Thursday, April 3, 2025

The Little Warrior: a variorum edition

The Little Warrior (variorum edition) (PDF, 4,732 KB)

The Little Warrior (Jill the Reckless in the UK) is Wodehouse's longest book ever. At more than 117,000 words in its most complete form it is even longer than Mike, which is in reality two novels rolled into one. This variorum edition—the fourth of its kind published in this blog—analyzes four versions (two magazines and two books), and not surprisingly it has a bulky apparatus, with 1250 footnotes. It has taken a huge amount of effort and time: if I recall correctly, I have been working on it intermittently for the last two and a half years.

However, the edition itself is not as complex as those of other, shorter novels. A close look at the apparatus will show that the vast majority of the changes between the longest version and the rest are mere deletions, some of them substantial, and never affect the plot or the characterization. Even the dialectal differences between British and American texts are relatively scarce, and apart from that the cases of rewriting are minimal. One suspects that most if not all of the changes are due not to Wodehouse but to his editors.

There is a difference of almost 4,000 words between the US book (used as base text here) and its British counterpart. It is a pity that the full version was not reprinted again after the 1920s: all later official editions, including the current Everyman/Overlook and Penguin, have the shorter version. Fortunately the novel was early enough that digitized copies are easily found on the internet, not to mention the Gutenberg project (and print-on-demand services picked it up immediately), but it would still be nice to have a proper edition of the American text.

I suppose this variorum is even more riddled with errors than usual. I will probably review it at some point in the future. Some of the texts I would like to check in case they contain any interesting changes are the (first) Canadian version in Maclean's, and the few British editions published, Autograph and Everyman/Overlook. I also think that I omitted to mention some notable typesetter's errors. But for the moment I'd rather let this text rest for a while and turn to something fresh.

Friday, March 14, 2025

The Two Johnnies

There is a very, very elusive bit of song lyric quoted in chapter 10.3 of Wodehouse's novel Frozen Assets (1964): "By the time Henry returned, fully clad and looking, as the song has it, like a specimen of the dressy men you meet up west," and again in chapter 2.3 of The Girl in Blue (1970): "it was apparently her aim to convert him into what a songwriter earlier in the century once described as a specimen of the dressy men you meet up West."

N. Murphy in A Wodehouse Handbook suggested that Wodehouse had in mind Burlington Bertie from Bow (1915) by William Hargreaves (see annotations to The Girl in Blue). But this is a well-known song, and its lyrics, which can be read in Wikipedia, do not really match the quotation.

Murphy's date is more or less correct, however. The song was recalled occasionally by a few writers during the 20th century, who provide more lyrics. F. Beckett, for example, in his biography of John Beckett (1894-1964) says that his father remembered and sang music-hall songs from his youth, "not just the ones everyone remembers" (and he cites Burlington Bertie from Bow), "but also long-forgotten ditties": 

We're Cholly and Dolly
We're two of the best.
We are specimen of the dressy men
You meet up west.
And when in the morning down Bond Street we trot
Every Molly and Polly
Says "Golly, how jolly.
It's Cholly and Dolly. What what?"

A slightly different version is quoted by O. Sitwell in his novel Miracle on Sinai (1933), where it is called "a song which had been popular a year or two before the War":

Cholly and Dolly
Are two of the best.
They are a specimen of the dressy men
You meet out West:
And in the morning
When down Bond Street they trot,
Every Polly and Molly cries "Golly, how jolly,
Here's Cholly and Dolly; what, what!"

Wodehouse's version is closer to the first, with "up west" instead of "out west."

[By the way, I suspect that Wodehouse made a more veiled allusion to the last lines in the phrase "Golly, Polly, isn't this jolly, here we all are, what?" in chapter 9 of Uncle Fred in the Springtime (1939).]

An article on "Lyric-Making" in The Globe for November 2, 1915 testifies to the early rise of the song to the rank of a classic: "It is but seldom that the lyric-writer is allowed to wander into trisyllabic paths, as in the deathless couplet: 'I am specimen of the dressy men,' which delighted musical comedy audiences some few years ago."

Now, in 1913-4 there existed a short-lived but very popular variety duo composed by Guy Struthers and Guy Grahame, known as "Guy and Grahame" or "The Two Johnnies." Their most successful act was called "Cholly, M.P., and Dolly, M.P." A review in The Era for January 14, 1914 reads: "Guy and Grahame, the imperturbable Bond-street Johnnies, with some new repartee that never misses fire, give their unique and amusing interlude with the happiest results": note the mention of Bond Street in the lyrics. Putting these scanty data together, I venture to say that the lost song belonged in fact to that number, perhaps used as an introduction of the two comical Members of Parliament.

[I should also mention that "Cholly" and "Dolly" are also the nicknames of Charles Lomax and Adolphus Cusins in Bernard Shaw's 1905 play Major Barbara, but this doesn't seem to be related, except perhaps as inspiration for the names of Guy and Grahame's characters.]

The duo are completely forgotten now, and there seems to be so little information preserved about them that I thought I'd put together here all I have been able to find. From a series of short but uniformly positive contemporary notices we learn that they had teamed up in late 1912 and were a permanent hit until the war broke out. (A paragraph in The Era, June 28, 1913 mentions "the case of Dawson v. Struthers, in which Mr. Guy Struthers, of Guy and Graham, was sued for £30 in respect of an alleged breach of contract by a former partner," so maybe this was not Struthers' first theatrical experience.)

Then Struthers enlisted in 1914. In his "Variety Gossip" column (The Era, November 11, 1914), "The Pilgrim" writes:

I have had some interesting news from Lieut. Guy Struthers (of Guy and Graham), who was with the Marines and Naval Brigade at Antwerp. He tells me that the force was well equipped, and delayed the German occupation of the town long enough to enable the Belgian Army to get clear to Ostend.
He was under shell and rifle fire for two days in the trenches, but managed to escape injury. Luckily, the German shooting was most inaccurate, especially their rifle fire. He hopes to return to the halls as soon as the war is over.

But his luck did not hold. In The Stage Year Book for 1916 we read: "The Harvester of Death has been very busy during 1915, and many well-known names are in the list of those who have begun the great adventure. [...] Lieut. Guy Struthers (one of the partners in Guy and Graham) died in London from the effect of wounds received in the Dardanelles." A medal that came up for auction in 2011 gives more details: "Lieutenant Guy Struthers Perkins of Royal Marine Light Infantry, Deal Bn., R.N. Div. died on 23rd November 1915 and is buried in Camberwell Old Cemetery." This in turn leads to his page in Find a Grave, where we find that he was born in 1885 and married in 1909 among other details, but nothing about his career on the stage.

I don't know if or when Guy Grahame enlisted, but in any case he survived to have a career in musical comedy. The Era for May 21, 1919 says:

That clever comedian, Guy Graham, was in town recently, following his engagement in "Ocean Waves." Our readers will recall the brilliant double act of Guy and Grahame, and that Lieut. Guy Struthers made the great sacrifice early in the war. Mr. Graham is seeking another partner for his appearance in variety, when we are promised a show somewhat different from the former act. We understand that Mr. Graham will next be seen in "Mr. Manhattan," which starts at Southampton on June 30.

Some shows where we hear his name accompanied by particularly high praise are "Oh, Joy!" (1919), "It's All Wrong" (1921), "Bluff" (1921) and "Humor and Skills" (1928).


The Motion Picture Studio, November 26, 1921

* * *

This, then, is all I have managed to collect about the song and its (probable) authors. Perhaps there is more out there, but the fact that the song hasn't turned up in a search through several music sheet databases suggests that it was never published, and may be permanently lost.

Sunday, March 9, 2025

Piccadilly Jim, the play. 5.—The play and the novels. Conclusion

Previous sections:
1.—Introduction. Writing and production
2.—Reception
3.—Ruth Gordon's memoirs. Afterlife
4.—Reconstruction of the plot

In this last section, dedicated to the connections between the play the three novels related to it—The Little Nugget, Piccadilly Jim and Leave It to Psmith—, I will assume a certain degree of familiarity on the part of the reader with the plot of the novels, only recalling to memory those details that are pertinent to the point under discussion. The reasoning is that anyone interested in this study will have read the novels anyway; and if they haven't, they are encouraged to do so at the earliest opportunity.

The Little Nugget, Piccadilly Jim and the play

The play clearly follows the Piccadilly Jim novel in its essentials: Jimmy Crocker, a young wastrel overcome with remorse at his latest escapades, decides to remove himself to America and stop being a hindrance to the social aspirations of his stepmother. In New York he ends up as a member of a high class house-party, and is engaged to kidnap Ogden, the spoiled child of the family. He has fallen in love with Ann Chester, living in the same house and bent on the same purpose, and they becomes partners in crime. At the same time, crooks are after a new invention by another resident of the household, a dangerous explosive, but Jimmy manages to thwart them. The net result of both criminal plots is that the hero wins the girl's love and establishes himself on the path to a new life, no longer a source of embarrassment for his parents.

