©abib (garricfe'g ifttagterpiece A Comedy In One Act By Fred H. James PRICE, 25c WETZEL, ROSENER, & JAMES 402 BROADWAY NEW YORK TMP96-006388 / ©OLD 31828 David Garrick's Masterpiece A COMEDY IN ONE ACT by Fred H. James (CopijHghted MCMXII by Fred H. James) NOTICE:— The Acting Rights of this play are re- served. This applies to amateurs as well as to pro- fessionals. Letters should be addressed to Wetzel, Rosener & James, Room 330, No. 1402 Broadway, New York. ORIGINAL CAST OF CHARACTERS: I 1. DAVID GARRICK— A famous Actor— Geo, M. ' ' Rosener. (DR. KRAFT-EBBING)— i. famous Alienist— Geo. M. Rosener. 2. — JACKSON — A Country-Merchant — Jacques 1 Martin. 3. — EDITH— fl^is Daughter — Mary Hillman. 4. ARTHUR— Fer fiance— Wva.. Hedge. I 5. UKRY— Edith's Old A^wrse- Maude Hillman. I The Action takes place at Jackson's House in I London. First production at the Wadsworth Theatre, New York, by Mary Hillman d Co., under the direction of Geo. M. Rosener. 2 DAVID GARRWK'S MASTERPIECE SCENE:— 4 handsome parlor; Door C; Door R.; Door L.; tahle with writing material: hottle of Port Wine, ttvo glasses on table. Chairs, etc. AT EISE OF CrJlTAiy— (Jackson, sitting left of tahle filling glass from hottle of wine on ta- hle. Mary is standing near him.) .TACKROX— Then you cannot see any improvement? Will nothing- aronse her from her melan- choly? MAKY— Xo, Sir. JACKSOX— Despite the French books, her fiance. Arthur sends her? MARY — She scarcely looks at them. JACKSOX — How about her music — her painting-? MARY— She's given up everything — but that wretched pla5\ JACKSOX— rTT/f/? a sigh) Yes— I know— Shakes- pear's works— another gift from Arthur. MARY— Since Edith has seen that comedian the oth- er night, her head is filled with nothing else but the theatre— oh. Sir,— I wish you had never come to London. JACKSOX' — I had to be on her account — to save her fortune from the hands of my dishonest partner — and now that I have succeeded in doing so — she becomes afflicted with this terrible melancholy ! MARY— There's no use in 'talking, Sir, the theatre has turned her brain. Why she even talks to herself. Only a while ago I heard her murmur to herself: "Wilt thou be gone? It is not yet near day" — and then again: "Oh, blessed, blessed night—" J ACKSO'S~( Aside) Her mind is on Romeo— but that is but a mask, which conceals another name— (Aloud to Mary) Go back to Edith, Mary. Try to cheer her up. Console her — she's my only child. DAVID aARRICK'^"^ M AfiTEIiPIECE :5 MAEY— Need you tell me that, Sir? You know I too, love Edith dearly. Have I not raised her? Do I not g-rant her every wish? — You can't help loving that sweet girl ! (Exit RJ JACKSON — Poor child! Luckily, T alone know the truth. If she but knew that she betrayed her secret to me in her dream. "Three words, dear Romeo," she whispered, "and good night, indeed" — but soon she spoke another name — "Garrick" ! Hm. How harsh- ly the world would judge my poor little girl, if they knew of the strange fancy that has taken possession of her! How they would condemn her ! But I must find a means to end this fatal infatuation. First of all I must get her away from London. I Hasten her marriage to Arthur — He, above i all, must never know the truth. I ARTUVR—r Entering C. D.) How do you do, Mr. ; Jackson? And how is our little patient? I JACKSOX — Somewhat better, Arthur, thank you. I ARTHUR — I'm so happy ! You know how dearly I I love Edith — and since you've consented to I our marriage, I see a new life full of hap- i piness before me, which I ow^e to you. JACKSON — I, too,, am indebted to you, since it is due to your efforts, that I won that law- suit, which saved my daughter's fortune. ARTHUR— I merely did my duty. JACKSON — So you say ; but my heart tells a differ- ent story and since you love my dausrh- ter, her hand is the best reward