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STORY OF THE PLAY

The Story of "Kismet."

Let us forget the world and dream awhile.

Let us breathe the scented air of a land of sunshine and pale moonlight. We are in the Baghdad of the Arabian Nights - a land of passion, love, cruelty, and romance. At the gate of the Mosque of Carpenters, in the silver dawn of an Eastern day, sat Hajj, the Beggar, cursing those who refused him alms and blessing those who gave.

Out of the Mosque came the Sheikh "Alms in the name of Allah," begged Hajj. But Jawan asked for a blessing which Jajj bestowed. Scarcely were the words out of his mouth when Jawan revealed himself as the stealer of Hajj's wife, as the father of a son she bore him, and the enemy of Hajj. The blessing was changed to a curse, and had it not been for Jawan 's slaves he would never have lived to taunt and gibe again. Flinging a purse of gold at Hajj, Jawan went upon his way, hoping to find his lost son, for which purpose he had come to Baghdad. Hajj swore to kill him and the son if he could find him.

In the Bazaar Hajj found his newly-gotten gold transformed his late patrons into his servants. They fought one with the other to sell him veils, richsilks, and silver anklets for his daughter, and fine raiment for his own big body. So engrossed were the merchants in their quarrel that Hajj bundled the goods together and stole quietly off, without paying for them, to his own home.

In the courtyard of his poor house sat Marsinah, his beautiful daughter. There was happiness in the, heart of Marsinah. Was she not loved? And was not her lover coming to see her, secretly, now? Over the wall he came, and vowed to wed her that night. He told her he was but a gardener's son. What mattered that to Marsinah? She loved him. But hark! Her father was returning. He must fly! For Hajj knew nothing of this love-making.

The joy of Marsinah was unbounded when she robed herself in the fine garments her father gave her. She danced while he sang and made merry. But the Guards came to the house and arrested Hajj for stealing the clothes. He was taken before the Wazir Mansur, chief of police, and charged with the theft.

Now this Mansur was a tyrant, a squanderer of public funds, and having heen commanded by the Caliph to account for the missing money, was in no good humour when Hajj was brought before him. He took the purse of gold and ordered that the hand of Hajj be struck off.

Then a sudden thought crossed him. He pardoned Hajj and made him Jester. For this he asked a service of Hajj. He must kill the Caliph. Hajj protested for his daughter's sake. Mansur promised to wed Marsinah if Hajj would do the deed, and Hajj consented. Back he ran to his daughter, to tell her the good news. But Marsinah liked it little. She loved the gardener's son. Angered at her obstinance, Hajj had her carried off to Mansur's harem.

Then to the Caliph's palace he went, disguised as a magician. Mansur arranged for him to perform before the Caliph, and after doing a trick or two he suddenly thrust a knife at the monarch. The Caliph's suit of mail saved his life, and Mansur denounced Hajj. Hajj was carried away to the prison below the Palace, there to be flung into the same dungeon as his enemy, the Sheikh Jawan, who had been arrested for his past crimes as a bandit.

Taunted by the Sheikh, Hajj burst his chains, threw himself upon his enemy and strangled him. Quickly dragging the body to the place recently occupied by him, he changed his robe for that of the Sheikh, stealing the talisman that Jawan had hoped would help him to find his son. Jawan had bribed his jailors, who brought a litter to carry him out to freedom. Hajj took Jawan's place, and once again was he favoured by Kismet - Fate.

In his harem the Wazir Mansur's wives were disporting themselves. The cool water rippled in the marble bath, and the air was full of the scent of rare spices. To this harem went Hajj. He had received, while Jester to Mansur, an invitation from Kut-al-Kulub, the wife of wives; but this was not the sole reason of his presence there. He wanted to release Marsinah from the false and traitorous Mansur. He flattered Kut-al-Kulub, seeking her assistance, and succeeded in getting Marsinah safely away.

But he could not get away himself. A careless acknowledgment that he was Hajj the Beggar roused Kut-al-Kulub's anger. She rang for Mansur! It was death to any man found in the harem, and Mansur raised his sword to strike. Suddenly he saw the talisman stolen from awan on the breast of Hajj, and, in astonishment, the sword dropped listlessly. How came he by the Broken Hand of Fatimah?

Hajj cried out that he was in search of his son, and that the talisman would help him to find him. Mansur pointed to a similar talisman on his own breast. Hajj called Mansur to him and bid him kneel to receive a father's blessing. As Mansur knelt Hajj stabbed him. Then, seizing the wounded man, he flung him into the bath and held him under the water until he was drowned.

Now it was none other than the Caliph himself who had made love to Marsinah as the gardener's son, and, hearing that she had been carried away to Mansur's harem, he set out to rescue her. As he entered, Hajj pointed to the dead Mansur in the bath, and bowerd low. The Caliph could not pardon Hajj for the attempt on his life, but spared his head, punishing him by banishment from Baghdad.

