Nat Goodwin's BookGoodwin, Nat. C. (Nathaniel Carll)
General
Nat Goodwin's Book
Goodwin, Nat. C. (Nathaniel Carll)
Actors -- Correspondence
Fate hardly played fair with Barry. Perhaps the fickle jade was fearful
to bestow her best upon one whom the gods had created so powerfully
brilliant. She allowed his genius to run purposelessly upon the sands
of time until, jealous of the admiration which he won from all, she
robbed him of his chief asset and hurled his fine mind from the cliffs
of reason.
I shall not dwell upon the passing away of this remarkable man--it is
too terrible to recall--but I shall give the world a few of his quips
and jibes, showing his brilliant wit.
He gave the world much--a powerful play, "Nadjesda," sunshine and
happiness and a legacy of three brilliant children, whom I knew as
Barry's babies, whom I love for their own and their father's and
mother's sakes--
Ethel, John and Lionel--I greet you all!
Barry came into the Lambs Club one evening evidently much distressed.
Asked the reason, he answered "I am terribly annoyed and excessively
angry at the brutal treatment of Mrs. Bernard Beere by the press of New
York."
Barry was the leading man of Mrs. Beere's organization, the recipient
of three hundred dollars a week and, in the foreshadowing of that
lady's failure in a rather _risqué_ play, "As in a Looking Glass," felt
his engagement trembling in the balance.
"Brutal!" quoth the loquacious and severe Lackaye. "It was thoroughly
deserved! I was there and I never saw such an immoral play in my life
before a civilized community!"
"Granted," replied Barrymore, "but why censure the lady personally, a
foreigner as well? We can at least be courteous. Only the offensive
theme of the play was dwelt on; no attention was paid to her finesse
and subtle art. That was all lost, due to the huge playhouse in which
we were forced to appear. Hammerstein's was never intended to house
acting that requires such delicate treatment; it should be devoted to
opera, or the circus. Nothing ever gets beyond the third of fourth row."
"Which is most fortunate," replied Lackaye. "You punish the musicians,
and save the remaining rows, the suffering endured by those closer to
the actors. I am no prude, but I felt the blush of shame mounting to
my cheeks as the terrible and unwholesome dialogue came over in chunks."
"My boy," said Barrymore, "you don't comprehend the theme of that play.
Dialogue amounts to nothing when problems are to be solved. Maybe
the language suffered in the adaption but that does not palliate the
offense perpetrated upon the lady who was endeavoring to perform a duty
and teach a lesson by her consummate art."
"You call that art," asked Lackaye, "a wanton, expounding her amorous
successes? What edification can that give? I tell you, Barrymore,
you may be all right in your argument but the performance was simply
nauseating, nasty and suggestive. The whole thing reeked with filth!"
"I know," said Barrymore, quickly but quietly, "but you fail to
realize, my dear Lackaye, that Hammerstein's is a theatre where one may
be obscene and not heard."
Public-domain text, read in full here on John Shaqi.
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