Showman (1937)

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Chapter IV ALL THIS HIGH-POWERED FIGHT STUFF NEEDN'T GIVE YOU the idea that I was neglecting the theatrical end of my private saga. Even in the middle of preparations for the Corbett-Sullivan fight I was battling to break in on Broadway as a real top-flight manager. Plays like "After Dark" had already made me well known on the circuit of low-priced melodrama theaters that started on the Bowery and covered the whole country east of the Mississippi. But what I wanted now was to move uptown— to Union Square and beyond— and sit down alongside the seats of the mighty. Nowadays anybody's bankroll and anybody's production stand as good— or as bad— a chance as anybody else's in the American theater. You never know whether it's a Wall Street broker or the late Dutch Schultz or a big movie company that's backing a show. But forty years ago the uptown— and also upstageworld of people like Augustin Daly and A. M. Palmer looked with considerable suspicion on a cheeky kid addicted to prize-fighting and melodrama. It was extremely unhandy for me. When I tried to persuade 111