actors the plays will take care of themselves; nor is it any truer that if we take care of the plays the actors will take care of themselves. There is both give and take in the business. I have seen plays written for actors that made me exclaim, "How oft the sight of means to do ill deeds makes deeds ill done!" But Burbage may have flourished the prompt copy of Hamlet under Shakespeare's nose at the tenth rehearsal and cried, "How oft the sight of means to do great deeds makes playwrights great!" I say the tenth because I am convinced that at the first he denounced his part as a rotten one; thought the ghost's speech ridiculously long; and wanted to play the king. Anyhow, whether he had the wit to utter it or not, the boast would have been a valid one. The best conclusion is that every actor should say, "If I create the hero in myself, God will send an author to write his part." For in the long run the actors will get the authors, and the authors the actors, they deserve.
Great Catherine was performed for the first time at the Vaudeville Theatre in London on the 18th November 1913, with Gertrude Kingston as Catherine, Miriam Lewes as Yarinka, Dorothy Massingham as Claire, Norman McKinnell as Patiomkin, Edmond Breon as Edstaston, Annie Hill as the Princess Dashkoff, and Eugene Mayeur and F. Cooke Beresford as Naryshkin and the Sergeant.