I can offer you for your friendship. We leave London shortly. Will you come with us? ARTHUR — Not n'u^t now — I'm pleading a big law- suit, which requires much time and atten- tion. But what about Edith? She needs diversion. They're giving a new piece at the Drurv-Lane to-day. I have seats for it. 4 DAVID aARRlCK'IS MA.STERP1ECE JACKSON— Do you really think it would do her good? ARTHUR — Certainly, it will cheer her up. She loves the theatre so much, which is quite nat- ural, since it is new to her. JACKSO:S—(Co)tfuscdJ But then— ARTHUR — (Without ohHcrving Jackson) We're hav- ing such excellent artists, such as Barry, Keinble and above all, the great Garrick, just now. He is the author of the piece and plays the principal part. JACKSON — Oh, then he is a playwright also? Do you know him personally? ARTHUR— Garrick? Do I know him? Hm ! Why, he's my client — my friend — the big law-suit 1 mentioned — is his. JACKSON— Then Garrick is your friend? ARTHUR — Does that astonish you? JACKSON— Oh, no— but, then— ARTHUR— Perhaps you share the popular prejudice against everything belonging to the the- atre. Let me assure you, that there is not a better, nobler fellow than Garrick. JACKSON— But what kind of a law-suit is it? ARTHUR — Haven't you heard about it? All London talks about it. Garrick wasn't always the celebrity he is to-day. Misfortune preceded his luck. Perhaps he would never have suc- ceeded, had not Lady Harvey smoothed his path for him, and helped him overcome all obstacles, thus laying the foundation for his present fame. Garrick himself did not sus- pect who it was at first. He learned only by accident that he owed his good fortune to a woman, married to a dissipated noble- man, who was held in general contempt. JACKSON— Poor woman ! ARTHUR— This man. a Lord, treated his wife with such cruelty, that her family brought suit for divorce. Thanlcs to my efforts, w^e have DAVJD GARRJCK'SI MAHTERPIECE 5 won it, and the divorce has been granted. Lady Harvey may now enjoy and return happiness, for Garrick's gratefulness has long since turned to love. SHUFELD— GAEEICK MASTERPIECE— TWO JACKSON — How romantic — and where is Lady Har- vey now ? ARTHUR— She lives in seclusion at her country seat in Norfolk. JACKSON— Then Garrick is in love? ARTHUR— With all the intensity of his artistic na- ture. JACKSON — (^Hs down at tahle and tvrites — Aside) I have an idea. (To Arthur aloud) Pardon me — I must write a few lines. (Writes). ARTHUR — Don't let me disturb you. (Aside) Where is Edith, I v^'onder. I so long to see her, and convince myself of her improvement. JACKSON— /Fo/r//;/.(/ the ^letter) The theatre is not far away. I'll send the letter at once. (Door R. opens) There's Edith now— I leave you together (E.Tit C. D.) ARTHUR— How pale she is! EDITH — (Slowly entering tmthout seeing Arthur, reeiting in a low voiee) Look love, what envious streaks do lace the severing clouds in yonder east !" ARTHUR— Edith ! EDITH^nU/f/' a start) How do you do, Arthur? (Shakes hands with him). ARTHUR — I've bought box seats for to-night — they're giving a new play by Garrick. EDITH— ('To herself) He— always he! (Aloud) So kind of you — but I'm not going to the the- atre to-night. ARTHUR— Why not? EDITH— It will be a comedy, and I'm interested in drama only. ARTHUR— But, Edith— EDITH— No, I don't care to go. 6 DAVJD GAKRICrS MAtSTERPlECE AKTHUII — 1 don't understand you, Edith. EDITH — Don't be angry with me, Arthur. Have pity on me. You can't imagine how this strange apathy depresses me — I'm a burden to myself — how much more so to you. ARTUXJll— (Alarmed) I beg of you, Edith, don't talli that NNay. EDITH — Believe me — I reproach myself bitterly — and yet I cannot master my feelings — (ti tarts to t-nj). AKTHUR— Why, Edith, you're crying! EDITH — No, no; (Turns mcay and secretly ivlpcs her