WHEN WE WERE TWENTY-ONE AND OTHER PLAYS
Our success with "Nathan Hale" was tremendous. For Maxine it was nothing short of a triumph. And during the season I signed a contract with Fitch for another play to follow it. He turned out "The Cowboy and the Lady." Neither Max nor I fancied our characters and although we did big business with the play we were most uncomfortable in our rôles. It failed miserably in London—where they recognize the real value of plays!
I think it was the summer of 1898 (but what difference does it make?) that I met Henry V. Esmond, the author-actor and a very clever young man. In any event it was in London and at the time of the failure of "The Cowboy and the Lady." He asked me how I would like a play founded on Thackery's poem "When We Were Twenty-One." I thought the idea immense and told him so. We made a contract for the play on the spot and six weeks later he delivered the manuscript!
Max and I were both delighted with it. We brought it back with us in the Fall but instead of producing it in New York immediately we revived "The Cowboy and the Lady." Poor as that play was it absolutely refused to play to bad business! I kept it on until about the middle of the season and took it off with a nineteen-hundred-dollar-house begging me to keep it going!
"When We Were Twenty-One" made the biggest and the most nearly instantaneous hit of any play I ever produced. It was a gold mine for me. But there is little I could say about it that any of you, dear readers, can't anticipate. I might say only that I never played the rôle I liked best in the play!
It was along about this time that I made a production of "The Merchant of Venice." And it was a production! And, although it was not so advertised, it was as nearly an "all-star" cast as many of the revivals of late years have been—if not more so! For four weeks my characterization of Shylock seemed to please the public and certainly attracted large audiences in spite of the fact that the critics in New York roasted my performance to a fare-ye-well. For one reason or another the critics have always resented me except as a comedian!
My next production was "The Altar of Friendship" which had been a failure with John Mason in the leading rôle. He had made a great personal success and the play had received splendid notices but the public stayed away. When the late Jacob Litt consigned the production to the storehouse I opened negotiations with him, bought the property and put it on. It proved to be one of the biggest money-makers Maxine and I ever had! But Maxine's bee for starring alone came buzzing by and deafened her to the tinkle of the box office receipts. It finally stung me and our professional partnership came to an end. "The Altar of Friendship" was our last joint vehicle.