FROM THE LIFE
intervals and say: "No, no. That isn't what I meant. Take it this way."
Nothing of the sort. Quite the opposite. The author proved to be as little important at the rehearsals of his work as a father at the birth pf his baby. He was lucky if they did not order him out of the house. The producer, who had put up the money for the play, had the first right to say what should be in the play for which he had put up the money. The stage director, hired to rehearse the production, began immediately to suggest changes in the play in order to show that he was worthy of his hire. The star attempted not at all to subdue his personality to the part he had to play; he busied himself subduing the part to his personality. And not merely that. He did not care whether or not he was true to life; he considered only whether or not he was true to the sympathies of his audience. He was the hero, and he would not say or do anything that was not heroic. He had to dominate every scene in which he shared; the positions and the speeches of the other characters had to be arranged to show his dominance; and the whole play had to be remolded to that end.
It was one of those plays that have since come to be called "crook melodramas." The hero of it was a desperado who had stolen a child. He was in love with the Faro Nell of the gang. He contracted a salutary passion for the mother of the kidnapped
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