Forgetting that we were going to a land where the seasons are upside down I had no heavy clothing with me and almost froze. We were billed to open the night of our arrival. In the forenoon I drove about trying to discover some announcements of the fact. What I found would have done injustice to a high school's graduating exercises. Then I remembered that Williamson had been opposed to my coming. I found him and asked why our attraction had not been billed. "Well," replied Williamson, "Musgrove cabled me to announce you modestly and quietly." "You've complied with the request," I said. "Why didn't you say Johnny Jones was coming? It would have meant just as much. Considering the years we've known each other I consider your treatment of me most unfair." Musgrove's idea had been that I open in "The Prisoner of Zenda" and when he found Maxine and Gertrude Elliott were to be in my company he had wired instructions to San Francisco to have them measured for costumes and the figures were sent to him in London. Williamson consistently objected to my playing "Zenda." He thought the play strong enough to do without a star. So it happened, one night in Chicago where I was playing "David Garrick," that Musgrove changed his mind about our opening bill. I held out for "Zenda" firmly. But Musgrove insisted that no matter what my vehicle I was sure to be a success in Australia. In the week he watched my work I put on six different plays and after each one he was more enthusiastic. I couldn't make him realize that I was playing before a public I had grown up with, who came to see me in any play. "In Australia," I argued with him, "I shall be a cold proposition hurled at them and I must have the best play possible for my introduction. As the prince in 'Zenda' I'm only part of the ensemble surrounded by beautifully gowned women, with splendid male opposing parts, playing a character almost any good actor would succeed in. After 'Zenda' I can spring my repertoire with some chance." "You're the best actor I ever saw," replied Musgrove. "I know Australian audiences and you'll knock 'em dead." I disagreed with him! Therefore I changed the terms of our agreement and instead of taking a gamble took fifteen per cent of the gross receipts and a guarantee of so much money weekly. McClellan signed the documents for me. Our opening bill was "A Gilded Fool." You may imagine my amazement when I found we had a packed house. And it was a most kindly-disposed audience too. Every member of the company got a reception on his entrance and I came in for an ovation. The play went especially well, I thought. We went home assured we had made a hit. The papers the next day were fairly enthusiastic, with one exception, and that one criticized us unmercifully. The opening occurred on Saturday.