well-laid-out grounds in rear. Brougham waiting. (It is not intended
to attempt to describe the extraordinary mechanical methods employed
to bring about this sensational change of scene, seeing that a journey
is about to be made from St. John's Wood to the Criterion Theatre,
Piccadilly. It is unnecessary and useless, for no theatrical manager,
be he professional or amateur, would attempt it.)_
THE MODERN MATHEWS _leads the way down steps followed by_ INTERVIEWER.
THE MODERN MATHEWS (_aside to_ INTERVIEWER): Have a good look at the
coachman on the quiet. (INTERVIEWER _does so. Both enter brougham._)
[Illustration: "THE GREAT DIVORCE CASE."
_From a Photo by Falk, New York._
"MR. PILKIE"
(Mr. William Blakeley).
"GEOFFREY GORDON"
(Mr. Chas. Wyndham).]
THE MODERN MATHEWS: Whom do you think he was coachman
to?--(_whispers_)--_Byron_!
INTERVIEWER: What--Henry--Henry J.?
THE MODERN MATHEWS: Yes, dear old "Our Boys" Byron. He was with him
for seven years. I've had him since. Poor old Byron! What a wit he
was. He joked to the last--almost his last breath was a joke. He wrote
"Fourteen Days" for me. He was very bad--had a consumptive cough when
the play was finished. He would persist in reading it to me. It was
heartbreaking. When he was dying we used to drop in and sit with him,
and take him little delicacies. Just before he had been doing work for
Hare and Kendal at the St. James's. I went in one day, and there was a
fine hare by his side. "Hare sent it to me," he said. "It's so big that
I thought Kendal was inside!" Dear old Byron!
(_A pause._)
[Illustration: "THE GREAT DIVORCE CASE"
_From a Photo by Falk, New York._
"PARKER"
(Miss Kate Rorke).
"G. GORDON"
(Mr. Wyndham).]
THE MODERN MATHEWS (_with gaiety a trifle forced_): Let me see--where
were we when we left the house? Paradoxical that, eh? Oh! yes--I
remember--of course. Well, after playing about for some years, at last
came a moment when I seemed to be on the horns of a dilemma. I had just
advanced beyond the position of a stock actor, and hadn't achieved any
particular individual reputation--that is, I felt unless I adopted some
special line managers wouldn't offer me engagements. One morning--I was
playing at Brighton--at breakfast I had three telegrams in succession.
One read: "Would you accept an engagement at a West-end theatre to
manage it yourself?" A second--from T. E. Smale: "Would you like a
theatre in London? I can find money for it." And a third from Alexander
Henderson: "Could you open at Criterion in 'Brighton' next Monday?"
This seemed direct. I rushed to town. Henderson said: "Rare chance. If
open next Monday--can have theatre rent free!"
INTERVIEWER: Of course----?
THE MODERN MATHEWS: Yes--I went! Played a month. Went to Paris.
Returned at Easter. Opened in "The Great Divorce Case," and I started
with the principle of making it a farcical comedy theatre. Made a
contract with Henderson for seven years. This was in 1--8--7--6.
Always a good memory for dates of that kind. "Pink Dominos!" Forced
on me--absolutely forced on me. "The Great Divorce Case" was free to
anybody to use, and when I produced it I wrote to the authors in Paris
telling them I was prepared to pay them. A week or two after they sent
their agent to me, saying that the same authors had just produced a
piece in Paris and would like me to have it. It very much resembled
"The Great Divorce Case," you know; and, on this basis, I refused it.
They sent three or four times. At last I bought it for a mere song--I
didn't want it--£40 down and £1 a night for a hundred nights!
[Illustration: MR. WYNDHAM AS "DAVID GARRICK."
_From a painting by John Pettie, R. A._
(_By kind permission of Mr. T. McLean, 7, Haymarket, S. W._)]
(INTERVIEWER _excited. More so when_ THE MODERN MATHEWS _encourages him
to take to playwriting as a profession by remarking, with a glorious
twinkle in both eyes_: My half share of the profits was £15,000!
INTERVIEWER _accepts another much-needed cigarette_!)
INTERVIEWER (_breaking the silence_): "Where's the Cat"?
THE MODERN MATHEWS: Very decent spec. Gave £25 for it!
INTERVIEWER: Why, it's all profit!
THE MODERN MATHEWS (_wisely_): But, I have given thousands for plays,
and all turned out no good!
INTERVIEWER: And "David Garrick"?
THE MODERN MATHEWS (_merrily, for he revels in talking about his
favourite character_): Ah! "Davy"! I produced "Davy" in '86. I was
about to produce a farcical comedy, and, as a matter of fact, had got
within two days of the advertised first night--indeed, it came to
within forty-eight hours of the time--when I became convinced that it
was no use. On the Friday I frankly issued an announcement stating that
I had no confidence in the piece. It was a toss-up between "Brighton"
and "Wild Oats." Eventual decision--"Wild Oats." A great success--Miss
Mary Moore and David James secured a big triumph.
INTERVIEWER: And yourself?
THE MODERN MATHEWS: Well, I played _Rover_. Up to this moment I had
made up my mind never to play any part of Sotheran's or Charles
Mathews', and when Mr. Calmour suggested my playing "David Garrick," I
told him this. Others suggested "Davy," too, and finally Clement Scott,
one night at supper, talked me into it. I was very nervous of "D.G." on
the first night, because I had altered the intention of the dramatist
in the second act by taking it more seriously. At one time I began
to rehearse it with all the nonsense out of it, but finally decided
to curtail the original "business" so as not to disappoint lovers of
the old version. It ran from November, 1886, to August, 1887. I have
revived it every year since, and so far as paying business goes, "Pink
Dominos" is not in it. Ah! here we are. Come into my cabin.
[Illustration: MR. WYNDHAM AS "DAVID GARRICK."
_From a Photo by Barraud, London._]
_Brougham stops at theatre._ THE MODERN MATHEWS _and_ INTERVIEWER
_ascend a somewhat steep flight of stairs leading to_--