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Heart Interest and Mr. A. H. TV oods 33
to get my casts among the unemployed players that always turn out for first nights. I stand in the lobby and watch the actors come in. ‘Conway, I want you,’ I says the other night. That’s the way I signed Tearle. I knew there was somebody I wanted for a certain part, and the minute I see him I knew he was the guy. Got Olive Wyndham the same way. I wanted Florence Moore every time I saw her walking into an opening for five years; but I didn’t have the part till ‘Parlor, Bedroom and Bath’ turned up.”
“You say the newspapers can tell you about an opening.”
“Sure they can. They do. They’re right, mostly. Once in a while they call it wrong on a show the people want; but most of the time the critics are right.” “You take dramatic criticism seriously?”
“Yes; and I’ll tell you how seriously. I signed Eileen Huban for three years, with an option on the next two, just on the strength of her notices in ‘Grasshopper.’ I’d never seen her. I offered Elsie Mackay a contract on nothing but what the Chicago critics said about her looks. I was willing to gamble on her learning how to act. And I signed Marjorie Rambeau on the strength of notices she pulled out of two failures.” “Who’s your favorite dramatic critic?”
“The poor guy can’t write — but he knows what he likes.”
“I know the kind — what’s his name?”
“A1 Woods.”
“How’d you come to build the Woods Theater?” “By way of putting back into Chicago some of the money the town has given me — and making some more. I knew I needed my own theater here when I had to send ‘The Littlest Rebel’ to New York — it was