The Truth About Blayds

Last updated

The all-important will: Royce (left), with Marion, Isobel and William, 1921 London production Truth-About-Blayds-2.png
The all-important will: Royce (left), with Marion, Isobel and William, 1921 London production

The Truth About Blayds is a three-act comedy by A. A. Milne, first performed in London in December 1921. It depicts the turmoil into which the family of a revered poet, Oliver Blayds, is plunged when it emerges immediately after his death that the poetry for which he is famous was in fact written by a friend who died young, leaving numerous poems which Blayds passed off over the years as his own work.

Contents

After the West End run the play was seen on Broadway and in Australia.

Background and premiere

In the early 1920s A. A. Milne, best known so far for his humorous articles and verses in Punch , was establishing a reputation as a playwright. His Mr Pim Passes By (1919) ran well in the West End and on Broadway. [1] The title role in that play was played by the actor-manager Dion Boucicault, and Milne wrote The Truth About Blayds in 1921 with Boucicault and his wife, Irene Vanbrugh, in mind. They accepted it and the play was put into rehearsal, opening on 20 December 1921 at the Globe Theatre, and running for 121 performances, until 5 April 1922. [2] A Broadway production ran at the Booth Theatre for 108 performances, from 14 March 1922. [3]

Original casts

Blayds and Isobel, Act 1, 1921 London production Truth-About-Blayds-1.png
Blayds and Isobel, Act 1, 1921 London production
LondonNew York
Oliver Blayds Norman McKinnel O. P. Heggie
Isobel (his younger daughter) Irene Vanbrugh Alexandra Carlisle
Marion Blayds-Conway (his elder daughter) Irene Rooke Vane Featherston
William Blayds-Conway (his son-in-law and secretary) Dion Boucicault Ferdinand Gottschalk
Oliver Blayds-Conway (his grandson) Jack Hobbs Leslie Howard
Septima Blayds-Conway (his granddaughter) Faith Celli Frieda Inescort
A. L. Royce Ion Swinley Gilbert Emery
ParsonsEthel WellesleyMary Gayley

Plot

At his house in Portman Square, London, the famous poet Oliver Blayds is celebrating his 90th birthday. The literary critic A. L. Royce has come to present an address on behalf of his fellow writers to Blayds, who is regarded as "a very great poet, a very great philosopher and a very great man … simple as Wordsworth, sensuous as Tennyson, passionate as Swinburne". [4] Royce has lingering feelings for Isobel Blayds, whom he met 18 years earlier when they were both about 20. She declined his offer of marriage then because she felt she must look after her father. The poet's grandchildren are cheerfully indifferent to his literary reputation, and treat him with affectionate irreverence, to Royce's disapproval. [5]

The family gathers, and after his health is toasted Blayds graciously accepts the address from Royce. He reminisces about his earlier days in Victorian times with anecdotes about Browning, Whistler, Queen Victoria and Meredith. After the celebrations, Blayds is left alone with Isobel, who has looked after him all her adult life. He says at ninety there is no going back: "Only forward – into the grave that's waiting for you". [6]

In the second act the family returns from Blayds's funeral at Westminster Abbey. Isobel reveals that on his deathbed Blayds confessed to her that none of the poems for which he is famous were written by him. They were the work of Willoughby Jenkins, a close friend with whom he shared rooms in Islington in the 1850s. Jenkins, a young poetic genius, knew he was dying and wrote a prodigious amount of poetry while he had time. After he died, Blayds yielded to the temptation to publish a small amount of Jenkins's verse under his own name. It was so well received that he continued the deception and published further batches over the years, gaining a tremendous literary reputation and making a large fortune. The one volume he published of his own verse had been badly reviewed and otherwise his entire poetic oeuvre was the work of his dead friend. [7]

Isobel is bitter at having given up any independent life to look after her fraudulent father. William, who hero-worshipped his father-in-law, is incredulous, and agrees with Oliver that Blayds must have been hallucinating on his deathbed. The family agonise about whether the confession is true, and if so whether to reveal the truth publicly, and whether the old man's fortune properly belongs to Jenkins's heirs. Royce, to whom Isobel has turned for help, finds documentary proof that Jenkins left everything he had to Blayds. The family is legally in the clear, but the moral issue remains. William continues to maintain Blayds's innocence, and Isobel eventually gives way and agrees to say nothing publicly about her father's confession. At the end of the play she accepts a proposal of marriage from Royce. [8]

