Augustus Thomas I count the Pinero of America--and a true American gentleman. We have been friends for twenty years and I am proud of that friendship. [Illustration: AS FAGIN IN OLIVER TWIST "_Fagin was a comedian_"] In the same spirit of thanksgiving I may mention my friendship for John Mason. Surely the American public must be proud of this splendid player. John and I were very dear pals in our younger days and we have kept up the friendship to date. In those days John was prone to indulgence in all the existing vagaries of the moment and never took himself seriously until recently. But now he has settled down and showed his real merits as an actor. The fact that he is a great favorite in London speaks volumes for his capability. I sincerely hope that John Mason may be spared for many years to show this great American public that there are a few American artists still capable of delivering the goods. John! I wish you continued success, for you deserve it! * * * * * In casting a play nowadays, never seek ability, seek only "personality." * * * * * The true philosophy of life is to try to achieve something and when you have--forget it. * * * * * Put a uniform on the average middle class "American" and you make of him a vulgar despot. _Chapter LXXIX_ I "COME BACK" Tyler's telegram contained an offer to play Fagin in an all-star production of "Oliver Twist" to be produced in February, 1912, on the occasion of the Dickens' centenary celebration. It had been a long time, the longest time in my entire stage career, that I had been without a successful characterization in New York--and the thought of giving my interpretation of the famous Jew appealed to me. I accepted. The production was very good. The company was quite capable. Associated with me were Constance Collier, Lyn Harding, Marie Doro and other equally well-known and finished artists. Fuller Mellish's performance of Mr. Grimwig was one of the most delightful bits of character acting I ever saw. We opened at the New Amsterdam Theatre to a capacity audience and tremendous business was the rule during the entire engagement. It was a fine playhouse in which to stage such a pretentious production as Tyler had given the play. There is little doubt that "Oliver Twist" might have remained at the New Amsterdam almost indefinitely had it not been that other, earlier bookings compelled us to move out. The demand for seats was so great, however, that Charles Frohman welcomed us at the Empire Theatre where, much to my surprise (for it is altogether too small and "intimate" a place for such a production as this), it continued to "turn 'em away."