The Return of Peter Grimm | Page 5

my family that I had not been dreaming. I was very
restless--could not sleep again. The next day (we were rehearsing
"Zaza") I went out for luncheon during the recess with a member of my
company. He was a very absent-minded man, and at the table he took a

telegram from his pocket which he said he had forgotten to give me: it
announced the death of my mother at the time I had seen her in my
room. I am aware that this could be explained as thought transference,
accompanied by a dream in which my mother appeared so life-like as
to make me believe the dream real. This explanation, however, does not
satisfy me. I am sure that I did see her. Other experiences of a kindred
nature served to strengthen my belief in the naturalness of what we call
the supernatural. I decided to write a play dealing with the return of the
dead: so it followed that when I was in need of a new play for David
Warfield, I chose this subject. Slight of figure, unworldly, simple in all
his ways, Warfield was the very man to bring a message back from the
other world. Warfield has always appeared to me as a character out of
one of Grimm's Fairy Tales. He was, to my mind, the one man to
impersonate a spirit and make it seem real. So my desire to write a play
of the dead, and my belief in Warfield's artistry culminated in "The
Return of Peter Grimm." The subject was very difficult, and the
greatest problem confronting me was to preserve the illusion of a spirit
while actually using a living person. The apparition of the ghost in
"Hamlet" and in "Macbeth," the spirits who return to haunt Richard III,
and other ghosts of the theatre convinced me that green lights and dark
stages with spot-lights would not give the illusion necessary to this play.
All other spirits have been visible to someone on the stage, but PETER
was visible to none, save the dog (who wagged his tail as his master
returned from the next world) and to Frederik, the nephew, who was to
see him but for a second. PETER was to be in the same room with the
members of the household, and to come into close contact with them.
They were to feel his influence without seeing him. He was to move
among them, even appear to touch them, but they were to look past him
or above him--never into his face. He must, of course, be visible to the
audience. My problem, then, was to reveal a dead man worrying about
his earthly home, trying to enlist the aid of anybody--everybody--to
take his message. Certainly no writer ever chose a more difficult task; I
must say that I was often very much discouraged, but something held
me to the work in spite of myself. The choice of an occupation for my
leading character was very limited. I gave PETER various trades and
professions, none of which seemed to suit the part, until I made him a
quaint old Dutchman, a nursery-man who loved his garden and

perennials--the flowers that pass away and return season after season.
This gave a clue to his character; gave him the right to found his belief
in immortality on the lessons learned in his garden.
"God does not send us strange flowers every year, When the warm
winds blow o'er the pleasant places, The same fair flowers lift up the
same fair faces. The violet is here ... It all comes back, the odour, grace
and hue, ... it IS the THING WE KNEW. So after the death winter it
shall be," etc.
Against a background of budding trees, I placed the action of the play
in the month of April; April with its swift transitions from bright
sunlight to the darkness of passing clouds and showers. April weather
furnished a natural reason for raising and lowering the lights--that the
dead could come and go at will, seen or unseen. The passing
rain-storms blended with the tears of those weeping for their loved ones.
A man who comes back must not have a commonplace name--a name
suggestive of comedy--and I think I must have read over every Dutch
name that ever came out of Holland before I selected the name of
"Peter Grimm." It was chosen because it suggested (to me) a stubborn
old man with a sense of justice--whose spirit would return to right a
wrong and adjust his household affairs.
The stage setting was evolved after extreme care and thought. It was a
mingling of the past and present. It was Peter's sitting-room, with a
mixture of furniture and family portraits and knick-knacks, each with
an association of its own. It