Representative Plays by American Dramatists: 1856-1911:

Introduction and Bibliography

Montrose J. Moses

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Dramatists: 1856-1911: Introduction and Bibliography, by Montrose J. Moses

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*** START OF THIS PROJECT GUTENBERG EBOOK AMERICAN PLAYS 3 ***

Produced by David Starner and the Online Distributed Proofreading Team

Representative Plays by American Dramatists

Edited, with an Introduction to Each Play

By MONTROSE J. MOSES

1856-1911

Illustrated with Portraits, and

Original Playbills

1921

To BRANDER MATTHEWS

Table of Contents

Introduction.

Paul Kauvar; or, Anarchy. By Steele Mackaye. 1887

Shenandoah. By Bronson Howard. 1888

In Mizzoura. By Augustus Thomas. 1893

The Moth and the Flame. By Clyde Fitch. 1898

The New York Idea. By Langdon Mitchett. 1906

The Easiest Way. By Eugene Walter. 1909

The Return of Peter Grimm. By David Belasco. 1911

The Authors and Their Plays.

INTRODUCTION

The present volume of "Representative Plays by American Dramatists"

been somewhat embarrassed, editorially, by the ungenerous haste with

which a few others have followed closely in his path, even to the point

of reproducing plays which were known to be scheduled for this

collection. For that reason there have been omitted Mr. William

Gillette's "Secret Service," available to readers in so many forms, and

Mr. Percy Mackaye's "The Scarecrow." No anthology of the present

historical scope, however, can disregard George Henry Boker's "Francesca

da Rimini" or Bronson Howard's "Shenandoah." In the instance of Mr.

Langdon Mitchell's "The New York Idea," it is possible to supersede all

previous issues of this refreshing comedy by offering a text which, as

"London Assurance" is included in the present Editor's collection of

"Representative British Dramas: Victorian and Modern."

Of more historical significance than Joseph Jefferson's final version of

based their play. It has been possible to offer the reader a comparative

illustrated which might be described as transitional. Executors of the

or adaptations to be published. The consequence is "Paul Kauvar" must

A.M. Palmer, and Daly, who were in the Mackaye tradition.

Oliver Bunce's "Love in '76" has been selected for the same reason that

one might select Clyde Fitch's Revolutionary or Civil War

pieces--because of its bloodless character; because it is one of the

rare parlour comedies of the period.

Of the new pieces, Fitch's "The Moth and the Flame" has remained

unpublished until now. It exemplifies many of his most sprightly

observational qualities. "The Truth" and "The Girl with the Green Eyes"

are more mature, but are no less Fitchean than this. Mr. David Belasco's

"The Return of Peter Grimm" is as effective in the reading as it was on

Easiest Way," at the last moment, was released from publication in the

cruelly realistic treatment of certain city conditions. In the choice of

This third volume, therefore, brings examples of the present American

stagecraft to date. Had his policy of selection not been exclusive, but

rather inclusive of plays easily accessible to the student, the Editor

But here are offered plays that will enrich the American dramatic

library because of their rarity, and for that reason others have been

excluded, which are easily procurable in print.

Through the courteous co-operation of Dr. Fred W. Atkinson, Professor

Brander Matthews, officials of the New York Public Library, The Library

Society of Philadelphia, Mr. Robert Gould Shaw, Custodian of the

Dramatic Collection of Harvard College Library, and through the generous

response of the owners of copyrights and manuscripts, the present volume

August, 1920.

BIBLIOGRAPHY OF GENERAL WORKS

Theatre was given in Volume I of the present collection. A

inclusion of books which will present the essential spirit of

contain further bibliographies, and these will enable the student

to go as far in the field as desired. There are still unblazed trails for

the research worker, but these trails are becoming fewer and

fewer, as interest in the study of American Drama as a social

and artistic force progresses.

ATKINSON, F.W. American Plays. Private Catalogue. Brooklyn, N.Y.

BAKER, GEORGE PIERCE. Dramatic Technique. Boston: Houghton. 1919.

BURTON, RICHARD. The New American Drama. New York: Crowell. 1913.

CRAWFORD, MARY C. The Romance of the American Theatre. Boston:

Little, Brown. 1913.

DICKINSON, THOMAS H. Chief Contemporary Dramatists. Boston: Houghton.

1915.

HAMILTON, CLAYTON. Problems of the Playwright. New York: Holt. 1917.

