W. C. Fields : his follies and fortunes (1949)

says Howard, "for when he got on the set he said exactly what he pleased." Poppy opened at the New Apollo Theatre in New York on the third of September, 1923. Miss Donnelly's original draft of the play had not called for any juggling, but the final, or DonnellyFields version, required McGargle to juggle quite a lot. Nobody could ever explain why it was that Fields, though he clamored for straight comedy parts, insisted on juggling as soon as he got them. The show itself was a success, but Fields was a sensation. The night of September 3, 1923, ended for all time his appearances as a co-comedian or as a comedian in a subordinate role. He was "made," in the theatrical vernacular. In the space of a few hours his brand of juggler was erased forever and the title of comedian took its place. Fields was to remember the opening of Poppy as one of the great nights of his life. Heywood Broun's review is of interest for several reasons. e> : Poppy is our idea of a good musical comedy," wrote the late columnist-politician-unionist-liberal-Catholic in the New York World. "Dorothy Donnelly has provided the new piece at the Apollo with a coherent, amusing, and often genuinely dramatic book. Indeed, it would be quite possible to forego music and build a first-rate comedy around the story which she has fashioned of a strolling swindler and his daughter. "Still it is better that the musical-comedy method was chosen, for otherwise W. C. Fields might not have been hit upon as the person to play the sharper. Mr. Fields is so good a juggler that recognition of his ability as an actor was delayed until last night. Not only does he handle lines just as deftly as cigar boxes, but he creates an authentic and appealing character. At the moment we can't remember anybody who ever made us laugh more. It is first-rate clowning, but that is only the beginning of the job which Fields has done. In addition to his familiar but nonetheless hilari 183