The first notable difference is how much of the characters' background story is removed in the play's scenario. In the novel, Jimmy and Ann go back a long way even if they are not aware of it at first. Jimmy had made himself hateful to Ann by writing a derisive review of a book of poems published by her younger self. Most of the characters have preexisting ties: Jimmy's stepmother is the sister of Ann's aunt Nesta, mother of Ogden, so that he gains entrance to the house as nephew of the family, but to Ann he has to pretend he is the butler's son passing as Jimmy—with the added difficulty that the butler is really his father in disguise. Thus the novel's main conflict lies not so much in the kidnapping and the theft, but in the final revelation of Jimmy's identity to Ann and the challenge of turning her hatred into love.

This complexity is done away with in the play: Jimmy, Ann and Ogden's family are perfect strangers to each other at the beginning. The amount of deceit and impersonation necessitated by the circumstances is reduced drastically. At the same time, the American family is split: Ogden's parents, the Fords, are estranged and fighting over the custody of the child, who is residing with his aun and uncle, the Petts. So in the novel Jimmy stays at the Fords' place, and in the play he is at the Pett's, with Mr. and Mrs. Ford acting as external forces.

This is where the earlier novel, The Little Nugget, comes in: there Ogden and the Fords were introduced, and at first first the couple were equally estranged, disputing the custody and worrying over the risk of the child being kidnapped. In the end, it is the attempts of two competing sets of criminals that reunites the couple. Similarly, at the end of the play the Fords are reconciled over their shared fear of losing Ogden, whom they jointly decide to send to a boarding school, to the relief of Mr. and Mrs. Pett.

The two novels, then, are conflated into one in the play as far as the Ford domestic situation is concerned. This kind of continuity between novels, with Piccadilly Jim as a sort of sequel of The Little Nugget even though the two can be read independently, is a technique that Wodehouse would use often in his career (and had already done so in some of his school stories), especially in the Jeeves and Blandings "sagas." It is highly effective because the background details that add depth to the characters are not illusory but actual narratives that the reader can recall or learn more about, and so each novel enriches the other. And from the point of view of the author's own interests, it acts as an incentive to seek out those earlier stories involving the same characters.

The play, in contrast, is much more self-contained. It cannot expect its audience to have read and recall a novel published years earlier, and it definitely cannot make its appeal or chance of success dependent on such external factors. Thus, as already said, the plot is simplified with respect to Piccadilly Jim (the novel) in such a way that any additional complexities that are incorporated, like the estrangement of the Fords and the setting of the action in a new household, are presented and resolved within the compass of the play itself.

In the reconstruction of the plot and quotations cited in the previous section there are a number of details that can be traced directly to the novel, such as the conversation where Dave Mitchell reads to Jimmy a passage from a law book concerning the penalties for kidnapping. This is a clever elaboration of a scene in chapter 18, except that in the novel it is Ann who is about to read from a law encyclopedia and is interrupted by the arrival of Ogden.

Jimmy's initial fight with Lord Whipple is still present is very similar terms, but the unexpected outcome in the novel (Mrs. Crockers appears at the end and reveals that Lord Whipple, far from being enraged at Jimmy, has actually advanced her social aspirations for her husband) is not mentioned in the reviews, even though we learn that they do reappear and may assume a similar development in this regard. The theft of the perambulator, on the other hand, is entirely new.

The explosive subplot serves a similar role in both works, since Jimmy's role in foiling the crook that is trying to steal it helps bring the couple together. There is, however, a difference. In the novel it was an unfinished invention by the late Dwight Partridge, used by his incompetent son Willie as an excuse for sponging on his house Nesta, but it fails to kill everyone and destroy half of New York when the crook accidentally drops it. In the play it is the creation of Mr. Pett, is apparently handled carelessly at some point, but presumably is never dropped, or else everyone would have died since the experiment was not a failure. We know this because we learn that what makes Jimmy's fortune at the end is the fact that the grateful inventor has given him a partnership in the explosive business. So, in one case the danger was nonexistent, and in the other it was real and averted.

The kidnapping of Ogden also has a very different setting. In the novel, the plan is conceived by Ann as an act of kindness toward her uncle and Ogden himself, because she proposes to send him to a dogs' training school to get some education. Jimmy is dragged into it by the fortuitous circumstance of Jerry Mitchell's dismissal. In the play, Jimmy and Ann are symmetrically engaged by Mr. and Mrs. Ford at an employment agency to do the deed, so that they start out as unconscious competitors and only later become associates.

This is a plot point that Wodehouse had actually visited not so long before, in his 1915 novel Something New/Something Fresh, where the two sides of the main romantic plot, Ashe Marson and Joan Valentine, embark on separate attempts to steal back Mr. Peters' scarab, and on finding out decide to team up and take turns. Not really present in the novel Piccadilly Jim, it reappeared in the play, and after its failure it was recovered years later for the plot of Leave It to Psmith. Next we will take a look at the various novelties introduced in the play that in one way or another made their way into the 1923 novel.

The play and Leave It to Psmith

We saw in the third installment of this series that in mid-1921 Wodehouse was still trying to revive the play in London, and that by the end of the year he was already developing ideas for a new novel, "on the lines of Something New and Piccadilly Jim." In isolation, this could imply no more than similarities in tone and overall structure: all three novels revolve around a more or less excentric male character who, assuming a personality other than his own, enters a household with the double purpose of commiting a crime that is not really a crime and winning a girl's affection.

The details of the plot presented in the fourth installment show that the connection between the lost play and LItP is much stronger, as much of the new material introduced in it can be recognized without much effort in the later novel.

Many years later Wodehouse wrote to Bolton (13 July, 1946, found in Donaldson p. 151):

To refresh the old memory, I wrote Leave It to Psmith in 1924 and you let me incorporate a good bit of your stuff from the dramatization of Piccadilly Jim (Greg. Kelly and Ruth Gordon, tried out in Des Moines but never reached NY). There was a scene in an employment agency where I drew very largely on the Bolton genius.

W. is incorrect in the details: we have no news of a Des Moines appearance, and there doesn't seem to be room to fit it in the December 1919 schedule (see end of part 1); and LItP was not written in 1924, but first conceived at the end of 1921 and finished in early 1923. The wording clearly implies that at least one of the fragments that chance has preserved of the script was Bolton's contribution, and it may be wondered to what extent the whole adaptation shoud be considered Bolton's work rather than a collaboration. E. McIlvaine in her Bibliography gives him all the credit: "Guy Bolton dramatized the play in 1918" (p. 31). The notices and adverts, in contrast, always mention both W. and W. as co-authors, but this has very little force. We may reasonably assume that every line of the text was agreed upon by both, but beyond that it's impossible to attribute a particular innovation to either.

The first point that brings the play closer to LItP is the explanation of the sobriquet bestowed on Jimmy by the American gossip press, "Piccadilly Jim." In the novel, this had only alluded to his "disgusting behaviour in London" (ch. 8), Piccadilly being the scene of the playboy's escapades.

[Side note: the original "Piccadilly Jim" was Lt.-Col. James Ross Farquharson of Invercauld (9 January 1834 – 7 March 1888), "so called on account of his particularly extravagant habits" (H. Cantlie, Ancestral Castles of Scotland, 1992); "for his raucous London social life" (C. Young, The Fabulous Frances Farquharson, 2023). See a portrait and notice published in Vanity Fair at the Philadelphia Museum of Art.]

In the play, all the reviews agree that Jimmy earned the nickname by being "rather fastidious and sensitive about his dress and his immaculate appearance." This is a trait immediately associated with R. Psmith, established in 1908 in The Lost Lambs (later second half of Mike) and continued in its two sequels in 1908-10. Before writing LItP Wodehouse had most likely regarded the Psmith "saga" as concluded: in a blurb for the American edition he confessed that he only undertook the enterprise at the insistence of his daughter Leonora (see. D. A. Jasen, Portrait of a Master pp. 98-9). But in 1917-9 he may have thought that he was done with the character and was at liberty to pass the trait on to a new hero. Then, when the play was finally shelved, Jimmy faded into oblivion and Psmith recovered his defining sartorial elegance for a last appearance.

The scene at the employment agency, the first substantial quotation from the script that we possess, would be recognizable as the interview between Psmith and Mrs. Clarckson in chapter 5 of the novel, even if we didn't have Wodehouse's acknowledgement of its debt to "the Bolton genius." A phrase is reproduced almost to the letter: "This faultless crease was obtained with the aid of the mattress upon which I tossed feverishly in my attic room," and the character of Mrs. Clarkson and her reaction to Psmith's application are the same in both works. (The novel develops her further in her maternal attitude toward her former pupils.)

The composition of the house-party is another step in the direction of LItP. Whereas in the novel Nesta Ford Pett surrounded herself not only with "novelists who had not yet started and poets who were about to begin" but also "futurist painters, esoteric Buddhists, vers libre poets, interior decorators, and stage reformers," including of course her own scientific nephew, in the play Mrs. Pett has formed "a salon of high-brow literary types," that is, there is no mention of non-writers. Similarly, Lady Constance in the later novel is seen "collecting literary celebrities and dumping them down in the home for indeterminate visits." Mr. Ford suggests that Jimmy poses as an English nobleman who writes vers libre to fit in this company.

