it had the honour of inaugurating Mr. Nigel Playfair's management at
the Lyric, Hammersmith. It is possible that the historians will
remember this, long after they have forgotten my plays; more likely
(alas!) that their history will be dated A.D. (After Drinkwater) and
that the honour will be given to "Abraham Lincoln." I like to think
that in this event my ghost will haunt them. _Make-Believe_ appeared
with a Prologue by the Manager, lyrics by C.E. Burton, and music by
Georges Dorlay. As the title-page states that this book is, in the
language of children's competitions, "my own unaided work," I print
the play with a new Prologue, and without the charming lyrics. But the
reader is told when he may burst into an improvisation of his own,
though I warn him that he will not make such a good show of it as did
my collaborators.

_Mr. Pim Passes By_ appeared at several theatres. Let us admit
cheerfully that it was a success--in spite of the warning of an
important gentleman in the theatrical world, who told me, while I was
writing it, that the public wouldn't stand any talk of bigamy, and
suggested that George and Olivia should be engaged only, not married.
(Hence the line, "Bigamy! . . . It _is_ an ugly word," in the Second
Act.) But, of course, nobody sees more clearly than I how largely its
success was due to Mr. Dion Boucicault and Miss Irene Vanbrugh.

_The Romantic Age_ appeared first at the Comedy, and (like _Mr. Pim_)
found, in its need, a home at The Playhouse. Miss Gladys Cooper has a
charming way of withdrawing into a nursing home whenever I want a
theatre, but I beg her not to make a habit of it. My plays can be
spared so much more easily than she. By the way, a word about
Melisande. Many of the critics said that nobody behaved like that
nowadays. I am terrified at the thought of arguing with them, for they