TLS: Wednesday, September 01, 1920

Provincetown, Mass.
Sept. 1, 1920.

My dear Madden:

Your letter of the twenty-eighth reached me yesterday. I am not surprised that Williams is so indefinite. That is what I have grown to expect from him. As for Barrymore doing "Blood And Sand" before "Gold", the idea certainly does not please me. I suppose Barrymore wishes to do so because the Ibanez play has a better part in it for his wife than "Gold". In the book, I know, the woman is by far the more interesting character. I don't see how they are going to make a good play of it -- and I am just peevish enough to hope they fail. I am dead sick and tired of having my plays always waiting on some other one -- witness "Beyond" waiting first for "Redemption", then for "The Jest", and finally for "For The Defense" -- and then "The Straw" waiting for "Bab" -- and now "Gold" waiting for "Blood and Sand". It is almost too much! You can tell Williams how I feel about it when you see him next. I simply don't think I am getting a square deal. For if "Blood and Sand" runs for any length of time it will mean so much cut off from "gold" no matter how big a success the latter may be.

I see by a notice sent me from a Detroit paper that Bennett is slated to tour in "For The Defense" also. Does this mean any split-week hokum? If it does, isn't there any way we can stop it? Certainly, "Beyond" deserves to stand alone. Will you find out about this?

Yes, I will leave the Tyler-"The Straw" matter absolutely up to you. Be sure and let me know what he has to say after you have seen him.

The new play I am writing is the new "Chris". As I have written you before, it will be a brand new play nothing at all like the old one except the character of Chris. I am changing even the title to "Tides". The girls part will be by far the strongest, the lover's next, Chris will be third in importance. It will be in four acts -- no scenes.

Now what is your advice about this play? Shall I hold it until the time limit on Tyler's contract expires, thus freeing it for a production by someone else? The present play is enough like the old one in some of its scenes and subject matter to make it impossible to get away from the fact that it is derived for the old play. Or shall I wait and see how Tyler acts in the matter of "The Straw" and, if he acts well, give him the play? I cannot impress upon you too emphatically that in my judgement it will be far the best thing I have done and full of intensity from start to final curtain. Of course it is possible, on the other hand, that Tyler might not want it anyway, but I don't think it at all likely unless he would like to take out his soreness by turning it down. Let me know what you think about this. The woman's part will be a peach. I only wish I could get Helen MacKellar for the part. She could eat it up.

As for giving Williams any more of my plays, I shall certainly not feel inclined that way, option or no option, unless he shows a better sense of what is due an author in the way of fair treatment. Will Connor, whom you probably know or have heard of, is very anxious for me to let him submit my next play to Dillingham who, he says, is intending to go in for serious plays. And Dillingham is a regular guy, isn't he?

I hope there may prove to be something doing in the way of a Movie sale for some of the one-act plays.

I am now on the second act of the new play and working like the devil. It should be finished before Sept. is past without a doubt.

With all best wishes,

Sincerely,

Eugene O'Neill.