The fragment of dialogue preserved between Jimmy Mrs. Barnes and Miss Pegrim was reused in different encounters between Psmith an Miss Peavey. The first part, about the dangers of the literary profession, matches part of ch 9.5:

"I wanted so much to discuss your wonderful poetry with you. You haven't so much as mentioned your work since you came here. Have you!"
"Ah, but, you see, I am trying to keep my mind off it."
"Really? Why?"
"My medical adviser warned me that I had been concentrating a trifle too much. He offered me the choice, in fact, between a complete rest and the loony-bin."
"The what, Mr. McTodd?"
"The lunatic asylum, he meant. These medical men express themselves oddly."

While the second is found in ch. 7.3:

"There are several of your more mystic passages that I meant to ask you to explain, but particularly 'Across the pale parabola of Joy' . . ."
"You find it difficult to understand?"
"A little, I confess."
"Well, well," said Psmith indulgently, "perhaps I did put a bit of top-spin on that one."

We don't learn the name of the aristocratic English poet Jimmy is impersonating (the Canadian Ralston McTodd in LItP). We can be certain that he did not make an appearance in the play. The much-discussed line "Across the pale parabola of joy," pivotal to LItP, seems to have been equelly memorable in the play, because it will reappear in the dialogue with Cootes below.

Mrs. Peavey's case is interesting. She is probably an evolution of Miss Pegrim, based on the slight similarity of names, but we know too little about her theatrical counterpart. Her most striking character trait is the contrast between the mushy poetess and her "Smooth Lizzie" true personality, but the novel tells us that the former was not a mere façade, since she is a real poet with six published volumes to her name.

A detail in the history of the composition may suggest that at first, in Wodehouse's mind, her only crime was writing poetry. When the novel was serialized in the Saturday Evening Post, her introduction (ch. 7.3) included the sentence "When she came into the breakfast room of a country house—and most of her time was spent in paying rounds of country-house visits—brave men who had been up a bit late the night before quailed and tried to hide behind newspapers." The phrase between dashes was deleted in later versions, most likely because it contradicts the later statement (ch. 9.4) that she only started mixing in high society after her encounter with Lady Constance, and this is in fact her first country-house visit. It would appear that she started out as a much more Pegrim-like character, and only later did Wodehouse discover the advantanges of making her yet another impostor.

The early Alan Cootes, described as "nervy" by one reviewer, tries to pass himself as the same poet, and Jimmy uncovers the imposture by asking him to explain the parabola line. This is repeated in ch. 9.2 of the novel (his name being now Edward Cootes):

"You say that you are Ralston McTodd, the author of these poems?"
"Yes, I do."
"Then what," said Psmith incisively, “is a pale parabola of Joy?"
"Er—what?" said the new-comer in an enfeebled voice. There was manifest in his demeanour now a marked nervousness.

There is a difference: in the play Jimmy was probably ascertaining the crook's identity, because he would have had no way of knowing whether this was the real poet. In the novel Psmith cannot have any doubt: he has already met McTodd. So he is just having a bit of fun before sending Cootes on his way.

It will be remembered that, according to some of the reviews, in the play Jimmy "snatched" Cootes' revolver at the crucial moment. The choice of verb might indicate that the action was closer to chapter 22 of the original novel that to the trick Psmith used in LItP. But in PJ the success of Jimmy's ruse was limited, because he got hold of Gentleman Jack's pistol only to lose it again almost immediately in a scuffle. In contrast, in chapter 9.5 of the new novel Psmith in an consummate exhibition of finesse simply asks Beach to retrieve the weapon his manservant has brought for him, without violence or threats of any kind.

I have already mentioned that the coincidence of the two leading characters competing to commit the same crime is indirectly inherited from Something Fresh, added to the PJ play and continued in LItP. The last scene of the play, where Jimmy presses his suit by pointing out the coincidence of both him and Ann taking an interest in crime (kidnapping), and anticipating that they could even get their pictures in "that magazine series of 'Husbands and Wives Who Work Together'," also has an echo in ch. 13.3:

"I am your best friend's best friend and we both have a taste for stealing other people's jewellery. I cannot see how you can very well resist the conclusion that we are twin-souls."
"Don’t be silly."
"We shall get into that series of 'Husbands and Wives Who Work Together.'"

(I haven't been able to find any such series in magazines up to 1919, so it was probably an invention for the play. A mention in a 1924 play must be derived from the novel.)

Another link between the two works that requires discussion is of course the housemaid-detective, Susan Trimble. She was only "Miss Trimble" in the first Piccadilly Jim, and acquired a first name for the play. Her counterpart is Miss Simmons, also called "Susan" in her role as parlourmaid; it may or may not have been her real name. Hers is another case of incomplete development. O. D. Edwards has made a very cogent observation concerning the part she plays in LItP:

Miss Simmons, whose power is indicated by her uniqueness in relation to two dominant major protagonists. She is perhaps the only person in the Psmith saga to show a tactical superiority to Psmith's worldly wisdom (by doing what he said a housemaid, and not what a detective, would do when kissed by the Hon. Freddie), and the only person in the Blandings series to bully the Efficient Baxter on her own merits [...] Yet after shocking the reader by proving herself a match for Psmith and a ruthless deflater of Baxter, both revelations being made at the commencement of the chapter 'Almost Entirely About Flower-Pots', she never reappears. It seems probable that Wodehouse intended much more use for her but found his large cast too cumbersome; moreover, she would have naturally introduced unmanageable complexities by inevitably winning some exchanges in the multitude of intricate duels with which the work climaxes.

In contrast, Miss Trimble in PJ was instrumental in bringing the Crockers together: she had a real impact on the narrative. This uncharacteristic lack of balance in the structure of LItP, where a strong character is introduced without corresponding payback, may be better understood now if Miss Simmons is no longer a new creation designed from the start to serve a purpose in the overall structure of the narrative, but a remnant of the old play that Wodehouse deemed too good to leave out and that he couldn't quite integrate in the overall plot.

Conclusion

I hope that this long exposition of all that I was able to gather of the history and substance of the lost play, and particularly the discussion of its connections with the novels in the last section, can contribute if only a little to our ourderstanding of the creative processes behind some of the works Wodehouse produced at that early stage of his literary career. Archaeology is at its best when it is not limited to digging out bones but helps us gain a better appreciation of the living beings to whom they belonged.

When dealing with fragmentary works, one should always keep in mind that we may be missing essential parts of the whole, and that the significance of what we do have could change completely if we could only see the context where they belong. I am quite confident that the picture drawn in the fourth installment was essentially correct, and that the links with other works were more or less as outlined in the fifth; but if ever a complete script of the play comes to light I wouldn't be at all surprised if many of the deductions made here were wrong or required major adjustments. Needless to say, I'd be the first to celebrate the fact.

In this regard, one last thought occurs to me: while it is always something to regret that a work has been lost, even assuming there were good reasons for it to fail as a production, there is consolation in the knowledge that Wodehouse (who clearly appreciated the play despite its faults, and was still willing to give it a try in England after the American fiasco) decided to salvage what he thought was worth keeping, and built a new novel around it which became a lasting classic.

Monday, March 3, 2025

Piccadilly Jim, the play. 4.—Reconstruction of the plot

Previous sections:
1.—Introduction. Writing and production
2.—Reception
3.—Ruth Gordon's memoirs. Afterlife

I will now make as complete a reconstruction of the plot of Piccadilly Jim as I am able, by editing into one continuous narrative all the information that can be retrieved from reviews and notices, and intercalating the bits of actual dialogue quoted in the sources. Fortunately for us, audiences in 1919 don't seem to have shared our modern horror of "spoilers," and reviewers didn't hesitate to reveal plot twists or endings, and even reproduce the last lines of the play.

The language of the reconstruction will be that of the reviews, because even when a phrase is not marked as a quotation there is always the possibility that the critic is using expressions taken from the play. However, I won't cite the direct source of every piece of information. The reviews are naturally repetitive and overlap each other. Some are substantial but none quite so as to render the rest useless; whereas some very short news items are our only source for certain valuable details. They are mostly free from mutual contradictions, and when there is a mismatch it is possible to deduce with certainty which one is in error. An exception should be made for the longest and most interesting piece, "Typical Wodehouse Wit," published unsigned in The Washington Post for December 21, p. 5. It is not a regular review, but an overview of some key scenes with extensive quotations, without any criticism of the play, the cast or the performance. It is accompanied by this illustration, with the caption "Mr. Stuart Walker directing a rehearsal of 'Piccadilly Jim' over the shoulders of 'Comrade' P. G. Wodehouse, author of the comedy":

I believe this is some kind of promotional sample sent to newspapers by the producers, showcasing the "typical Wodehouse wit" that prospective theatergoers could count on getting if they decided to invest in a ticket. A similar article can be found, for example, in The Cincinnati Enquirer for March 6, 1927, p. 86, promoting Wodehouse's and Bolton's new play The Nightingale—which was also produced by the Shuberts. Other contemporary examples of this practice could probably be found with a little research. In any case, the Post article is one of our main sources on the plot and dialogue, especially the original parts (not derived from the novels The Little Nugget or Piccadilly Jim).

