The finest feather in Alexander's managerial cap—his panache—was the production of Pinero's great play, The Second Mrs. Tanqueray. He alone had the courage—a quality most essential in theatrical enterprise—to risk what thirty years ago was a dangerous undertaking, the truth and humanity of the play, which has kept it vigorously alive, being at the time of its production lost sight of in the sensation caused by the selection of such a daring scheme and subject for the stage. That fears existed for the success of the play on that score may now excite wonder in the minds of the present advanced generation.
The part of Paula has been a vehicle for the widely differing genius and conceptions of so many eminent actresses—Mrs. Patrick Campbell, Duse, Jane Hading, Mrs. Kendal, Miss Gladys Cooper, and numerous other distinguished foreigners—that special interest attaches to the curious incidents surrounding the first production of the play and the original casting of the heroine.
The play was in the first instance offered to Hare, who very decidedly refused it. On Hare's rejection, it was offered to Alexander, who, though greatly impressed by its strength, also, but reluctantly, declined it. Pinero then proposed to Alexander that he should do the play at a matinée, without being asked for any author's fee. This proposal was agreed to; and the play was announced for a series of morning performances. It happened, however, that Alexander's forthcoming production was Liberty Hall, a comedy written by Claude Carton, who, not unnaturally, represented to Alexander that the performances of The Second Mrs. Tanqueray in the afternoons might militate against the success of the regular evening bill. (An odd little coincidence is that one of the characters in Liberty Hall was originally named Tanqueray—a name which Carton, out of consideration for Pinero, changed to Harringay.) Alexander thereupon undertook that, if Pinero would release him from his agreement to give morning performances of The Second Mrs. Tanqueray, he would at the earliest opportunity put the play into the evening bill. In these circumstances the play was produced towards the end of the season of 1893.
The first Paula
In the ordinary course the original Paula would have been Winifred Emery, but the expected arrival of one of her daughters robbed her of the chance. The choice at the time was very limited, actresses of prominence all being engaged. It happened, however, that at the Adelphi a young and handsome lady of no long stage experience, named Mrs. Patrick Campbell, was acting in a drama by G. R. Sims. There were doubts whether the methods of an actress who had graduated at the Adelphi were suitable to the St. James's, but Pinero suggested to Alexander that they should see what impression she produced upon them in a talk with her in a room. The interview took place, and after it Pinero told Alexander that, if she would act on the stage as she talked in his office, he felt pretty sure that she was the woman for the part. But her engagement was dependent on her release by the management of the Adelphi. Word promptly came that this was refused, and once more the author of the play and the manager of the St. James's were up to their necks in difficulties. Pinero then proposed to Alexander that he should wind up the matter by engaging Miss Elizabeth Robins, who had lately made a striking success in Ibsen's Hedda Gabler, and he proceeded to do so.
As was the custom then, the date and hour were fixed for the author to read his play to the actors and actresses who were to represent it. Alexander was engaged to have luncheon that day in Portland Place, and Pinero arranged to call for him on his way to the theatre. As he drove up in a hansom, Alexander came out of the house in a state of great excitement, crying out: "We can get Mrs. Campbell!"
It appeared that he had only just heard from her that, thanks to pressure put upon them by G. R. Sims, the managers of the Adelphi had consented to release her. On reaching the St. James's Theatre, Pinero said to Alexander: "Look here; this is your job. I will go for a walk in St. James's Park and come back in half an hour to read my play either to Miss Robins or Mrs. Campbell, as it may turn out."
Alexander went to his room, rang the bell, asked if Miss Robins had arrived, and on learning that she was in the theatre requested her to come and see him. She soon entered, holding the book of the play. Alexander told her that an unexpected condition of things had arisen. He would put his cards on the table. Did Miss Robins know that the part of Paula had been first offered to Mrs. Campbell, who, in fact, had been engaged to play it? He was answered: "Yes." Alexander then said: "She has been set free, and is in the theatre. What am I to do?"
Pointing to the book in her hand, Miss Robins replied: "Mr. Alexander, this is the chance of my life. It is also the chance of Mrs. Campbell's life. She is a friend of mine, and I will not take the chance from her."
It was, in my opinion, a great mistake on Alexander's part to add the cares of the London County Council to the management of an important theatre. The strain, I have no doubt, shortened his life, which was of great service to his calling.