Picture Play Magazine (Oct-Nov 1915)

2 playwriting, the writer having in mind Emerson's recent dramatic success, "The Conspiracy," of which he was coauthor, producer, and featured player. "Of course, it goes without saying," spoke Emerson in quiet tones, "that one must have an idea in order to assume the work of a playwright. There are plenty of people who try to write plays and are absolutely ignorant as to the technique of the drama." A brief dramatic pause, and Emerson continued : "A playwright must be somewhat of a carpenter. He must build portion by portion, until he has complete adequate parts to comprise a perfect house. In my own particular case, if 1 have an idea for a play, I work it out little by little. Sometimes for hours, again only for brief periods; it is as the mood has me. You cannot sit down and force yourself to write a play. Inspiration, after you have mastered the technique of the drama, plays an important part in successful play construction. I have known times while I was working on 'The Conspiracy' when I would awaken in the middle of the night. My mind was on the play — the proper thought bad come to me, and I would write into the wee hours of the morning. Fortunately for my play, 'The Conspiracy," when I read it to Mr. Frohman he as once accepted it for production. Usually an ambitious author is compelled to wait sometimes for years to have his play even, given serious consideration." "What of ycur entrance into the motion-picture field? And why did a person of your distinction and success on the legitimate stage forsake that for the silent drama?" I questioned. "It so happens that the same inquiry has been addressed to me by many of my speaking-stage friends. I will answer you as I did them : The realization of the possibilities of the pictures and the wider scope for one's talents. "Yes, it is quite true, the stage affords you much opportunity, but there is something magnetic in the word 'pictures'— that is, it appeals so to me. One of the many advantages the theater of silence has over the legitimate stage is that a legitimate attraction can be viewed by only one audience at a time, whereas, if a play is screened, the film will perhaps be exhibited in many different cities in the same afternoon or evening. "The future of pictures, their rapid PICTURE-PLAY WEEKLY progress — and comparing them to the present slow-moving speaking stage — oh, I can't just seem to express my feeling toward the subject," he concluded in a sort of a puzzled manner. For the next few minutes we chatted about the weather, our views of the extreme East and West, and soon I had succeeded in having John Emerson start to talk about himself. "I am a native of Ohio, and when a lad my only ambition was to enter the Episcopalian ministry, but during my college course I gradually came to the conclusion that I had mistaken my vocation. During my time in college I worked hard after school hours to se John Emerson without make-up. cure funds to pay for my tuition fees. I was not born with the proverbial gold spoon. "After leaving college, I still continued with my studies, but the attractions of the stage were too much for me. I secured a position in a school of acting, where I taught to the pupils literature and other branches of the acting course. In spare hours, I was conducting a church choir, and I was also taking lessons in a music school. "After a year of this, my ambition was realized. I had been cast with Tim Murphy in a very small speaking part, and at the end of the third performance I was discharged for incompetency. That was my theatrical debut," he laughingly remarked. "I then decided that I didn't kno enough to be an actor," with a remi; iscent smile spoke John Emerson, "so came to New York and studied for thri years more. For financial aid, I taugh staged amateur plays, and went on ; 'super' and 'extra man' in various Ne York productions. By this time I w;i fully determined that I was going to 1 an actor. One day. later, an oppoil tunity for my initial New York appeail ance presented itself. I was engage I to play small parts and be stage marl ager for Bessie Tyree and Leo Ditricl | stein, and for two seasons I held th; I position. "After I had closed with Bessie Tyre] and Leo Ditrichstein. I was with Mr I Fiske for two seasons as stage manaj ger and understudy for the principal male parts. "My next engagement was with th J late Clyde Fitch, when I was engage j for the production of 'The Truth," t act in the capacity of stage manager! and understudy for the part of thJ mendacious old father, and later in th. season I played the part during the New York run and elsewhere. "Later, I was engaged as stage mana-i ger for Madame Nazimova, and in i short time I was playing such parts a-1 Ricardi, in 'Comtesse Coquette,' Krog-' stadt, in 'A Doll's House," and the dot-J ing husband in 'Hedda Gabler.' I received a personal letter from Madame Xazimova in which she said, 'You are the best Tesvian I have ever had." Tfflg letter, of course, I had framed and hung upon the wall. "The following season I assisted in staging 'The Blue Mouse,' and when. Mr. Clyde Fitch died I was chosen by the Shubert management as the man most familiar with the author's methods, to put on 'The City.' I was later made general stage director for the Shuberts, and during that time I appeared in the support of Marietta Oily, a German actress whose American career was rather brief ; I also produced and played the leading male role in 'The Watcher,' and in other plays. "I joined the Frohman management, where I staged 'The Runaway,' with Miss Billie Burke as its star; 'The Attack,' for John Mason; 'Bella Donna," for Madame Nazimova. and various other plays. While with Mr. Frohman. I managed to find time to collaborate with Hillard Booth and Cora Maynard