Nat Goodwin's Book. Goodwin Nathaniel Carll
York, and never in my life have I been the recipient of such commendatory notices for my work. I was "absolutely perfect" from the critics' point of view. Even the Hebraic gentleman who writes for the New York "American" was courteous – aye, even complimentary, as was also the dainty critic of the "Evening Sun" – and receipts never reached $4,000 during any given week!
Truly a wonderful picture is that painted by Reynolds of Garrick between the Muses, Tragedy and Comedy. To which does he turn?
I wonder!
Which leads me to remark —
Give the average American critic a mirror and a hammer and he will demonstrate his prowess as an iconoclast.
Chapter XVI
BACK IN THE EIGHTIES
My first trip to England resulted in my being able to add to my list of imitations a study of Sir Henry Irving. How it came about may be of interest. It followed my decision to produce "Confusion" and "Turned Up."
"Confusion" had previously been played by Henry E. Dixey and Florence Gerard with some degree of success. I think they would have made a great success had they not made the play subservient to a most wonderful imitation of Henry Irving and Ellen Terry in a travesty on "The Merchant of Venice." They performed this travesty delightfully, but as it lasted only about thirty minutes and was the feature of the entertainment the pièce de resistance naturally suffered.
I saw the possibilities of "Confusion" and made a deal with John Stetson for a road tour. I gave it a most excellent cast, including such names as John Mason, Robert Coote, Loie Fuller, Charles Bishop, Leila Farrell and others who were conspicuous at that time.
During this engagement I produced for the first time my burlesque of "The Bells," imitating Henry Irving as Mathias. It was a double bill and included "Turned Up." The performance made an instantaneous hit and I received much credit for what the press and public were pleased to call a most faithful reproduction of the great man. I was extremely nervous on the first night as I was following a magnificent imitation of Irving lately given in the same theatre by Henry E. Dixey who had scored a tremendous success. He had a striking make up for his Irving, suggesting him in face and carriage, but his reproduction was more of a caricature than mine and I suffered little by comparison.
Later on, while producing "The Bells" in conjunction with "Confusion" at the Grand Opera House, one of the company whispered, "Irving's in the box!" I nearly fainted. However, I had only a few moments more in which to finish the performance so I gritted my teeth and went to it.
Irving visited me later on in my dressing-room and grasping me by the hand ejaculated, "My dear Goodwin, I congratulate you! I had no idea that 'The Bells' was such an interesting play!"
"My dear Irving," I said, "think of the man you saw play it!"
"Having played the part for over twenty years and having seen your wonderful reproduction of me, I can now see where I have been very much in error," he replied laughingly.
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