The Blayds family discuss what to do, 1921 London production. Left to right: William (Dion Boucicault), Marion (Irene Rooke, Royce (Ion Swinley), Isobel (Irene Vanbrugh) and Septima (Faith Celli) Truth-About-Blayds-3.png
The Blayds family discuss what to do, 1921 London production. Left to right: William (Dion Boucicault), Marion (Irene Rooke, Royce (Ion Swinley), Isobel (Irene Vanbrugh) and Septima (Faith Celli)

Critical reception

The Times praised Milne and the play, commenting that the theme – a family suddenly learning it has been living on a lie – was reminiscent of Ibsen, although Milne's humorous take on it was very English. [9] The Illustrated London News said, "The play makes admirable comedy, and with the wit and literary finish of its dialogue, its note of sustained irony, its success in raising expectancy in the first act, and developing an interesting idea emotionally in the sequel, stands as quite the best thing Mr Milne has given the stage". [10] When the play opened on Broadway, Alexander Woollcott wrote in The New York Times :

When Milne decided that his first act should usher Blayds out of the world and that the other two should watch the explosion of his confession in its effect on the Blayds household he boldly committed himself to a form which was bound to give his play a diminishing interest. It was inevitable that the first act should be the most telling of the three, and it must be admitted that after the grand old fraud has tottered off to his well-earned grave you miss him terribly about the play. But there is no scene in all that remains which is not written with a keen humor and a sure dramatic instinct. The Truth About Blayds reinforces a dawning suspicion, that this young Mr Milne is the happiest acquisition the English theatre has made since it captured Shaw and Barrie. [11]

Later critical opinion has tended to agree with Woollcott about the balance of the play. Reviewing a provincial production in 1926, The Times commented, "The Truth About Blayds is not Mr Milne's best play, but it does contain the best act that he has ever written. The first act of this play, indeed, is so good that it spoils the balance of the rest of the play". [12] Noël Coward's 1956 play Nude With Violin deals with a similar theme of artistic fraud by a deceased fraudster, and the reviewer in The Tatler , commenting that Milne and Coward had both made a mistake, quoted Barrie's remark to Milne: "I think, in your place, I would have kept the old impostor alive". [13]

Revivals and adaptations

Vanbrugh and Boucicault presented the first Australian production during a tour in 1924. [14] The play was revived on Broadway in 1934, with Heggie again in the title role, Pauline Lord as Isobel and Frederick Worlock as Royce. [15] According to Who's Who in the Theatre there were no West End revivals of the play. [16]

The play was adapted for BBC television in 1948, with Henry Oscar as Blayds and Avice Landone as Isobel. The following year, BBC radio broadcast an adaptation with John Turnbull as Blayds, Marda Vanne as Isobel and Andrew Cruickshank as Royce. [17]

References and sources

Related Research Articles

<span class="mw-page-title-main">A. A. Milne</span> English writer (1882–1956)

Alan Alexander Milne was an English writer best known for his books about the teddy bear Winnie-the-Pooh, as well as for children's poetry. Milne was primarily a playwright before the huge success of Winnie-the-Pooh overshadowed all his previous work. Milne served in both world wars, as a lieutenant in the Royal Warwickshire Regiment in the First World War and as a captain in the Home Guard in the Second World War.

<span class="mw-page-title-main">Dion Boucicault</span> Irish actor and dramatist (1820-1890)

Dionysius Lardner "Dion" Boucicault was an Irish actor and playwright famed for his melodramas. By the later part of the 19th century, Boucicault had become known on both sides of the Atlantic as one of the most successful actor-playwright-managers then in the English-speaking theatre. The New York Times hailed him in his obituary as "the most conspicuous English dramatist of the 19th century,"; he and his second wife, Agnes Robertson Boucicault, applied for and received American citizenship in 1873.

