as to discuss
the last scene and to wonder what would happen in the next. We did not
estimate the money or publicity which might come from this new
venture; there has never been any serious thought of making money by my
bridge-playing, nor desire for publicity when I am trying to play golf.
But secretly, of course, we hoped. It was that which made it so much
more exciting than any other game.

Our hopes were realized to the following extent:

Wurzel-Flummery was produced by Mr. Dion Boucicault at the New Theatre
in April, 1917. It was originally written in three acts, in which form
it was shown to one or two managers. At the beginning of 1917 I was
offered the chance of production in a triple bill if I cut it down into
a two-act play. To cut even a line is painful, but to cut thirty pages
of one's first comedy, slaughtering whole characters on the way, has at
least a certain morbid fascination. It appeared, therefore, in two acts;
and one kindly critic embarrassed us by saying that a lesser artist
would have written it in three acts, and most of the other critics
annoyed us by saying that a greater artist would have written it in
one act. However, I amused myself some months later by slaying another
character--the office-boy, no less--thereby getting it down to one act,
and was surprised to find that the one-act version was, after all, the
best... At least I think it is.... At any rate, that is the version I am
printing here; but, as can be imagined, I am rather tired of the whole
business by now, and I am beginning to wonder if anyone ever did take
the name of Wurzel-Flummery at all. Probably the whole thing is an
invention.

The Lucky One was doomed from the start with a name like that. And the
girl marries the wrong man. I see no hope of its being produced. But
if any critic wishes to endear himself to me (though I don't see why he
should) he will agree with me that it is the best play of the five.

The Boy Comes Home was produced by Mr. Owen Nares at the Victoria Palace
in September, 1918, introduced afterwards into Hallo, America! at
the Palace, and played by Mr. Godfrey Tearle at the Coliseum in the
following April.

Belinda was produced by Mr. Dion Boucicault at the New Theatre in April,
1918, with Miss Irene Vanbrugh in the name-part. Miss Ethel Barrymore
played it in New York. I hope it will read pleasantly, but I am quite
incapable of judging it, for every speech of Belinda's comes to me now
in Miss Vanb