HAMILTON, CLAYTON. Studies in Stagecraft. New York: Holt. 1914.

HAMILTON, CLAYTON. The Theory of the Theatre. New York: Holt. 1910.

HENDERSON, ARCHIBALD. The Changing Drama. New York: Holt. 1914.

HUTTON, LAURENCE. Curiosities of the American Stage. New York: Harper.

1891.

IRELAND, JOSEPH N. Records of the New York Stage from 1750-1860. 2

Holt. 1917. (See also Thomas H. Dickinson's book on the same subject.)

MACKAYE, PERCY. The Civic Theatre. New York: Kennerley. 1912.

MACKAYE, PERCY. The Playhouse and the Play. New York: Macmillan. 1909.

MODERWELL, HIRAM K. The Theatre of To-day. New York: Lane. 1914.

MOSES, MONTROSE J. The American Dramatist. Boston: Little, Brown. 1917.

MOSES, MONTROSE J. Famous Actor-Families in America. New York:

Crowell. (o.p.)

MOSES, MONTROSE J. The Drama (1860-1918). See The Cambridge History

of American Literature. Volume III, Chapter XVIII. Also comprehensive

bibliography.

NATHAN, GEORGE JEAN. Another Book of the Theatre. New York: Huebsch.

PHELPS, WILLIAM LYON. The Twentieth Century Theatre. New York:

Macmillan. 1918.

Bulletin. Vol. 22, No. 26, May, 1918.

RODEN, ROBERT F. Later American Plays. New York: Dunlap Society. 1900.

ROLLAND, ROMAIN. The People's Theatre. New York: Holt. 1918.

(Giving the principles which are spreading and forming a democratic

conception of the theatre.)

RUHL, ARTHUR. Second Nights. New York: Scribner. 1914.

INDIVIDUAL BIBLIOGRAPHIES FOR PLAYS

[Transcriber's note: Em-dashes connecting items have been replaced

with new lines for readability.]

Dion Boucicault. "Dramatization of Rip Van Winkle." _Critic_ (New York),

Dodd, Mead. 1903.

H. C. Bunner. On Jefferson's Rip. See Matthews and Hutton: "Actors and

Actresses in Great Britain and the United States." 5 vols. 1886.

J.B. Clapp and E.F. Edgett. "Plays of the Present." New York: Dunlap

Society, 1902.

George William Curtis. On Jefferson's Rip. _Harper's Magazine_, March,

1871.

L. Clarke Davis. "Among the Comedians." _Atlantic Monthly_, 19:750-61,

_Harper's Magazine_, 67:617. The Legend of Rip Van Winkle.

Laurence Hutton. "Curiosities of the American Stage." New York: Harper,

Jefferson's version of "Rip." New York: Dodd, Mead. 1895.

Jefferson, Intimate Recollections of (by Eugenie Paul Jefferson). New

York: Dodd, Mead. 1909.

Jefferson's Rip is detailed in the following magazines:

_Ev. Sat_., 10: 152, 162.

_Radical_ (S. Johnson), 6: 133.

_Scribner_, 1:216, December, 1870.

_Harper_, 42: 614, April, 1871.

_Atlantic Monthly_, 52:695.

N. M. Ludlow. "Dramatic Life as I Found It." St. Louis: G. I. Jones &

Brander Matthews. "These Many Years." New York: Scribner. 1917.

Henry Morley. Journal of a London Playgoer. September 23, 1886.

Montrose J. Moses. "Famous Actor-Families in America." Chapters and

Bibliographies under Hackett, Jefferson, Boucicault. New York: Crowell.

1906. (o.p.)

H.P. Phelps. "Players of a Century." Albany, 1880.

Sol. F. Smith. "Theatrical Management in the West and South for Thirty

Ulster_. Kingston, N.Y. 1914. Vol. 10: 13-26.

J. Rankin Towse. On Jefferson's Rip. _Century_, January, 1884.

J. Rankin Towse. "Sixty Years of the Theatre." New York: Funk &

Wagnalls. 1916.

F.C. Wemyss. "Twenty-six Years of the Life of an Actor and Manager." New

York: Burgess, Stringer & Co. 1847. On Hackett's Rip.

Francis Wilson. "Joseph Jefferson: Reminiscences of a Fellow Player."

New York: Scribner. 1906.

