The next morning he told his wife—Selena Fetter—of the scheme, adding that he thought of making a play out of it.
"Oh, don't," she begged him. "Can't you think of something pleasanter? You know 'Friends' gained all its success out of the comedy there was in it."
So he did nothing in the matter then, but later, when he was asked to write a skit for the Lambs' Gambol, he used this idea for a short piece, which went so well that it was used afterward at the annual public gambol, where it repeated its hit.
Royle was now in vaudeville, having cut down "Captain Impudence" to the required time limits. He decided to follow this with "The Squaw Man," and here is where once more his good luck in the guise of bad stepped upon the scene.
A Fortunate Rejection.
The vaudeville managers refused positively to consider a sketch containing more than four people; Royle could not cut "The Squaw Man" to fewer than ten. Had either he or they given way, the four-act play that has proved one of the big New York hits of the season might have remained a sketch and spent its life on the road, instead of tarrying for six months on Broadway.
In this deadlock it occurred to Royle that he would expand the play and try it in a new field, but even after this was done he failed to find a purchaser. Nat Goodwin, to whom he sent it first, turned it down, and Charles Frohman could not read it within the time limit set.
But Royle had active agents in his brother actors, who had seen the thing in its Lambs' Club performance, and who were all anxious to play the leading part. Whenever they got the chance they spoke of the piece to their respective managers, and in this way Royle finally got four of these gentlemen to consent to listen to a reading of the play. The result was the purchase of the rights by Mr. Tyler, of the Liebler Company, on terms which have netted Mr. Royle royalties amounting close to a thousand dollars a week.
HOPPER WAS AN "ANGEL."
The Tall Comedian Exchanged His Inheritance
for a Bowl of Thespian Pottage,
but Doesn't Regret It.