Some words of caution are in order. Above all, this reconstruction is probably not complete, and it is even possible that some fundamental points are missing. All the synopses at some point or other omit details that could be seen as pivotal, so it's perfectly reasonable to suspect that somehow they all coincided in leaving out the same part of the picture. To take an example: a moment of tension occurs in chapter 23 of the novel, when Gentleman Jack drops the tube of Partridgite, supposedly capable of blowing half of New York to bits. This is an unlikely scene to be left out of the play, both because of its dramatic possibilities and because it leads directly to the dénouement, but in fact only one of the early reviews hints at its presence in some form: "There is a dash of melodrama, consisting of a flash of revolvers, the theft of a safe combination, and the careless handling of a vial of terrible explosive to add zip."

On the other hand, although the play is explicitly based on the 1916 novel, it cannot be assumed that any gaps in this account can be just filled in with information from it. It will become obvious that Wodehouse and Bolton did not feel compelled to follow the original plot, drew freely from The Little Nugget, and added plot that is incompatible with the existing material. Therefore, in this reconstruction we will only include information that can be directly deduced from the notices of the play, trying not to be influenced by our prior knowledge of the novel. To continue the previous example: it seems clear that the scene with the explosive is present in some form, but since in the play the invention is not a failure or a fraud it is also obvious that it was not dropped in such a way as to make it go off.

Finally, we will treat the play as a unique, finished script, ignoring possible changes made to it during the tour. Ruth Gordon's account shows the authors following at least part of the production and touching up the text during rehearsals, but we have no way of knowing how deep the revisions went. As the play's deficiencies became more evident it is probable that whole scenes were dropped or added in an attempt to save it: Wodehouse has left ample testimony of his experience with "fixing" plays in this way, particularly in his and Bolton's reminiscences Bring On the Girls (1953), but also in some of the novels he wrote about this time concerning the theatrical life, like Jill the Reckless (1920) and The Adventures of Sally (1922) (=The Little Warrior and Mostly Sally in the US). Without any clear traces of major revisions, speculating about them would not be a productive exercise.

Tentative reconstruction

The prologue of the play introduces a spoiled young American, Jimmy Crocker, living in London, where he has been dubbed "Piccadilly Jim" on account of his fastidiousness about his dress and his immaculate appearance. He is also characterized by his slangy, irreverent approach to the English language. His wealthy father and stepmother, Mr. and Mrs. Bingley-Crocker, only appear here and at the end of the play: they aspire to take a place in English society but are hampered by Jimmy's escapades. It is revealed that the previous play Jimmy while in his cups had a fisticuff argument with Lord Percy Whipple, the son of a British peer on whose influence Jimmy's stepmother was counting to land a title for his father; and that morning, having been challenged to do so by a friend, he has brought back home a stolen perambulator, not having noticed that it contained a living baby. His friend, called upon the telephone, can offer no further help than to inform Jimmy that it was a house where a black cat washed its paws on the door-step. This is the last straw that decides him to return to America and stop being an impediment for his parents' social aspirations. He will make his own fortune, massing (this being his expressed intention) 10,000 of our well-known dollars within two months.

In Act I Jimmy is in New York, where he discovers to his dismay that dollars do not grow more easily than elsewhere. He explains that he's haunted Wall Street so long in his efforts to become a captain of industry that he's as well known as the statue of George Washington in front of the Subtreasury. But Jimmy's railroad presidential aspirations still remain unfulfilled and, dead broke but still garbed in raiment stylish and swinging his cane, he seeks any old sort of a job that has three meals a day attached. To this end he takes his steps to Mrs. Clarkson's employment emporium, and on the way there saves a red-headed girl (Ann Chester) from being run over by a taxi, and at once falls in love with her.

At the agency we have the humors of a peripatetic Irish cook and encounter again Ann, with no experience or resources save a Vassar college education, in search of a position as governess. His interview with Mrs. Clarkson goes like this:

Mrs. Clarkson—Just what are you looking for?
Jimmy—I'm looking for a job. You seem surprised? Isn't this a job emporium?
Mrs. Clarkson—What kind of job do you want?
Jimmy—I don't care a bit—anything lying round loose.
Mrs. Clarkson (smiling)—What is it—an election bet? Don't you think it rather a pity for you to take work from men who need it so badly and——
Jimmy—Oh, don't let that worry you. I only want a little bit of work—such a small bit it won't be noticed—a door opener or an envelope opener or a window opener—I have quite a reputation as a wine opener.
Mrs. Clarkson—You must excuse me if I remark that this application of yours strikes me as extraordinary in the least degree.
Jimmy—Why? I'm young and active and dead broke.
Mrs. Clarkson (looking at his clothes)—You're dead broke.
Jimmy—You think I don't look it. Ah but Mrs. Clarkson, if one expects to get employment one must be neatly and decently dressed. This faultless crease was obtained with the aid of the mattress upon which I tossed feverishly in my attic room.
Mrs. Clarkson—You really want me to find you work? But isn't there something you'd like to be?
Jimmy—Yes, I'd like to be one of the idle rich.
Mrs. Clarkson—You don't expect me to find you anything like that?
Jimmy—I've always felt that the ideal profession is touching the old dad for another thousand, but I'm resigned to something a trifle more arduous.

While Mrs. Clarkson absents herself to settle a quarrel in the next room, Jimmy meets Mr. J. Worsely Ford, who is looking for a man who must be "enterprising and resourceful."

Jimmy—If you will cast your eyes in this direction, you will see our handsome hero registering enterprise and resource.
Ford—You surely don't mean you are looking for a job?
Jimmy—The search for employment seems to be met on all hands with surprise.
Ford—I don't think the job I have to offer would appeal to you.
Jimmy—Any job which is attached to a reasonable prospect of three meals a day appeals to me.

Mr. Ford is ostensibly looking for a tutor for his 15-year-old son Ogden; in reality he wants somebody to kidnap him. Ogden is a precocious enfant terrible: his principal failing seems to be smoking his uncle's cigars. His parents are estranged and the boy, by direction of the court, is in the custody of an aunt [Mrs. Peter Pett] in Morristown who spoils him by overindulgence. By kidnapping him Mr. Ford hopes to circumvent the court's decree that the boy has to spend an equal amount of time with each parent.

At the same time, Ann is approached by Ogden's mother, Mrs. J. Worsely Ford, who engages her to pose as a governess, but actually to perform exactly the same service for her.

When Mr. Ford suggests that he gain entrance to the aunt's household by impersonating Lord Something-or-Other, an English nobleman who writes vers libre, Jimmy balks:

Ford—But you're a celebrity—a great free-verse celebrity.
Jimmy—Look here. I've still got a little self respect left. Don't shove me too deep in the calendar of crime.

But he finally accepts, having found out that Ann will also be there working as a governess, and lured by Mr. Ford's promise of $10,000 if he succeeds. 

The second act takes place in the Petts' home. Mr. Peter Pett has invented a marvelous high-explosive, a tube of which he keeps in the safe; he is a patient, delightfully eccentric middle-aged man anxious to be relieved of the society of the loutish boy. Mrs. Pett, a nervous lady intensely bewildered by the whole outfit, has surrounded herself with a salon of high-brow literary types [Mrs. Barnes, Miss Pegrim]. The slangy Jimmy has much difficulty in posing as an English nobleman, and as for poetry he is on the point of unmasking himself when he inadvertently explains his classification of "major league poets" and "minor league poets."

Mrs. Barnes—Come and talk to us. We're so interested in poetry——
Jimmy—Yes. But I—mustn't talk shop all the time.
Miss Pegrim—Why, you haven't so much as mentioned your work since we've been here.
Jimmy—No? Well, you see, I'm trying to keep my mind off it. Doctor warned me I've been concentrating too much. I don't want to join all those over-brainy lads in the booby-hatch.
Miss Pegrim—The—I beg your pardon.
Jimmy—I said I don't want to be committed to a lunatic asylum.
Mrs. Pett—It certainly must be taxing to write as much as you have in the last two years.
Jimmy—Oh, I dare say regular poets don't feel it. From what I've heard Scott and Byron and Mrs Hemens could swing their pens day after day without straining the old bean the least bit but——
Mrs. Barnes—Scott! You don't call Scott a poet?
Jimmy (feeling he has made a mistake)—Wasn't Scott a poet? Who am I thinking of? Who was the bird who wrote "The Lady of the Lake?"
Mrs. Pett—Bird?
Jimmy—Did I say "bird?" (nervous "ha, ha") Bard—I mean bard!
Mrs. Barnes—There are several of your more mystic passages I do want explained to me. Particularly that wonderful verse beginning "Across the pale parabola of joy——"
Jimmy—The—I beg your pardon.
Miss Pegrim—"Across the pale parabola of joy"—You know.
Jimmy (as though he could hardly believe it)—You find that line difficult to understand?
Miss Pegrim (humbly)—A—a little.
Jimmy—Well, well, perhaps I did put a bit—of a reverse English on that one.

