesday, but he failed to keep his word. I knew he was unreliable, but never thought him ungrateful. Through his negligence we were forced to announce "Garrick" for a second week. This was asking the public to accept a pretty tall order, but there was no alternative. One Friday, too late for rehearsal, I took it home with me and read it most carefully and was very much disappointed. It plainly showed the earmarks of hasty composition. However, there was no choice and I produced it as quickly as possible.

On the first night we were all extremely nervous and up to the ending of the second act I thought we had a failure. That ending, however, gave me a splendid moment and I received several curtain calls. The papers were very kind on the following morning, more so, I considered, than we deserved. I played it two weeks to gradually decreasing business, the last week being simply ghastly!

I honestly believe that I could have drawn more money alone, with a desk and a glass of water. I had no faith in the play and after the first performance began rehearsals of another called "A House of Cards" by Sydney Rosenfeld. Previously I had sent it into the discard after three rehearsals. It proved worthy of its title and tumbled down shortly after at the Garden Theatre.