eyes). AKTHUli — Edith — you're concealing something from me. Can't 30 u trust me? EDITH — (tSadly) No, I'm not. Please don't insist. You are hurting me. ARTHUR — Well, 1 don't want to do that, of course. Come let us drop it. Let us talk of our future happiness — our marriage. Y^ou're go- ing to be happv, dear, aren't you? EDITH— n7r/(/yK'/JTB~( Aside) How old he is— and how learned he looks. (Aloud) Won't you be seated. Sir? lou seem fatigued. GARRICK— My dear girl, you need not be afraid of the physician. I know we doctors— espe- cially we old doctors— sometimes friohten our lady ]xitients a little at first. (He takes her hand and examines the pulse) Hm. hm ! pulse is rather slow for so young a person. Do we cry occasionally? Or perhaps we ■nT^TrrTT ^^^^.^ fiance, who is not to your taste? J^.iJllM — io the contrary! Arthur is GAERICK— Ah, his name is Arthur— a fine name x^T^Trnxx *^at— you couldn't find it better in a novel. >.UilH — I never read novels. GARRICK— But j'ou dream of romances— which is DAVID CtARRICK\^ MASTERPIECE 13 t much worse — beware of it, child — they put I all sorts of follies in one's head, which are not so easily gotten rid of — but to return to your fiance — isn't he amiable? EDITH— Certainly he is— but— GAKKICK — Yes, yes, he is handsome — amiable — re- ' fined — honest, but — ^there is no more de- testable word than "but" — don't you do anything- to overcome this melancholy? Haven't you a girl friend, with whom you can exchange confidences? How about dancing — ah, — now you're smiling ! ' EDITH— It makes me smile to think of how fond I • used to be of dancing. I GARPvICK— Used to? Why you talk as though you ' had already a past. At your age, a girl jonly knows a future — but since you say you don't dance — perhaps vou like the theatre? . EDITH— The theatre? ; GARI»ICIv — (Aftidc) How her eyes shine! (Aloud) I The theatre — Poo, nonsense ! ( EDITH— Oh. such indifference — I wouldn't want to I exchange it for my illness — how can anyone ( witness those heartrending scenes and not I shed a tear ! GAERICK— Oh, I almost shed tears quite often— usually at the end of the performance, I devote a silent tear to all the good money w^asted — how foolish, when you come to think of it, that all this money should be spent for deception — lies — • EDITH — Lies — and what about our great artists? GARRICK — They are the cleverest hypocrites in all the world — Garrick at the head of them ! EDITH — Oh, don't say that — ^Garrick — that immor- tal talent — that genius — how could you as- sociate such a man with a base mind? And who can surpass Garrick — our -Garrick — in Macbeth ? Garrick, who makes us w^eep ; who makes us laugh — whom j^ou hear long 14 DAVID UlRRlVK'iS MASTERPIECE after he has ceased to speak — whom you see always, once j'ou have seen him — Gar- P'ick, whose features are forever engraven here (Places hand over heart) How heav- enly it would be to speak to him, like Juliet : "My bounty is as boundless as the sea — My love as deep, the more I g-ive to thee — The more I have, for both are infinite." GAUTxICK—fCoinijleteli/ foruetthig himself and his part of physician pulls off his wig and falls upon his knees before Edith, in an inipas- sionable reply:) "Oh, speak again, bright angel, for thou art As glorious to this sight, being o'er my head — As is a winged messenger of heaven To the up-turned eyes of wond'ring mor- tals — " F.BlTll—fBetvildered) Romeo! Garrick ! Oh— (She falls back upon chair overcome). GARRICK — Yes — Garrick — who is at your feet — Gar- rick, who has never seen a more beautiful, idesirable girl than you ! y.DlT'H.