Jimmy meets an old friend, Dave Mitchell, also employed in the household and confides in him. Dave imparts some unsettling information on the penalty the law imposes on kidnappers:

Jimmy—I'm kidnaping this boy Ogden for someone that wants him. I have to keep pinching myself whenever he's around or I'd never believe it.
Dave—Who is the poor nut?
Jimmy—The author of his being.
Dave—Author?
Jimmy—Well, one of the collaborators.
Dave—But say—do you know what the penalty is for kidnaping?
Jimmy—Will you please stop making the echoes reverberate with that word? I don't like the sound of it even when it's whispered. Call it something else—say "kissing" and I'll know what you mean. Now, what was it you just asked me?
Dave—I said do you know what you'd get if you were caught trying to kid—trying to kiss this young, fat Ogden?
Jimmy (puzzled for a moment)—Trying to kiss? Oh yes—yes of course. Tell me, what would they do to me if I were to try to kiss the dear little fellow?
Dave—They could give you 20 years.
Jimmy—No court would give me 20 years for depriving someone of the society of Oggie.
Dave—Well here's a law book—look what it says.
Jimmy (scanning book)—Judge, bribery of, juries, ex-criminals forbidden to sit on—K—Keeping unlicensed saloons, Here we are, Kid—that is to say—"kissing." (reads) From earliest times k-kissing has been regarded as one of the most serious crimes. And the kisser has always received the severest punishment. In ancient Rome, the common practice was to cut off the ears of any individual convicted of kissing——" I am glad we are not living in ancient Rome. "The earlier European lawmakers thought death none too excessive a penalty for kissing——" Say, I don't like this book . . . 

[One review informs us that "from now on the plot grows steadily more complicated until simple narrative can do no further justice to it," while another says that "the plot has many unexpected twists, with a real thriller in the last act." It is not clear at which point of this reconstruction the third and last act begins.]

Jimmy finds the object of his expedition falling right into his hands. Ogden makes him a proposition:

Ogden (looking at him appraisingly)—So you're a real live kidnaper! Well, all I can say is the fillum flatters 'em.
Jimmy—Ogden, I fancy you have been having one of your vivid dyspeptic nightmares.
Ogden—Less of it—less of it. I could repeat the spiel you an' Dave had, word for word.
Jimmy—Do you know where little boys go who listen to private conversations?
Ogden—Sure—to the witness stand.
Jimmy—Surely no gentleman——
Ogden—Aw, forgit it! Who says I'm a gentleman? This gentleman gag is something people always pull whenever they're trying to play you for a boob. Now you listen here. They've stopped my allowance, shut down on candy and the movies and engaged a governess to teach me arithmetic. That ain't exactly my idea of a large existence—so if you want to kidnap me, I'm ready to shake hands on it. I know there's money in this kidnapping business, and I reckon I'm one of the best propositions in that line that's lying around loose. How about it—Will we go fifty-fifty on the deal?
Jimmy—You mean you want half of what I get for kidnap—I mean kissing you? You certainly are a fascinating child.
Ogden—Less of it. Do we divvy, or don't we? Talk figures. I'll give you one hour to think it over. I must try and map out some way you can guarantee me the money.
Jimmy—You know, Ogden, I hate to think what's going to happen to Rockefeller and Morgan when you go down to work in Wall street.

A lady detective (Susan Trimble) is stationed in the house, disguised as a housemaid; her job is to watch over Mr. Pett's explosive. She suspects everybody except the real crook (Alan Cootes) who enters the house after Jimmy, also pretending to be the noble English poet, but seeking to steal the invention. Jimmy spots him for an impostor by asking him to explain the same line about the "pale parabola of joy." Cootes, for his part, believes him to be after the secret formula too and hence regards him as a rival. Jimmy manages to thwart the other by snatching a spotlight revolver from him and making use of it at the crucial moment. Somehow Cootes steals at some point the combination of the safe that keeps the explosive, and the tube is dangerously handled on the scene. Jimmy's courage and resourcefulness win the day, the crook is exposed and the explosive is safe.

The play ends with Mr. and Mrs. Ford reunited in mutual terror over the possible loss of Ogden; Jimmy gets his $10,000 check. Mr. Pett, in addition to the relief concerning his explosive, is delighted that the reconciliation will remove from under his roof the petted lad whose "will is strong, but whose stomach is weak." His gratefulness is strong enough to make him take Jimmy into his partnership, and give him a half share in the invention.

The last scene, naturally, is devoted to the union of Jimmy and Ann:

Jimmy—Dozens of men have asked you to marry them, of course. But the great thing, Ann, is to be sure—quite sure that it's the right man. Perfect companionship—all that sort of thing. It's best if your husband's business is one that you thoroughly understand and take an interest in—like—well—kidnapping for instance. Why, think, if you were to marry me, we might even get our pictures in that magazine series of "Husbands and Wives Who Work Together." I am—conservatively speaking—a corker. Don't you think you better grab me before all the village lassies begin to flock around?
Ann—I'll think about it. By the way, what did you say your name was?
Jimmy—James Crocker, "Piccadilly Jim." I'm he.
Ann—Mrs. Piccadilly Jim—I'm she.

[According to another source: "reciting his aliases, he pauses lovingly at 'Piccadilly Jim,' giving just the right touch of atmosphere to her 'And I—I am Mrs. Piccadilly Jim.']

* * *

Having exhausted all the available information on the play, the fifth and last part of this study will be a discussion of the relationship between the play on one hand and The Little Nugget, Piccadilly Jim and Leave It to Psmith on the other.

Next sections:
5.—The play and the novels. Conclusion

Sunday, March 2, 2025

Piccadilly Jim, the play. 3.—Ruth Gordon's memoirs. Afterlife

Previous sections:
1.—Introduction. Writing and production
2.—Reception

Ruth Gordon's memoirs

The next documents of importance to trace the history of the production are Ruth Gordon's memoirs and autobiographical books, especially My Side: The Autobiography of Ruth Gordon (1976). Ruth Gordon (1896-1985) had a long career in Broadway and Hollywood, crowned with an Academy award (Rosemary's Baby 1969) and two Golden Globe awards (Inside Daisy Clover 1965, and Rosemary's Baby), all as Best Supporting Actress.

In 1918 she and Gregory Kelly had played Lola Pratt and Willie Baxter in the theatrical adaptation of Booth Tarkington's Seventeen. During that time they became a couple and eventually got married in 1921. The huge success of that play, fueled mostly by Kelly's performance, was expected to boost the chances of Piccadilly Jim: practically every notice of PJ makes sure to remind the reader of the connection between the two plays and Kelly's evolution from Willie to Jimmy. Seventeen continued on tour when PJ was launched, with Tommy Kelly replacing his brother Gregory in the lead.


Gregory Kelly and Ruth Gordon, apart from being co-leads
in Piccadilly Jim, were also a couple in real life.
Photos from The Delmarvia Star, November 30, p. 15.

Her opinion of the tour's schedule reveals misgivings that are naturally not reflected in the local notices:

In Minneapolis, we left Seventeen. The company continued to the Coast; Tommy Kelly played Willie Baxter. We were off to New York, to the Algonquin, to rehearsals for Piccadilly Jim.
"We play Christmas week in Wilkes-Barre," said Stuart.
Gregory looked startled. '"Wilkes-Barre's a one-nighter!"
Stuart looked bleak. "That's what the booking office has given us."
"What about trying the Klaw and Erlanger office?" I asked.
"I'm with the Shuberts."
"What do they offer after that?" asked Gregory.
"They'll give us their new Washington house for New Year's week."
"Not the Belasco?"
"Their new."
"The Shuberts built a Washington theatre?"
Stuart looked pained at being pressed. "It's one they're taking over."
"The National?"
"The Garrick."
"That old burlesque dump?"
He became the well-bred Kentuckian. "I have no idea."

Several of the reviews highlight Mr. Pett's role, played in Indianapolis by Aldrich Bowker. As Bowker did not go on tour, his replacement proved complicated:

Some shows have luck, some have trouble. Piccadilly Jim had trouble. The next best part to Gregory's was the rich old man. Stuart engaged James Bradbury; salary, four hundred a week.
"Hey, that's a lot!" said Gregory.
"You'll need his support, Greg; the play's on the weak side."
"I only got two-fifty for Willie Baxter."
"That's Bradbury's salary and we need him."
First rehearsal. James Bradbury brought a lot of color. Everybody felt it. A good choice for the rich man. When we stopped for lunch, Gregory and I and Stuart walked over to Childs; food delicious, also quick.
"Anything but the vegetable soup," I said. "I had it every night when I was job-hunting."
When we got back to the theatre, outside the stage door was the stage manager. "Mr. Bradbury handed in his part." He held out the blue-covered pages and a Lambs Club envelope.
Thanks, but I don't believe I would be worth the money.
James Bradbury
Stuart was furious. It's tough when someone important walks out. "Marie."
Fat Marie came.
"Where's our second list?"
"In Indianapolis. You told me we were set."
"Well, go to Indianapolis and get it. At your own expense." Stuart was on the boil.
"What about William Sampson?" How did Gregory think so fast? Had he hoped Mr. Sampson would play it?
"He's nothing like Bradbury."
"But good."
"Get William Sampson," Stuart said to Marie, and left us.

