The Project Gutenberg EBook of The Easiest Way, by Eugene Walter

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Title: The Easiest Way Representative Plays by American Dramatists: 1856-1911

Author: Eugene Walter

Release Date: July 29, 2004 [EBook #13050]

Language: English

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THE EASIEST WAY

[Illustration: EUGENE WALTER]

EUGENE WALTER

(Born, Cleveland, Ohio, November 27, 1874)

When questioned once regarding "The Easiest Way," Mr. Eugene Walter said, "Incidentally, I do not think much of it. To my mind a good play must have a tremendous uplift in thought and purpose. 'The Easiest Way' has none of this. There is not a character in the play really worth while, with the exception of the old agent. The rest, at best, are not a particular adornment to society, and the strength of the play lies in its true portrayal of the sordid type of life which it expressed. As it is more or less purely photographic, I do not think it should be given the credit of an inspiration—it is rather devilishly clever, but a great work it certainly is not."

Such was not the verdict of the first night audience, at the Stuyvesant Theatre, New York, January 19, 1909. It was found to be one of the most direct pieces of work the American stage had thus far produced—disagreeably realistic, but purging—and that is the test of an effective play—by the very poignancy of the tragic forces closing in around the heroine. Though it is not as literary a piece of dramatic expression as Pinero's "Iris," it is better in its effect; because its relentlessness is due, not so predominantly to the moral downgrade of the woman, as to the moral downgrade of a certain phase of life which engulfs those nearest the centre of it. The play roused a storm of comment; there were camps that took just the stand Mr. Walter takes in the opening quotation. But the play is included in this collection because its power, as a documentary report of a phase of American stage life, is undeniable; because, as a piece of workmanship, shorn of the usual devices called theatrical, it comes down to the raw bone of the theme, and firmly progresses to its great climax,—great in the sense of overpowering,—at the very fall of the final curtain.

Mr. Walter's various experiences in the theatre as an advance man, his star reporting on the Detroit News, his struggles to gain a footing in New York, contributed something to the bitter irony which runs as a dark pattern through the texture of "The Easiest Way." He is one of the many American dramatists who have come from the newspaper ranks, having served on the Cleveland Plain Dealer and Press, the New York Sun and Globe, the Cincinnati Post and the Seattle Star. Not many will disagree with the verdict that thus far he has not excelled this play, though "Paid in Full" (February 25, 1908) contains the same sting of modern life, which drives his characters to situations dramatic and dire, making them sell their souls and their peace of minds for the benefit of worldly ease and comfort. Note this theme in "Fine Feathers" (January 7, 1913) and "Nancy Lee" (April 9, 1918). In this sense, his plays all possess a consistency which makes no compromises. Arthur Ruhl, in his "Second Nights", refers to Walter as of the "no quarter" school. He brings a certain manly subtlety to bear on melodramatic subjects, as in "The Wolf" (April 18, 1908) and "The Knife" (April 12, 1917); he seems to do as he pleases with his treatment, as he did right at the start with his first successful play. For, of "The Easiest Way" it may be said that, for the first time in his managerial career, Mr. David Belasco agreed to accept it with the condition that not a word of the manuscript should be changed.

It is interesting to note about Walter that, though he may now repudiate it, "The Easiest Way" stands distinct in its class; perhaps the dramatist has ripened more in technique—one immediately feels the surety and vital grip of dramatic expertness in Walter, much more so than in George Broadhurst, Bayard Veiller, or other American dramatists of his class. But he has not surpassed "The Easiest Way" in the burning intention with which it was written.

As a dramatist, Walter adopts an interesting method; he tries out his plays on the road, experimenting with various names, and re-casting until ready for metropolitan production. His dramas have many aliases, and it is a long case to prove an alibi; any student who has attempted to settle dates will soon find that out. His military play, written out of his experiences as a United States cavalryman in the Spanish American War, was called "Boots and Saddles," after it was given as "Sergeant James." "Fine Feathers," "The Knife," "The Heritage," "Nancy Lee"—were all second or third choice as to name.

In his advancement, Mr. Walter gives much credit to three American managers—Kirke LaShelle, and the Selwyn brothers, Archie and Edgar. It was the Selwyns who, during his various ventures in the "show business," persuaded him to move to Shelter Island, and write "The Undertow." It was in their house that "Paid in Full" was finished. Let Mr. Walter continue the narrative:

The circumstances under which "The Easiest Way" was written are rather peculiar. When I was an advance-agent, ahead of second-class companies, the need of money caused me to write a one-act piece called "All the Way from Denver," which in time I was able to dispose of. Later, after having written "Paid in Full," I realized that in the play, "All the Way from Denver," there was a situation or theme that might prove exceedingly valuable in a four-act play. After discussing the possibilities with Mr. Archie Selwyn, we concluded to write it. In the meantime, the one-act piece had come into the possession of Margaret Mayo, and through her, Mr. Edgar Selwyn decided that the title should be "The Easiest Way" instead of "All the Way from Denver."

The play was then taken in its scenario form to Mr. C.B. Dillingham, and discussed with him at length. This was prior to the public presentation of "Paid in Full." I possessed no particular reputation as a dramatic writer—in fact, the Messrs. Selwyn—Archie and Edgar—were the only ones who took me seriously, and thought me a possibility. Mr. Dillingham was not particularly impressed with the piece, because he thought it was much too broad in theme, and he did not like the idea of slapping the managerial knuckles of the theatre. Further, the obvious inference in "The Easiest Way," that Laura was kept out of work in order to be compelled to yield herself to Brockton, was a point which did not appeal to him. However, we had a working agreement with him, and later, Mr. Archie Selwyn, in discussing the story of the play with Mr. David Belasco, aroused his interest. The latter saw "Paid in Full" and "The Wolf," and so he sent for me, with the result that "The Easiest Way" was first produced in Hartford, Conn., on December 31, 1908. Since its New York