<span class="mw-page-title-main">Algonquin Round Table</span> Group of actors, critics, wits, and writers

The Algonquin Round Table was a group of New York City writers, critics, actors, and wits. Gathering initially as part of a practical joke, members of "The Vicious Circle", as they dubbed themselves, met for lunch each day at the Algonquin Hotel from 1919 until roughly 1929. At these luncheons they engaged in wisecracks, wordplay, and witticisms that, through the newspaper columns of Round Table members, were disseminated across the country.

<span class="mw-page-title-main">Alexander Woollcott</span> American drama critic and commentator (1887–1943)

Alexander Humphreys Woollcott was an American drama critic and commentator for The New Yorker magazine, a member of the Algonquin Round Table, an occasional actor and playwright, and a prominent radio personality.

<i>Short View of the Immorality and Profaneness of the English Stage</i>

In March 1698, Jeremy Collier published his anti-theatre pamphlet, A Short View of the Immorality and Profaneness of the English Stage; in the pamphlet, Collier attacks a number of playwrights: William Wycherley, John Dryden, William Congreve, John Vanbrugh, and Thomas D'Urfey. Collier attacks rather recent, rather popular comedies from the London stage; he accuses the playwrights of profanity, blasphemy, indecency, and undermining public morality through the sympathetic depiction of vice.

<i>The Man Who Came to Dinner</i> Comedy in three acts by George S. Kaufman and Moss Hart

The Man Who Came to Dinner is a comedy play by George S. Kaufman and Moss Hart. It debuted on October 16, 1939, at the Music Box Theatre in New York City, where it ran until 1941, closing after 739 performances. It then enjoyed a number of New York and London revivals. The first London production was staged at The Savoy Theatre starring Robert Morley and Coral Browne. In 1990, Browne stated in a televised biographical interview, broadcast on UK Channel 4, that she bought the rights to the play, borrowing money from her dentist to do so. When she died, her will revealed that she had received royalties for all later productions and adaptations of the play.

<span class="mw-page-title-main">John Lawrence Toole</span> English comic actor (1830–1906)

John Lawrence Toole was an English comic actor, actor-manager and theatrical producer. He was famous for his roles in farce and in serio-comic melodramas, in a career that spanned more than four decades, and the first actor to have a West End theatre named after him.

<span class="mw-page-title-main">Irene Vanbrugh</span> English actress (1872–1949)

Dame Irene Barnes DBE, known professionally as Irene Vanbrugh, was an English actress. The daughter of a clergyman, Vanbrugh followed her elder sister Violet into the theatrical profession and sustained a career for more than 50 years.

<span class="mw-page-title-main">Dion Boucicault Jr.</span> American actor (1859–1929)

Dion Boucicault Jr. was an actor and stage director. A son of the well-known playwright Dion Boucicault and actress Agnes Robertson, he followed his father into the theatrical profession and made a career as a character actor and a director. In addition to extensive work in the West End of London, he spent considerable time in Australia, where he went into management in the 1880s.

<i>Nude with Violin</i> Play by Noël Coward

Nude with Violin is a play in three acts by Noël Coward. A light comedy of manners, the play is a satire on "Modern Art", criticism, artistic pretension and the value placed on art. It is set in Paris in 1956 and portrays the effect on the family and associates of a famous artist when it is revealed after his death that he painted none of the pictures signed by him and sold for large sums. The action is mostly under the discreet control of the artist's valet, Sebastien, who manipulates events to bring about a happy ending for all the characters.

The Colleen Bawn, or The Brides of Garryowen is a melodramatic play written by Irish playwright Dion Boucicault. It was first performed at Laura Keene's Theatre, New York, on 27 March 1860 with Laura Keene playing Anne Chute and Boucicault playing Myles na Coppaleen. It was most recently performed in Dublin at the Project Arts Centre in July and August 2010 and in Belfast by Bruiser Theatre Company at the Lyric Theatre in April 2018. Several film versions have also been made.

<span class="mw-page-title-main">Wallack's Theatre</span> Former theatres in Manhattan, New York

Three New York City playhouses named Wallack's Theatre played an important part in the history of American theater as the successive homes of the stock company managed by actors James W. Wallack and his son, Lester Wallack. During its 35-year lifetime, from 1852 to 1887, that company developed and held a reputation as the best theater company in the country.