William Winter. "The Life of David Belasco." 2 vols. New York: Moffat,

Yard & Co. 1918.

William Winter. The Jeffersons. Boston: J.R. Osgood & Co. 1881. (See

"Wolfert's Roost.")

Literature.

Lawrence Barrett, A Professional Sketch of. By Elwyn A. Barren. Chicago:

"Francesca," Philadelphia, see telegraphic report in the New York

_Tribune_, September 15, 1882, p. 15.)

Alfred Bates. Drama. Vol. XX. p. 70.

Biographical Encyclopedia of Pennsylvanians of the Nineteenth Century.

Philadelphia: Galaxy Publishing Co. 1874. p. 370.

Magazine references to Boker: _Atlantic Monthly_, 65: 427, March, 1890.

_Book Buyer_, 1900, 2147. _Critic_, January 11, 1890; April 12, 1890;

1898, 33: 240. _Harper's Monthly_, 1882, 4: 633. _Harper's Weekly_,

1871, 15: 1173; 1890, 34: 32. _Sewanee Review_ (J.W. Krutch), October,

Amerique aupres de la Sublime Porte. _L'Orient Illustre Journal

Evening, December 22, 1871. Philadelphia: 1872.

Cambridge History of American Literature. New York: Putnam. 1917. 1:494.

Bibliography.

E. L. Davenport. A Biography, by E. F. Edgett. New York: Dunlap Society.

1901. (A complete bibliography of Davenport is in Moses' "Famous

Actor-Families in America.")

Duyckinck, E. A. and G. L. "Cyclopedia of American Literature."

Philadelphia: William Rutter & Co. 1877. 2 vols. 2:710.

Knickerbocker Gallery. 1855. p. 59.

Charles Godfrey Leland. A Biography. By Elizabeth Robins Pennell. 2

STEELE MACKAYE

train, February 25, 1894. Author of the following plays, with their

February 12, 1872); "A Radical Fool," written in London (1873-1874);

Theatre Royal, July 7, 1873); "Silas Marner," a dramatization of George

written in London (1873-1874); "Rose Michel," based on a French play, in

its turn based on Victor Hugo (New York: Union Square Theatre, November

23, 1875); "Queen and Woman," in collaboration with J. V. Pritchard

(Brooklyn, N. Y.: Theatre, February 14, 1876); "Twins," in collaboration

with A. C. Wheeler (New York: Wallack's Theatre, April 12, 1876); "Won

at Last" (New York: Wallack's Theatre, December 10, 1877); "Through the

Dark" (New York: Fifth Avenue Theatre, March 10, 1879); "An Iron Will"

(Providence, R. I., Low's Opera House, October 27, 1879); "Hazel Kirke"

(New York: Madison Square Theatre, February 4, 1880); "A Fool's Errand,"

dramatization from a novel by Judge Tourgee (Philadelphia: Arch Street

Theatre, October 26, 1881); "Dakolar," based on Georges Ohnet's "Le

Maitre de Forges" (New York: Lyceum Theatre, April 6, 1885); "In Spite

1885); "Rienzi," based on Bulwer-Lytton's novel (Washington: Albaugh's

2, 1887); "The Drama of Civilization," a pageant (New York: Madison

"Colonel Tom" (Boston: Tremont Theatre, January 20, 1890); "Money Mad"

(New York: Standard Theatre, April 7, 1890); "Cousin Larry," written in

1891; "The World Finder," a spectatorio (Chicago; Spectatorium, 1893,

World's Fair).

Jersey, August 4, 1908. Author of the following plays, with their dates

of first production: "Fantine" (Detroit, Mich., 1864); "Saratoga" (New

York: Fifth Avenue Theatre, December 21, 1870); "Diamonds" (New York:

Fifth Avenue Theatre, September 26, 1872); "Moorcroft; or, The Double

Wedding" (New York: Fifth Avenue Theatre, October 17, 1874); "Lilian's

Last Love" (Chicago: Hooley's Theatre, September 4, 1877); "Hurricanes"

(Chicago: Hooley's Theatre, May 27, 1878); "Old Love Letters" (New York:

Park Theatre, August 31, 1878); "The Banker's Daughter," being a

revision of "Lilian's Last Love" (New York: Union Square Theatre,

September 30, 1878); "Wives," being an adaptation from Moliere (New

"Rudolph von Hallenstein" (New York: Fourteenth Street Theatre, October

25, 1887); "Shenandoah" (New York: Star Theatre, September 9, 1889);

"Aristocracy" (New York: Palmer's Theatre, November 14, 1892); "Peter

Stuyvesant," in collaboration with Brander Matthews (New York: Wallack's

& Queen," in collaboration with Sir Charles Young, and "Kate," issued,

with their dates of first production: "Editha's Burglar," with Mrs. F.