Marsinah came out of the Mosque to meet her lord, the supposed gardener's son. Then she learned that her lover was the Caliph - the sacred Caliph - and that she was his chosen bride. Thus Kismet served them well. That which Fate ordains, will be. All is possible to Kismet!

WHO'S WHO AT THE GARRICK

By John Wightman

The "Star of the East" is riding high in the skies of Theatreland, and I would not be at all surprised if the striking success of "Kismet" - Mr. Edward Knoblauch's realistic drama of Oriental love, passion and cruelty - makes it the forerunner of a regular boom in Eastern productions. Mr. Edward Knoblauch, the author, is an American who has lived for the last fifteen years mainly in London.

"The Shulamite," of which he is part author, will be remembered as the piece Miss Lena Ashwell made such a hit in at the Savoy in 1906, and when that talented actress went into management at the Kingsway on her own account Mr. Knoblauch became her reader. He is, therefore, largely responsible for the discovery of some of the clever budding dramatists unearthed during Miss Ashwell's reign.

"Kismet" is another example of a play being refused time and again, only to turn out a regular gold mine when eventually produced. It was hawked round from manager to manager for over eighteen months. One found fault with its dialogue, another fought shy because of the expense attendant on its production, and so on.

At length Mr. Knoblauch got in touch with Mr. Oscar Asche, and by this time he had two scripts to submit - viz., the original and a re-written one, embodying the various suggestions of other managers. Mr. Asche unhesitatingly plumped for the former, and the result shows Mr. Knoblauch considers "Kismet" the outcome of his passionate love as a child for The Arabian Night's Entertainment.

Having chosen these entrancing tales for the basis of a play, he travelled to Morocco and spent about two months in Tunis, securing there the correct atmosphere and colour.

MR. OSCAR ASCHE - One of the most virile actors on the British stage, as his powerfully restrained Othello proved. Born in Australia, with Norwegian blood in his veins, Mr. Asche studied for the stage in Norway. Like his wife (Miss Lily Brayton), he has to thank Mr. F. R. Benson for the marvellous intimate knowledge he acquired of Shakespeare's works, as he remained in his company for eight years, during this period appearing in over two hundred parts. A favourite character of this popular actor is Petruchio in "The Taming of the Shrew," and he has played it some 800 times. As "Kismet" indicates, he is a brilliant producer and certainly one of the most enterprising actor-managers.

MISS LILY BRAYTON - This charming actress, having decided to go on the stage, wrote to Mr. F.R. Benson, requesting an interview. To her surprise she got it, and an engagement. With him she came to London when he gave his celebrated revival of "A Midsummer Night's Dream," in 19o1, at the Lyceum. Her ability was as unquestioned as her beauty, and she soon took her place among London's rising young actresses. A season with Sir Herbert Tree at His Majesty's followed, where towards the close of the run of "Resurrection" she played Katusha. Under Otto Stuart's management at the Adelphi she gained fresh laurels in a round of Shakespearian productions, which included "The Taming of the Shrew" and "Hamlet." Other characters she has portrayed, such as Rosalind and Desdemona, stamp Miss Brayton as one of the finest exponents living in Shakespearian and romantic characters. Her study of Marsinah in "Kismet" is full of delicate touches.

MR. BEN WEBSTER - As the Caliph in "Kismet" Mr. Ben Webster has practically achieved the impossible, for he has made the young ruler really appear natural, although devoid of the usual vices of the East. A scion of a famous theatrical family, for he is a grandson of the great actor, Benjamin Webster, he was originally intended for the Bar, and was actually called in 1885. Two years later he threw it up and made his debut at the St. James's as Lord Woodstock in "Clancarty." Some of his recent performances include George D'Alroy in the Criterion production of "Caste," and Lord Windermere in "Lady Windermere's Fan." In 1907 he accompanied Mrs. Patrick Campbell to America as leading man in "The Second Mrs. Tanqueray," "Electra," etc. Possessing a fine delivery and polished style, Mr. Ben Webster's work is regarded highly by all competent judges.

MRS. SABA RALEIGH - Strikingly handsome and always beautifully gowned, it is almost impossible to believe that Mrs. Saba Raleigh commenced her theatrical career nearly 25 years ago. It was at the Gaietv in "Woodcock's Life Game" that she first appeared, under the name of Isabel Ellisen. She has appeared in practically every London theatre, and did some splended work with the late Sir Henry Irving, being engaged by that veteran actor to play Eleanor in "Becket," which she did until his lamented death at Bradford. Her inexhaustible energy finds an outlet in theatrical charities, and she is a member of the Executive Committee of the Ladies' Guild, besides taking a keen interest in the Actors' Orphanage.