<span class="mw-page-title-main">Toole's Theatre</span>

Toole's Theatre, was a 19th-century West End building in William IV Street, near Charing Cross, in the City of Westminster. A succession of auditoria had occupied the site since 1832, serving a variety of functions, including religious and leisure activities. The theatre at its largest, after reconstruction in 1881–82, had a capacity of between 650 and 700.

<span class="mw-page-title-main">O. P. Heggie</span> American actor (1877–1936)

Oliver Peters Heggie, billed as O. P. Heggie, was an Australian film and theatre actor best known for portraying the hermit who befriends the Monster in the film Bride of Frankenstein (1935). He was born Otto Peters Heggie at Angaston, South Australia to a local pastoralist. He was educated at Whinham College and the Adelaide Conservatoire of Music. He died in Los Angeles of pneumonia. He is buried at Woodside Cemetery, Yarmouth Port, Barnstable County, Massachusetts.

<i>The Dover Road</i> (play)

The Dover Road is a three-act comedy by A. A. Milne, seen on Broadway in 1921–22 and in the West End in 1922–23. It depicts the dampening effect of close proximity on the ardour of eloping couples when they are forced into sustained exposure to each other's habits and idiosyncrasies.

<span class="mw-page-title-main">Branden Jacobs-Jenkins</span> American playwright (born 1984)

Branden Jacobs-Jenkins is an American playwright. His plays Gloria and Everybody were finalists for the 2016 and 2018 Pulitzer Prize for Drama. His play Appropriate made his Broadway debut as a playwright in 2023 and earned him his first Tony Award. His additional plays include An Octoroon and The Comeuppance. He was named a MacArthur Fellow in 2016.

An Octoroon is a play written by Branden Jacobs-Jenkins. It is an adaptation of Dion Boucicault's The Octoroon, which premiered in 1859. Jacobs-Jenkins reframes Boucicault's play using its original characters and plot, speaking much of Boucicault's dialogue, and critiques its portrayal of race using Brechtian devices. Jacobs-Jenkins considers An Octoroon and his other works Appropriate and Neighbors linked in the exploration of theatre, genre, and how theatre interacts with questions of identity, along with how these questions transform as a part of life. In a 2018 poll by critics from The New York Times, the work was ranked the second-greatest American play of the past 25 years.

<i>Mr. Pim Passes By</i>

Mr Pim Passes By is a three act comedy by A. A. Milne, first produced in 1919, and seen in the West End in 1920 and on Broadway and in Australia in 1921. There were later stage revivals in London and New York, and the play has been adapted for radio, television and cinema.

<span class="mw-page-title-main">Ion Swinley</span> English actor (1891–1937)

Ion Swinley, born Eric Ion Swindley was an English actor, known for his appearances in classics and modern dramas and comedies.

<span class="mw-page-title-main">Faith Celli</span> English actress

Faith Celli, born Dorothy Faith Standing, was an English actress, particularly associated with the plays of J. M. Barrie and A. A. Milne. She had a 20-year career from 1907, after which she retired from the stage.

References

  1. Wearing, p. 1; and "Mr Pim Passes By", Internet Broadway Database. Retrieved 24 April 2021
  2. Wearing, p. 135
  3. "The Truth About Blayds", Internet Broadway Database. Retrieved 24 April 2021
  4. Milne, 182–183
  5. Milne, pp. 181–207
  6. Milne, 216
  7. Milne, pp. 218–227
  8. Milne, pp. 228–263
  9. "The Truth About Blayds", The Times, 21 December 1921, p. 10
  10. "The Playhouses", Illustrated London News, 7 January 1922, p. 32
  11. Woolcott, Alexander in The New York Times, 15 March 1922, quoted in Beckerman and Siegman, p. 28
  12. "The Truth About Blayds", The Times, 5 August 1926, p. 8
  13. "At the Theatre", The Tatler, 21 November 1956, p. 448
  14. "Vanbrugh-Boucicault Season", The Age, 3 December 1924, p. 13
  15. "The Truth About Blayds", Internet Broadway Database. Retrieved 24 April 2021
  16. Gaye, p. 1504
  17. "The Truth About Blayds", BBC Genome. Retrieved 24 April 2021

Sources