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SHOWMAN
when admission scales were much lower— it doesn't stop till it gets close to seven figures' profit. Grismer's third share ran into $360,000 eventually, and he earned every cent of it. "Way Down East" was a perennial run lots of places, an annual institution like the Christmas pantomimes in England. Cleveland never went for it, nor Kansas City nor Toledo. But in Baltimore, Philadelphia, New York, Boston, Chicago and the one-night-stand country all over she was a little daisy for ten, fifteen, twenty years.
We could hardly have kept "Way Down East" at the Manhattan Theater so long if I hadn't held the lease of the place along with Florenz Ziegfeld, who liked the looks of the play enough to come in on the theater. Ziegfeld and I made a logical pair of partners, both being youngsters willing to take a chance on anything that looked like box-office money. And there were lions in his past too— with Sandow, the famous strong man, fighting them. The tale of how Sandow took the pucker out of the lion in San Francisco under Ziegfeld's management was one of Flo's favorite stories.
It wasn't my kind of lion— this was a five-hundred pound beast which had chewed up its trainer just the week before Sandow was scheduled to fight it. In order to make it a fair trial between brute strength and human strength, they muffled the lion's claws with heavy mittens and put his jaws in a wire muzzle— no clawing or biting, just Sandow giving away three hun
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