Sampson was the right choice. Here we see the first appearance of Guy Bolton being involved in the production:

Trouble. Everybody sensed it. Everybody felt insecure. Everybody scowled. Mr. Sampson walked on stage and everyone relaxed.
Small, thin, every gray hair in place, perfectly cut blue suit, white shirt, elegant dark tie, he impressed by his total perfection.
"Mr. Sampson will join us," Stuart announced. "We will go through the first act. Does that please you, Mr. Sampson?"
"Sure."
He didn't sound like an actor. He sounded like people.
The stage manager explained which kitchen chairs were the doors, which the windows, which the desk.
"Ready?" asked Stuart.
There was a stir, stage right.
"Oh, Mr. Bolton." Stuart went over to him.
Why hadn't he come to Indianapolis?
Mr. Sampson, pince-nez on, looked over his part.
"You were wonderful in Be Calm, Camilla," I said.
"Good part. This one isn't."
Gregory saw trouble. "It plays better than it reads. We did it in Indianapolis this summer."
"Who played it?"
"Aldrich Bowker."
Mr. Sampson thought about that. "He must be good."
"Gregory says people are good if they have a good part."
"Everybody doesn't know that."
Stuart walked center stage. "This is Mr. Guy Bolton."
"Don't let me disturb you. Please go on."
Can a voice sound luxurious? Guy Bolton's sounded like Monte Carlo, Palm Beach, the Ritz. Why go to Indianapolis in the summer just to see your play? In summer it's Newport, Deauville, Saratoga, Southampton, depending what month you're discussing.
Mr. Sampson read from his part.
"I'll wager—'"
"Hold it, Greg." Stuart motioned to the stage manager. "Give Mr. Sampson the new lines Mr. Bolton wrote."
"Yes, sir."
Mr. Sampson took a pencil out of his vest pocket. "What's the line?"
The stage manager politely held out the script.
Mr. Sampson adjusted his pince-nez and read, "Well, that's about as welcome as an ice cream freezer would be to an Eskimo in—' Oh, I can't say that stuff."
There was a moment.
Did Stuart dread another Lambs Club letter? "Let's omit that," he said. "Greg, give Mr. Sampson his cue again."
No more Lambs Club letters.

Gordon's memory is not perfect when it comes to the places and dates of the tour: she puts the Wilkes-Barre performances toward the end of December instead of the beginning. However, we can rely on her impression of the general atmosphere. later on she gives us the only glimpse of Wodehouse in the whole story, not very uplifting:

We checked in Saturday, nothing to do till dress rehearsal Sunday. See the play that was closing here? It was a war play starring William Harcourt. We watched it from stage box right. Stage box left, Bolton and Wodehouse watched. The first scene over, stage box left was empty.
"Harcourt'll expect me to come round; I knew him when I was with Mr. Belasco." A reference to Belasco made Stuart feel even more above us.
"Good God, I pity you!" Big, ruddy, white-haired Harcourt shook his head. "This is a dog town—why are you here a week?"
Stuart and Gregory and I walked back to the hotel through cold black streets, not much to say.
"Life on the stage is hard," people say. We didn't say that, but we could have. Very appropriate to anyone playing Christmas in Wilkes-Barre.
In the lobby sat Bolton and Wodehouse, staring.
"Shall we have something?" said Stuart.
Bolton looked at Wodehouse, who looked as if he might burst into tears.
Stuart dealt with the situation. "We'll feel better once we get to work. The crew starts setting up at eight, at ten a line rehearsal in the ballroom."
Wodehouse looked astonished. "This hotel has a ballroom?"
"Ah, yes; all hotels have ballrooms, don't they, Greg?"
"I'm afraid so."
Stuart pointed to what had been the bar. "Let's go in."
A listless waiter was leaning on a small table.
Can you fool yourself? I can. "Mr. Wodehouse, a hot lemonade gives you quite a kick."
"It does?" He was more astonished.
"Want to try?"
"By all means."
Too bad. It didn't succeed. Nor did the play. Bolton and Wodehouse left for New York. "We'll come to Washington," said the note.

Knowing that Piccadilly Jim wasn't going anywhere, Kelly and Gordon started hunting around for alternatives, even though the beginning of a season was not the right time to jump ship. But William Sampson put them in contact with George Tyler, whose company was rehearsing Tarkington's next success Clarence, and naturally welcomed the chance to get the Seventeen leads in it. Gordon conveys Tyler's bluntness on the phone in this way:

"Look here, Kelly, I'll play ball with you. Sunday you and your wife get the morning train out of Atlantic City, I'll call rehearsal for one o'clock. Sunday night, take the sleeper to Washington, open that rattrap Monday, take the sleeper back to New York and I'll call Tuesday's rehearsal at nine-thirty, then you and your wife take the two-thirty that gets you to Union Station at seven. Have dinner on the train, play your lousy show and the two performances Wednesday, and take the sleeper, I'll call Thursday rehearsal at nine-thirty, take the afternoon train to Washington, after the show get on the sleeper, take the afternoon train back for Friday's show, play your lousy two on Saturday, close, take the sleeper, rehearse Sunday morning and next week leave for Chicago. I'll give you five hundred a week, first billing; your wife one-fifty. Talk it over with her and call me, Bryant 1113. Remember I'm counting on your goddam show closing! Don't let me down, Kelly! Goodbye."

The end came as foreshadowed, with relationships strained and everybody just waiting to be out of it all and with their mind in the future rather than the play they were performing:

Five nights on the sleeper, three dinners in the diner, four suppers at the Union Station lunch counter, five Clarence rehearsals at the ideal Hudson Theatre, six nights of Piccadilly Jim at the awful Shubert Garrick, the company feeling blue. Stuart didn't speak to us, I paid a hundred dollars for the sapphire blue velvet evening gown, and the final curtain fell.
"Last act," called the stage manager, and it was.
Some talk that Stuart would reopen with "somebody more suited; Greg is out of his depth."
Nobody believed it. Everybody wrote letters and called up Packard's Agency and Chamberlain Brown, read Variety to see who was casting what.

Afterlife

The production as such died here, but still had a sordid afterlife of litigation over the money invested and lost.

We first read in Variety, January 9, 1920 p. 15 about "a three-cornered fight on between the Shuberts, A. H. Woods and Stuart Walker" concerning Kelly's casting, which could account for the Shuberts' lack of support for the play toward the end: "Woods and the Shuberts had the piece and leased it to Walker. They did not, however, agree with Walker that Gregory Kelly should play the principal role. When Walker persisted the bookings for the future failed to materialize and the play was forced to close." In the January 31 issue, p. 14 "Stuart Walker denies the prevalent rumors there has been between him, A. H. Woods and the Shuberts, a three-cornered fight over 'Piccadilly Jim.' Mr. Walker says he brought the show back to New York to make certain changes he felt were necessary." This proved to be a false hope.

One and a half year later we learn from Variety, June 24, 1921 that Kelly had filed a suit against Walker:

The feud between Gregory Kelly and Stuart Walker, who have been engaged in a stock war here all summer and who are understood to have been at outs for the last year or so, reached the courts last Friday, when Kelly filed suit for $1,000 against Walker.
Kelly claims that Walker owes him the money for a one-fourth interest in "Piccadilly Jim," which they produced together during the 1919 season. The complaint, which was filed in Superior Court, alleges that Kelly gave Walker a check for $1,000 for a one-fourth interest in the show on Dec. 5, 1919, and that subsequently Walker bought it back but never paid for it.

But next year Kelly had to dismiss the suit, according to The Billboard for June 24, 1922 p. 24: in a cross-complaint Walker argued that "the play was not a success, and the company lost money. He said Kelly's share in the cost of preparation of the play was $1,122.85, and that his share in the loss on the production was $2,625.36. After subtracting $1,000 on the sale of the interest, Kelly still owed $1,625.36."

Wodehouse and Bolton were not involved in this, but Wodehouse still had losses connected with the play. In a letter to W. Townend on February 28, 1920 (Ratcliffe pp. 125-126) he wrote:

I am doing quite a lot now with the [motion] picture people. Not original stuff, but selling them my novels. There's a lot of money in it. I got $8000 for Piccadilly Jim, – only to have to disgorge 6000 of it to Comstock, who claimed that it belonged to him because he had commissioned a play on the novel.

Comstock, it will be remembered from the opening post of this series, was Elliot, Comstock & Gest, who first announced PJ in mid-1917. Although we do not know the exact terms of the contract, it may be assumed that he had more solid grounds for his claim than Wodehouse's wording suggests, or else he might not have "disgorged" such a large sum without a fight.