~( Recovering herself) 'Twas night before— but now — now — 'all is light — light — GARRICK— Behold me at thy feet. EDITH — Garrick! I have betrayed myself — he knows all ! GARRICK — Yes — I know all — forgive me — Garrick has played his part jioorly — he was con- fused — ptunned by you — till he forgot ev- erj^thing — everything, but you — your voice has penetrated his soul — ah, what happi- ness to be understood by you — you have made me proud and happy. (Kisses her hand). EDITH — Happy! Garrick made happy by me? Oh, DAVID GAKRICK'S MASTERPIECE 15 blessed realization ! It is the moment my heart and soul has been longing for — but now — now — you must not leave me again — you must remain with me. GARRICK — For all eternity — my life is worth liv- ling only with you ! EDITH — 'But now I remember — the ship will sail — the convent is awaiting me — but what do J care for that awful prison — the convent now (She rises) wait for me here — I'll soon iretarn — (She exits R.J GARRICK — (Alone) She's gone— but she will return — Edith ! what heaven, your love has opened to me! ARTHUR— rOjS'' stage-^calling) Garrick! GARRICK — (^¥ith a start and an expression, of dis- may) Arthur ! — I am dropping back to earth — ARTHUR — (Calling to Garrick) Good news for you, Garrick — GARRICK— Jenny? ARTHUR— Is free! ' QiKKKlQls.— (Aside) Free— and I— I — oh, heaven! I ARTHUR — Now you're happy — you've reached the goal of your desires ! I GARRICK — (Struggling hard to hide his confusion) I Yes — ^really (Aside) I'm crushed ! ' ARTHUR — But what does this disguise mean? j GARRICK — I was playing a part — ! ARTHUR— Oh, yes— for Edith— I knew I could re- ! ly upon your friendship ! J GARRICK — Of course, you can — but — I'm not ' through yet — please leave me alone a few \ moments — I have to make some prepara- ; tions. J ARTHUR — Yes — of course — I know it is all for me ' — and my hapx^iness — (He exits L.) GARRICK— ^("A Zone; He relies upon me — so does her father — and Jenny — Oh, Jenny — forgive me — t'was a dream — but the awakening is aw- 16 DAVID GARRICK\^ MAf^TERPIECE ful — oh, my poor head — but, no — I must be calm — I must keep it \^\) — I am an actor — I must conquer myself ! — How often I must show a smiling- face when my heart is bleeding- — it's my profession — this case is one where a noble purpose is to be achieved — but what is to be done — what shall I do — oh, merciful heaven — she's coming. (LoolxS arou)i(l, and .S'/)jr,s the hnttle of whic on the tahlc) I've got it! I must act and cause her to hate me. (Takes the bottle and assuming a dridih-eii attitude ^tours out wine I. EDTTIT — (Ent( ring, talking to herself) It makes me shiver when T think of meeting father — and Arthur — poor Arthur ! GATfRTCK — (Quips down a glass of wine.) F.T>ITJJ( Looks up and sees Garriek, gulping down the rcine) — Why, what are you doing-? GAl^ETCK— 'Sense me pretty lady— t" feel so thirsty — a few glasses of this Port AVine'll do me good (Holds up his glass whieh he has re- filled) "What fire! No mistake, your father's a gourmant — TTe-ha-ha — a bottle of that wine '11 make the best head — da-da-nce ! KDTTH— What? GATJT'TCK — Yesh — I'm tired out -playing that last scene — You know — EDTT^T_j^a5t scene you played! GAPRTCK — Seems to me — you haven't recovered yourself — yesh — tragedy — that wears you out. (Pointing to bottle). Won't you have some? EDTTH — You are joking — GAEETCK— Xo joke 'tall— FDTTTT — Were you not at mv feet just now? GAFRICK— Yesh— I've been Vt the' feet o' many a one — the handsome Juliet — the lovely Mi- randa — and many more! (Drinks(. EDITH— Am I dreaming? DAVID GARRICK'iS MAlSTERPIECE 17 GAKEICK — (Breathing deeply after drinhing) So — I feel a little better now — we could go on rehearsing- the play now — 1 feel stronger now — EDITH — 'It can't be! (Watehes Gar rick as if dazed). GAKIJICK — (Talking to hiniself in a rambling sort of way) Funny — the more I refresh myself out of this bottle (Points to bottle) the more ardent I feel — I will tell you a little confidence — there