The public is never wrong (1953)

65 either was interested enough to discuss the matter with me. After a few days he brought back word that Charles, the younger and larger operator of the two, had received the suggestion coldly. Daniel, on the other hand, had expressed a mild interest and had agreed to a conversation. Naturally I jumped at the chance to talk with him. Our appointment was in his studio and living quarters over the Lyceum Theatre. He had turned sixty, but his tall figure was straight, and his goatee and pince-nez gave him a cultivated, aristocratic air. Of the old school, he wore a very high stock collar and, when outdoors, a large soft hat. The meeting was at night, and after a cordial greeting he guided me to a small trap door which looked down upon the stage. He had been watching a play which was in progress. I cannot recall the title at the moment, but after we had observed for a little while he closed the door and we settled into the easy chairs. The studio— he called it his sanctuary— was filled with mementos of his long and illustrious career. There was a big throne chair which had been used in a starring vehicle of James K. Hackett, the matinee idol. On the walls were inscribed photographs of Lily Langtry, Minnie Maddern Fiske, E. H. Sothern, Forbes-Robertson, Joseph Jefferson, and many other stage luminaries. Naturally I had a feeling of exhilaration, for here was an atmosphere of famous players in famous plays.