The (lost) 1919 movie Piccadilly Jim featuring Owen Moore to which the letter refers is beyond the scope of this research, but we should note that it was not based on the script of the new play but directly on the book. B. Taves in P. G. Wodehouse and Hollywood (2006) p. 143, based on contemporary plot synopses, has concluded that it remained faithful to the novel.

The last we hear about PJ in terms of production is a failed attempt on Wodehouse's part to interest actor-manager Robert Courtneidge in putting on a London production. He wrote to his daughter Leonora on 15 June, 1921 (Donaldson pp. 21-22):

Courtneidge wants to put on the Archie play—to my acute disgust as I think it's rotten. I am trying to double-cross the gang and get him to put on Piccadilly Jim instead.

This failure may have been what prompted Wodehouse to give up on the play and salvage what he could of the new material for his next novel. Note that when he wrote to Leonora on December 21 of the same year he specifically mentioned PJ as a source of inspiration for Leave It to Psmith (Donaldson p. 23):

I have been spending the last two days in a rush of ideas for a new novel. It will be on the lines of Something New and Piccadilly Jim, and it is coming out amazingly.

This relationship will be the subject of the last installment of this series. Before that, it is necessary to reconstruct the plot of the play, as far the quotations and references found in reviews allow us.

Next sections:
4.—Reconstruction of the plot
5.—The play and the novels. Conclusion

Saturday, March 1, 2025

Piccadilly Jim, the play. 2.—Reception

Previous sections:
1.—Introduction. Writing and production

Reception

The reviews of Piccadilly Jim were mostly positive at first, but toward the end of December there is a clear decline, which can be illustrated by a few extracts in chronological order:

"Piccadilly Jim," a character that won the admiration of all who read the story when it appeared in the Saturday Evening Post, was presented on the stage last night at the Grand Opera House for the first time. "Jim" proved as popular a stage hero as he did in the book, and judging from the manner in which the play was received "Piccadilly" is destined to enjoy a long and successful career. The play is a mixture of fun and thrills and is most enjoyable. It is packed with laughs and last night's audience seemed to enjoy it to the fullest extent. Although last night's performance was the first on any stage, the production moved with such smoothness that it was impossible to tell it was a premiere. [...]
It has all the earmarks of a real winner, and will undoubtedly capture Broadway when it finally lands there for a run. The company is far above the average seen this season.

Wilkes-Barre Times Leader, December 2, p. 19

(Note that this review ignores the Indianapolis summer season.)

* * *

As Piccadilly Jim, Mr. Kelly exceeds all speed limits for laughs for the authors have broken their own records in the matter of comic ingenuity. And Mr. Walker has gathered a brilliant company to portray the unusual character tangled in their web of blythe humor. Ruth Gordon plays the demure Anne Chester. Burford Hampden as the complacent prize of the kidnappers, Willian Sampson as the patient inventor, Catherine Proctor as the lady detective, Elizabeth Patterson as the cultured Mrs. Pett, Fred Tiden as the nervy burglar, Frank Connor, Grace Hayle, Beulah Bondy, Clare Weldon, Agnes Gildea, Graham Volsey, Dora Matthews, Edgar Stehli, and Ruth Copley make up the imposing cast.

The Meriden Daily Journal, December 13, p. 7

* * *

"Piccadilly Jim," a comedy made in part from a short story by P. G. Wodehouse by that worthy and industrious young man, himself and his favorite accomplice, Guy Bolton, was seen at Parsons's Theater last evening and proved to be a pleasing bit of amusement without at all ruining Mr. William Shakespeare's claim to immortality as a dramatist. Messrs. Bolton and Wodehouse are as considerate as they are prosperous; they are content to have their hands in most of the books of musical plays of the present age and to dash off a comedy here and there; they are willing to achieve fortune and such little things but they simply will not shove good old William Aforesaid Shakespeare off the map. It wouldn't be cricket don't you know, to treat a dear dead Johnny so.
But though not obtaining greatness in the composition and construction of "Piccadilly Jim" the authors have given people who go to see their work excellent reasons for frequent smiles and not a few good laughs; and they have given some clever players some neat opportunities. There was no riotous applause from the audience last evening but there certainly was appreciation for the wit of many of the lines and the brightness of some of the situations. [...]
The story is thin but the telling is bright and the acting of those principally concerned is excellent.

Hartford Courant, December 19, p. 10

* * *

"Piccadilly Jim," the comedy by Guy Bolton and P. G. Wodehouse, presented at the Shubert-Garrick this week, is enjoyable. The fair-sized audience last night felt that way about it, and so expressed itself. Gregory Kelly brings a unique personality to the title role, his remarkable manipulation of the one syllable "Yes" in a long scene with Miss Ruth Gordon and the comedy brought out by his enunciation of that word being a characteristic example of the actor's understanding of humor-provoking diction.

The Washington Evening Star, December 23, p. 25

* * *

"PICCADILLY JIM" may not be another "Seventeen" for Gregory Kelly; but "Piccadilly Jim" is, notwithstanding, a thoroughly entertaining comedy. There's a plenty of laughable-at dialogue, there's a bit of melodrama that thrills, there's a sweet little love story, and there are liberal sprinklings of pure farce that draw continuous chuckles.
No, it's not a record-breaking masterpiece, but it's a mighty delightful way of passing a couple of hours or so—this "Piccadilly Jim" of P. G. Wodehouse and Guy Bolton. [...]
It's all very amusing. And fairly well cast, although one gets the impression that the thing is too new to let the actors get the full value of their parts. But in a short time this will have worn off, and the comedy will be even better than it was last night, when it made a goodly house chuckle continually and roar occasionally.

The Washington Times, December 23, p. 10

* * *

Almost a new category of drama is needed in which to classify "Piccadilly Jim." Its origins are more obvious: popular magazine fiction plus the earlier influence of Mr. George M. Cohan were its inspiration. And it is amusing in effect, albeit this effect is of a somewhat obvious kind. It is neither as deep as a well, nor, fortunately, as broad as a barn-door. In fact, on the latter score, it is without a single word of offense. That alone stamps it as a novelty among present-day farce-comedies. But it is also a bit of a comedy of manners and contains, likewise, more than a hint of that five-year old antique the crook-play with its turns and tricks. Added to all this are aphoristic lines enough to furnish forth a winter's tale to be told around the corner grocery stove. In short, it is an amusing example of opportunism in dramatic technique, the story constantly taking such new tones and directions as the wit of the authors could devise to keep it going. And it does go—as far, apparently, as it was meant to. [...]
In two or three instances certain rôles have been miscast. Odgen, for example, is a precocious child, but the illusion is not heightened by having this part played by an actor with a blue chin and maturity of facial expressions. Time will probably correct many of these details, among which crudity of make-up, in more than one case, unquestionably needs attention. Even with these blemishes, however, the laughter of the first-night audience gave sure indication that "Piccadilly Jim" will be a popular success.

The Christian Science Monitor, December 23, p. 16

* * *

At the Garrick, Gregory Kelly is holding forth in P. G. Wodehouse's "Piccadilly Jim"—a play that offers fair enough entertainment, but one which rather disappointed the critics, who expected a vast deal of fine stuff from the combination of Wodehouse and Guy Bolton.

Earle Dorsey for the Washington Herald, December 25, p. 5

* * *

Stuart Walker's "Piccadilly Jim" at the Shubert-Garrick received rather good notices and was a mighty clever little comedy, with a last act that turned into an old time thriller. The cast was excellent and after the piece is brightened just a little, it being played in a quiet key throughout that rather tired, it ought to be a fair contender for successful honors in New York.

Hardie Meakin for Variety, January 2, 1920, p. 71

* * *

This last prophecy was not fulfilled. By the time the last notice was published Walker had already decided to cancel the play. The last performance had been on December 27 in Washington.

In the next post, Ruth Gordon's reminiscences will give an idea of what the general atmosphere within the company was really like during the rehearsals and tour.

Next sections:
3.—Ruth Gordon's memoirs. Afterlife
4.—Reconstruction of the plot
5.—The play and the novels. Conclusion

Friday, February 28, 2025

Piccadilly Jim, the play. 1.—Introduction. Writing and production

Introduction

At some point between 1917 and 1919 Wodehouse and Bolton collaborated on a theatrical adaptation of Piccadilly Jim for American audiences. This novel had been serialized in the Saturday Evening Post between September and November 1916 and published in the U.S. in February 1917. The play was produced in the second half of 1919 by Stuart Walker, starring Gregory Kelly as Jimmy Crocker. It was not a success: after a summer season in Indianapolis it went on tour visiting several cities across the United States but never made it to Broadway.

So far it has not been possible to trace a copy of the script. Wodehouse and Bolton seldom referred to it, and current scholarship (with one exception) has largely ignored it.

Here I will attempt to collect and organize all the information about the play, its production history, plot and dialogue as can be gleaned from news items, reviews, advertisements, some of the actors' (auto)biographical material, and other miscellaneous sources.

