After those performances, I would walk to the private car, go over "The Rivals" as I had seen it performed and wonder if any of us, with the exception of Mrs. Drew, were anything like the characters of Sheridan's brain. I became firmly convinced that one was not—myself. Were the others? Was he, "The Dean," anything like what the author intended Bob Acres to be? Then I would ponder over the night speech of the dear old gentleman, remembering the homage that he paid to the author, his reference to the artistic rendering that they were giving his work, the extreme pleasure it afforded him and his comrades to have the privilege of acting such a comedy as this. Then with a five-dollar-trembling voice he would bewail the fact that Sheridan was not permitted to view this wonderful interpretation of his work. Choking with sobs that hardly gave his words utterance, he would refer to past performances by lamented actors and thank the audience for its attention. Concluding with a semi-congratulatory reference to its being permitted to view this wonderfully artistic performance, the benign old gentleman would make his bow, deftly wiping away a tear, amid the plaudits of the throng.
After listening to all this, I became convinced that we were artistic. At least my associates were. (I was on to myself from the first night.) They must have been terribly artistic. The sprint from the theatre to the private car, participated in by Joseph Brooks, the Jefferson boys, and the dear old gentleman (with Charles Jefferson in the lead, with the nightly receipts), convinced me that they were! They would arrive at the car—panting—and falling into their seats prepare to divide the artistic spoils, "The Dean" taking fifty per cent. As I viewed this "Chimes of Normandy" episode my artistic side went to the winds and I knew that we were as commercial as Cohan and Harris are now.
Then I began, by comparison, to study this man, and wonder what he had accomplished for the drama. Had he built a playhouse, like the man of his hour and time, Edwin Booth? Had he produced any original plays, made any production, or even leased a theatre, like Mansfield, or Sothern, Irving, or Possart? Had he during the last decade created any characters? An echo answered "No!" Then what had he done from the time of his association with Laura Keene (at which time he was considered only a fair actor as compared with Charles Burke, John E. Owens, William E. Burton and William Blake) to the time of his becoming conspicuous in the eyes of the American public?
Briefly, he returned from London after a successful engagement, having previously occupied his time for three years in Australia producing successfully American plays; then launched forth in a revised edition of "Rip Van Winkle," a play previously performed with success by his half brother, Charles Burke. For thirty years or more he presented Rip to the dear American public with intermittent changes to "The Rivals," "Caleb Plummer," Dr. Pangloss in "The Heir at Law" and "Lend me Five Shillings." The revival of these latter plays met with little pecuniary success unless he added names to the cast, featuring conspicuously such artists as William Florence or Mrs. John Drew. After a brief tour he would again drift back to dear old Rip and dear old scenery with some of the dear old gentleman's dear old family dominating the cast. Thus he went on for years, and posterity will say that he was "a great actor," "beloved by all."
Yet he lived among the great producers of his era—without producing!
Irving, who died almost penniless and who invested thousands of dollars in an earnest endeavor to uphold the drama, Lawrence Barrett and dear Edwin Booth, who lost a million in erecting a temple to Art only to see his name chiseled out by a dry goods establishment—these were truly great men.
I concede that Joseph Jefferson was "a great actor" as Rip—a most benign person, a charming companion. For this man I have the most profound respect; for what he did for the stage I have not. His performance of "Rip Van Winkle" was perhaps a very great one (I never saw Charles Burke). As for Bob Acres, I can only quote a really great actor, William Warren—"Jefferson played Bob in 'The Rivals' with Sheridan twenty miles away."
I have seen two men who are alive to-day play Sir Lucius O'Trigger in "The Joseph Jefferson Version of 'The Rivals'" and I have played it.
Which leaves me to imagine that all those who made a hit in the part are dead!