  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." The critics were all very enthusiastic. It amused me not a little to detect in several of the reviews expressions of surprise that I was able to portray Fagin to the reviewer's satisfaction. Of course I knew all along that the Rialto and Park Row were a unit in declaring that I could never "come back." I think perhaps the simple fact that I made Fagin a humorous old codger instead of the sinister object our very best tragedians have always painted him may account for the laudatory notices my work received. But there can't be any question about Fagin. He was a comedian—positively! Think of his telling Charlie Bates he would give "dear little Oliver a treat"—by letting him sleep in that awful, awful bed of his! Oh yes, Fagin never stopped having silent laughs. And I liked him for it. While we were playing to packed houses at every performance at the Empire Tyler sailed for Europe assuring us he would send us out on tour after the Empire Theatre engagement. He said we were to go to the Coast and continue the tour throughout the following season. As a result I turned down a very flattering offer to appear in New York that fall. Had he not failed to keep his promise I should have been spared a year of physical suffering! But he did break his promise. A week after the Titanic disaster we received notice that the season was at an end so far as "Oliver Twist" was concerned. And now, having "come back" I foolishly determined to go back—and I started for California once more. I've always thought Greeley's advice should have read, "Go West, old man!" |
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