is somewhere a little wo- man, whom I adore far more than this Port Wine — a woman, whom I owe all my happiness, my fame, my everything — which did not prevent me, however, from throw- ing myself at your feet (Aside) Oh, how I'm suffering! (Aloud) It is your fault — why are you so pretty? EDITH — Impossible — I must be dreaming! GAERICK— Impossible? Why shouldn't I have a sweetheart — a love? I wrote her a letter to- day — here it is — here's the proof. (Showing her the letter addressed to Lady Harvey) — Here's the proof — EDITH— I can't believe it— GARRICK— Then read! (Offers her the letter, she hesitates) Read! I wrote it — Read it! EBITK— (Reads aloud) My beloved Jenny— GARRICK — You see — Your name isn't Jenny — I don't even know your name — fand 1-o-v-e you — isn't that funny ! (He makes a gesture of despair). E'DVrJl~(Repeati)ig) Jenny! GARRICK— Go on, read it to the end (Aside) For- give me Jenny — your name shall be my Talisman. EDITH — (Reading) There is but one woman in the world for Garrick — and that is you — my Jenny — GARRICK — Are you convinced? JACKSON— r^//^ers C. D.) ARTHUR (Enters). 18 DAVID GARRICK'."^ MASTERPIECE EDITH— rrZ/rotrs herself in his arms) Father! JACKSON— What is it, my child? EDITH — Let ns leave London — as soon as possible — please — ARTHUR— What— yon want to travel? JACKSON— Really? EDITH — Yes, father dear, I want to leave this city as soon as possible — I want to g-o to my peaceful solitude — far from the illusions and deceptions of hipfh — Life — where T may be happy with you — father — and (Gives Arthur her hand) — mv — mv — husband! ARTHUR— rJo?//»//// emhraees Edith, then to Gar- rielx) All this happiness I owe to you — Garrick : but what's this? He can scarcely stand ! JACKSON— rXofiVnj.or Garriek with surprise) That's so. (Aside) The condition he is in! GARRICK — (With an apparent effort) As rej^ards this yonno" lady — you need not fear — once she's away from London, she'll soon for- get the theatre — and the actors — and will be happy in her seclusion — you too — papa Jackson — will be happy — how could yon be otherwise — with such eleefant Port Wine ! JACKSON — (Approaehing tahle) I can't understand it, the bottle was emptv, I thoug-ht. GA'RIlICK—(Quieklif and in haste to Jackson) Not a word — or all is lost ! JACKBO'S^(Returninp to his daughter) Hm ! Hm ! AUTB.JJ'R— (Reproachfully to Garrick) Garrick— how could you — think of yonr new part to-night ! GARRICK— My new part? Pshaw! I shall play it— and play it well — don't fear — the most diffi- cult part I've ever played in my live — I've played just now — T'was Garrick's MASTER- PIECE. Curtain, PRINT OF J. B. SHUPELDT & CO. BRONX, NEW York City LIBRftRV OF CONGRESS Published 5 I PRICE, 1 No. 'y 0i6'''iei3 614 6 18 The Mining Agent — ^ nail Street Comedy 1 M 1 F 13 Yuki — A Japffues-e Romunce 1 M 1 F 2) The Great Winglebury Duel — A Farce 6 M 3 F 26 What Married Men Do — Comedy 1 M 1 F 27 Sir Bob— Comedy 2 M 1 F 28 The Palmetto Minstrels— /^/rs* Parf.. 13 M 29 A Cure for Husbands— Co »iCfZ 2/ 2 M 2 F 11 'Cowboy Jim — 'Western Comedy 1 M 1 F 50 The Goldstein Wedding — A Yiddish Comedy Drama 2 M 2 F 60 David Garrick's Masterpiece — Comedy 3 M 2 F 64 Fride and Charity— Co »?crt?y 3 M 1 F 66 Faro Jane — Drama 1M2F 65 Up Against It — Comedy 5 M 63 Oliver Twist— Dmwja 5M2F 72 L'Aiglon— Drawia 3M2F 56 Just' Plain Mary— Cow rr/?/ 2 M 2 F 55 The Simp— Comedy Drama 4M3F 43 The Mystery of Duncancrest —A Dc- teetl've Drama 3 M 2 F 75 A Mile with a Fool — Comedy Cross Fire 2 M 76 He and She— Comedy Cross Fire 1 M 1 F 80 The Veterans 2 M 78 An Obstinate Family— Co ??tcri.// 3 M 3 F 67 A Modern Othello— Farcr 2 M 2 F 24 The :Mischief Maker— Domestic Farce in Jf Acts (50c a copy) 6 M 5 F 75 How to Write a Moving Picture Play 25c WETZEL, ROSENER & JAMES, Publishers 1402 BROADWAY, NEW YORK