H. Burnett (St. Louis: Pope's Theatre, July 1, 1884); "The Burglar"

(Boston: Park Theatre, June, 1888); "A Man of the World" (New York:

Madison Square Theatre, October 30, 1889); "Afterthoughts" (New York:

Madison Square Theatre, November 24, 1890); "Reckless Temple" (New York:

Standard Theatre, October 27, 1890); "Alabama" (New York: Madison Square

Theatre, April 1, 1891); "Colonel Carter of Cartersville," from the

novel by F. Hopkinson Smith (New York: Palmer's Theatre, March 22,1892);

"Holly-Tree Inn" (New York: Union Square Theatre, April 11, 1892); "In

Mizzoura" (Chicago: Hooley's Theatre, August, 1893); "New Blood" (New

York: Palmer's Theatre, September 19, 1894; previously in Chicago); "The

Man Upstairs" (New York: Hoyt's Theatre, April 9, 1895); "The Capitol"

"The Hoosier Doctor" (New York: Fourteenth Street Theatre, April 18,

"Arizona" (Chicago: Grand Opera House, June 12, 1899); "Oliver

1902); "The Earl of Pawtucket" (New York: Madison Square Theatre,

February 5, 1903); "The Other Girl" (New York: Criterion Theatre,

December 23, 1903); "Mrs. Leffingwell's Boots" (New York: Savoy Theatre,

January 11, 1905); "The Education of Mr. Pipp," from pictures by Charles

Opera House, 1910); "As a Man Thinks" (New York: 39th Street Theatre,

March 13, 1911); "The Model" (New York: Harris Theatre, August 31,

1912); "Mere Man" (New York: Harris Theatre, November 25, 1912); "Indian

Summer" (New York: Criterion Theatre, October 27, 1913); "Rio Grande"

(New York: Empire Theatre, April 4, 1916); "The Copperhead" (Hartford,

Conn., January 22, 1918); "Palmy Days" (New York: The Playhouse, October

27, 1919); "Under the Bough," previously called "The Blue Devil" and

"Speak of the Devil" (Boston: Colonial Theatre, May 31, 1920). Other

plays credited to Mr. Thomas are: "A Leaf from the Woods," one act (St.

Louis: Pope's Theatre, 1883); "A New Year's Call," one act (St. Louis:

amateurs; "The Big Rise" (St. Louis: Pope's Theatre, 1881); "The Dress

Suit," written for amateurs only; "The Jucklins" (on the road, 1896);

"The Music Box," written for amateurs only.

September 4, 1909. Author of the following plays, with their dates of

17, 1890); "Frederic Lemaitre" (New York: Daly's Theatre, December 1,

Prodigy" (London: Royal Court Theatre, October 21, 1891); "A Modern

Match" (New York: Union Square Theatre, March 14, 1892. Later played by

the Kendalsas "Marriage"); "The Masked Ball," from the French of Bisson

(New York: Palmer's Theatre, October 3, 1892); "The Harvest," afterwards

used in "The Moth and the Flame" (Theatre of Arts and Letters, New York:

Fifth Avenue Theatre, January 26, 1893); "April Weather" (Chicago: Opera

House, May 29, 1893); "A Shattered Idol," from the French of Balzac,

"Old Goriot" (St. Paul, Minn.: Globe Theatre, July 31, 1893); "The

Social Swim," adapted from the French of Sardou (New York: Harlem Opera

House, September 22, 1893); "An American Duchess," from the French of

Lavadan (New York: Lyceum Theatre, November 20, 1893); "Mrs. Grundy,

Jun.," from the French, (1894); "Gossip," from the French of Claretie,

March 11, 1895); "His Grace de Grammont" (Brooklyn: Park Theatre,

October 15, 1895); "Bohemia," from the French (New York: Empire Theatre,

April 11, 1898); "The Head of the Family," adapted from the German, with

Leo Ditrichstein (New York: Knickerbocker Theatre, December 6, 1898);