Since I will be quoting much of this material in full, it is best to split this study into several posts, each dealing with a separate aspect. This first installment will be an account of the production, with what little is known of the conception and writing process, production company involved, cast and performance dates. The second will be concerned with its reception as reflected in contemporary reviews and eventual cancellation. Then a few extracts from the leading actress' memoirs will hopefully shed some light on what some of the participants thought of the whole enterprise. An overview of the afterlife of the play will make up the next part. The last two posts will refer to the play itself: first I will present a tentative reconstruction of the plot, with such scraps of dialogue as are quoted in the sources; and finally I will compare the reconstructed plot not only with the original Piccadilly Jim but with two other novels: The Little Nugget (1913) and Leave It to Psmith (1923).

It is this comparison that points to the most surprising conclusions, which can be anticipated here since they justify the effort put into this reconstruction. Indeed, the play combines elements from the two earlier novels centered more or less in Ogden Ford, which is not unexpected. But it is also possible to detect a number of original points not found in either that were later picked up in the 1923 Blandings Castle story, such as the characters of Mrs. Clarkson and Cootes, the episode of the crook's revolver, the impersonation of a vers libre poet and above all the iconic line "Across the pale parabola of joy." The latter part of the last section will be devoted to an analysis of the composition of Leave It to Psmith in the light of these findings, and the interpretation of some oddities in its plot, namely the roles of Eileen Peavey and Miss Simmons (Susan).

I am grateful to Neil Midkiff and Ananth Kaitharam for their support, both in the form of encouragement and feedback and providing material I could not have accessed without their assistance, and without which this article would have been finished in half could not have been written.

First news of the play

The exception mentioned above is Tony Ring, Second Row, Grand Circle (2012), pp. 351-2. Ring collected several of the items that will be discussed here and in fact I am indebted to him for some I would probably have neglected otherwise, but I won't summarize his findings at this point since I prefer to expound them in chronological order, filling in the gaps in the history of the production.

The first notice that there was any idea of writing an adaptation of PJ comes as early as mid-1917. A note in the New York Times for June 21, 1917, p. 11, titled "Managers Brave the War.—Elliot, Comstock & Gest Are to Produce Seven New Plays" informs us that a prospectus issued by this theatrical firm had announced this ambitious programme:

a musical version of David Belasco's drama, "Sweet Kitty Bellairs," made by P. G. Wodehouse, Guy Bolton, and Rudolf Friml. It will be called "Kitty Darlin'," and Alice Neilson will be the prima donna. The piece will reach Broadway about Oct. 1. Another is a musical comedy version of George Ade's comedy, "The College Widow," by Mr. Wodehouse and Mr. Bolton, with music by Jerome Kern. It will be produced at the Longacre Aug. 6 with a cast that will include Oscar Shaw, Robert Pitkin, George Graham, Dan Collyer, Carl Randall, Georgia O'Ramey, and Anna Orr. About Labour Day "Chu Chin Chow," the Oriental fantaisie current at His Majesty's, London, will be presented at the Manhattan Opera House.
Other plays scheduled for production are a Russian drama, entitled "The People's King," two plays by George V. Hobart, one a sequel to "Experience," the other, "What Twenty Years Will Do," and a dramatization by Mr. Wodehouse and Mr. Bolton of the former's story, "Piccadilly Jim," "The Wanderer," four "Oh, Boy!" companies, two "Experience," and two "Very Good Eddie" companies will be sent on tour.

As can be seen, Wodehouse and Bolton have a strong presence in their plans. The choice of Piccadilly Jim is hardly surprising, being at that point Wodehouse's latest success.

These paragraphs, however, do not imply that any writing had already taken place, but only that some kind of contract or at least a verbal arrangement had been made to write the play. In Theatre Magazine (September 1917, p. 122) the production was announced for "The New Season 1917-1918," but since it didn't come to fruition until 1919 there may not have been a script by then either. The same magazine in its December 1917 issue, p. 368 had an article on the W&B duo "A Team of Playwrights Extraordinary" with the following passage that still promised PJ for that season:

The activities of the remarkable pair of male Cinderellas are represented during the season of 1917-1918 with "Miss 1917," "The Riviera Girl," "Kitty Darlin'," in which we shall see Alice Nielsen's return from grand opera to comic, "The Girl from Ciro's," "Piccadilly Jim," a dramatization of Mr. Wodehouse's novel of that title, a play, still unnamed, for the Dolly Sisters, "Leave It to Jane," "The Living Safe," an adaptation of the French play "Madame and Her Godson," and a new play for the Princess that will be ready for the little playhouse when "Oh, Boy," its million-dollar tenant, has folded its glittering tent and Arab-like, stolen away.

A little earlier, in the November issue of Vanity Fair (p. 47), Wodehouse had published an article "Dishing Up Fiction in Play Form.—A Crime That Should be Prevented by Law," decrying the habit of turning every new novel into a play, and asking the Legislature to take a hand in the matter, but making an exception of PJ:

That is what the American Drama needs, to give it a new lease of life. I would make a few exceptions, of course. I would permit, for instance, such dramatizations as that of "Piccadilly Jim"—not only because it is impossible for such a story to have too wide a vogue, but principally because the author, a thoroughly worthy fellow, happens to be furnishing a new apartment at a moment when there is an insistent demand on the part of his family for a new car.

Once again, it is impossible to conclude from this tongue-in-cheek reference that any progress had been made on the script, but it does show that the adaptation was present in his mind.

Production and early performances

There is a long gap between the end of 1917 and mid-1919 during which we find absolutely no mention of the play in the press or any other source. Then suddenly, in August of that year, it is announced (e.g. in Variety, August 8, p. 58) at the Murat theater in Indianapolis, where the Stuart Walker Co. had established itself for the summer season. It ran for a week, starting on August 25, before the company went on the road.

The cast during the Indianapolis performances was:

Gregory Kelly: Jimmy Crocker
Ruth Gordon: Ann Chester
Edgar Stehli: Mr. Bingley-Crocker
Beulah Bondy: Mrs. Bingley-Crocker
Aldrich Bowker: Peter Pett (inventor uncle)
Elizabeth Patterson: Mrs. Peter Pett
George Somnes: Alan Cootes
Florence Murphy: Futuristic art fan
Robert McGroarty: ?, prologue
Lael Davis: ?
James P. Webber: ?
Ben Lyon: ?
Helen Robbins: ?
Agnes Horton: ?
Orlo Hallsey: ?

Most of this cast didn't go on tour; I have underlined the names common to this and the next list, which can be regarded as the main roles with the exception of A. Bowker (whose replacement will be discussed later on in R. Gordon's memoirs). Unfortunately the notices don't specify what role some of these actors played. V. B. Fowler wrote about these performances in Variety, September 5, p. 37:

The Bolton-Wodehouse humor is more than sparkling—most of it is brilliant. Delicious new slang will give the show some invaluable advertising when it is staged in earnest.
The plot runs smoothly. The play is without technical faults. The characters range from the quaintly serious to the flippantly ridiculous. There is a dash of melodrama [...]
The cast showed fears for the piece on the opening night, which were entirely unjustified. They strengthened during the week so that equal praise should be bestowed on [list of actors].

The tour took place during the whole of December and was to land on Broadway for New Year. From notices and adverts, its itinerary can be reconstructed thus:

- Wilkes-Barre (PA), Dec 1 to 3, Grand Opera House
- Wilmington (DE), Dec 4 to 6*, Playhouse
- Atlantic City (NJ), Dec 8 to 13, Globe
- New Haven (CT), Dec 15 to 17, Shubert
- Hartford (CT), Dec 19 to 21, Parsons’
- Washington (DC), Dec 22 to 27, Shubert-Garrick
* Including a benefit matinée performance on December 5 for the Actors’ Fund of America. See Delmarvia Star, November 30, p. 15.


Ad in the Delmarvia Star, November 30, 1919, p. 14
announcing the Wilmington performances.


Ad in the Washington Times, December 21, 1919, p. 23.

The cast during the tour, or at least for the last week in Washington, was:

Gregory Kelly: Jimmy Crocker
Ruth Gordon: Ann Chester
Edgar Stehli: Mr. Bingley-Crocker
Beulah Bondy: Mrs. Bingley-Crocker
William Sampson: Peter Pett
Elizabeth Patterson: Mrs. Peter Pett
Burford Hampden: Ogden Ford
James Kearney: Bayliss
Clare Weldon: Mrs. Clarkson
Frank Conno: J. Worsely Ford
Grace Hayle: Mrs. J. Worsely Ford
Graham Velsey: Dave Mitchell
Ruth Copley: Mrs. Barnes
Dora Matthews: Miss Pegrim
Catherine Proctor: Susan Trimble
Fred Tiden: Alan Cootes
Agnes Gildea: Katie

Such are the more or less hard facts I have been able to collect concerning the production. The next post, then, will be devoted to the reception of the play during this tour and its demise.

Next sections:
2.—Reception
3.—Ruth Gordon's memoirs. Afterlife
4.—Reconstruction of the plot
5.—The play and the novels. Conclusion