"Nathan Hale" (New York: Knickerbocker Theatre, January 2, 1899, having

been given in Chicago the previous January); "Barbara Frietchie" (New

of the Dandies" (London, October 24, 1901); "The Way of the World" (New

York: Hammerstein's Victoria, November 4, 1901); "The Girl and the

Judge" (New York: Lyceum Theatre, December 4, 1901); "The Stubbornness

of Geraldine" (New York: Garrick Theatre, November 3, 1902); "The Girl

with the Green Eyes" (New York: Savoy Theatre, December 25, 1902); "The

Bird in the Cage" (New York: Bijou Theatre, January 12, 1903); "Her Own

Way" (New York: Garrick Theatre, September 28, 1903); "Algy" (Chicago:

Garrick Theatre, October 4, 1903); "Major Andre" (New York: Savoy

Theatre, November 11, 1903); "Glad of It" (New York: Savoy Theatre,

December 28, 1903); "The Frisky Mrs. Johnson" (New York: Garrick

novel by Alfred Henry Lewis, the play in collaboration with Willis

Steell, (Philadelphia, October 20, 1905); "The Toast of the Town," a

re-writing of "Mistress Betty" (New York: Daly's Theatre, November 27,

1905); "Toddles," from the French (New York: Garrick Theatre, March 16,

novel (New York: Savoy Theatre, October 22, 1906); "The Girl Who Has

1907); "Her Sister," in collaboration with Cosmo Gordon-Lennox (New

Theatre, March 16, 1908); "Girls" (New York: Daly's Theatre, March 23,

Theatre, November 30, 1908); "The Bachelor" (New York: Maxine Elliott

Theatre, March 15, 1909); "A Happy Marriage" (New York: Garrick Theatre,

April 12, 1909); "The City" (New York: Lyric Theatre, December 22,

1909).

LANGDON MITCHELL

Born, Philadelphia, February 17, 1862. The details are given

specifically in the Introduction to the play.

Theatre, February 25, 1908); "The Wolf" (New York: Bijou Theatre, April

18, 1908); "The Easiest Way" (New York: Belasco Theatre, January 19,

1908); "Just a Wife" (New York: Belasco Theatre, January 31, 1909); "The

Trail of the Lonesome Pine," being a dramatization of John Fox's novel

DAVID BELASCO

Born, San Francisco, Cal., July 25, 1853. A complete chronology of Mr.

Belasco's plays is to be found in the Winter biography. Here are only

listed those plays written after his arrival in New York. The list does

not include the plays presented by him merely in the capacity as

manager. "May Blossom" (New York: Madison Square Theatre, April 12,

1884); "Valerie," from Sardou (New York: Wallack's Theatre, February 15,

October 21, 1890); "Miss Helyett," from the French (New York: Star

Theatre, November 3, 1891); "The Girl I Left Behind Me," with Franklyn

Fyles (New York: Empire Theatre, January 25, 1893); "The Younger Son,"

from the German (New York: Empire Theatre, October 24, 1893); "The Heart

"Zaza," from the French of Berton and Simon (New York: Garrick Theatre,

Criterion Theatre, December 25, 1901); "The Darling of the Gods" (New

Bellairs," from a novel by the Edgertons (New York: Belasco Theatre, now

Theatre, New York, now the Republic, January 11, 1905); "The Girl of the

Golden West" (New York: Belasco Theatre, now the Republic, November 14,

1905); "The Rose of the Rancho," with Richard Walton Tully (New York:

Belasco Theatre, now the Republic, November 27, 1906); "A Grand Army

Man," in collaboration (New York: Stuyvesant Theatre, now the Belasco,

October 16, 1907); "The Lily," from the French of Wolff and Leroux (New

York: Stuyvesant Theatre, now the Belasco, December 23, 1909); "The

Return of Peter Grimm" (New York: Belasco Theatre, January 2, 1911);

"The Secret," from the French of Henry Bernstein (New York: Belasco

Theatre, December 23, 1913); "Van Der Decken" (Wilmington, Del.: The

Playhouse, December 12, 1915.) This list represents only a small part of

Mr. Belasco's activities.

Dramatists: 1856-1911: Introduction and Bibliography, by Montrose J. Moses

*** END OF THIS PROJECT GUTENBERG EBOOK AMERICAN PLAYS 3 ***

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