The servant in the house: by Charles Rann Kennedy

              192?

Figure

THE SERVANT IN THE HOUSE
BY
CHARLES RANN KENNEDY
EXCLUSIVE
PRODUCING RIGHTS
FOR LYCEUM AND CHAUTAUQUAS
FOR THE UNITED STATES AND CANADA
HELD BY
THE REDPATH LYCEUM BUREAU




Figure

ROBERT
In the character of Robert The Drain Man, Mr. Kennedy has symbolized the spirit of the publican and sinner.  He has gathered into one character the groping blindness of the submerged.  As a seed that has fallen into a cellar and taken root there and pushes its stalk and leaves towards the grating that lets in the light, so Robert's soul stretches its utmost longing towards that universal love in whom we live, move and have our being.





Figure

MANSON
The character of Manson in The Servant in the House, is the visualized manifestation of that spirit of righteousness which, in the affairs of men, loves, counsels, chides, judges and corrects.  Mr. Kennedy, unlike many authors who use this figure to point their moral, does not weakly sentimentalize, but when occasion arises, uses the thongs to drive evil from the heart.

Mr. Kennedy will personally assist Mr. Owen in the coaching and production of The Servant in the House by this company Photo of Mr. Kennedy by Amie Boughton, New York.  Photo of Wm. Owen by Moffett, Chicago.  All other photos by Matzene, Chicago





YOU ARE NO LONGER NECESSARY.  LEAVE THIS HOUSE.



MY LITTLE KID!  MY LITTLE KID!






OH!  DON'T CRY!



Figure


WILLIAM OWEN, who heads the company of artists who are to present The Servant in the House on the Lyceum platform the coming season under Redpath management, was for twelve years at the head of his own company.  He has selected the players for this cast from among actors of experience whom he has known for years.  Mr. Owen is also known in educational circles.  He has addressed a very large per cent of all the colleges, high schools and women's clubs in the Middle West.

Beginning his career at the early age of eighteen years, at twenty-three he was playing Mephistopheles for Lewis Morrison in Faust.  He took Mr. Morrison's part in this play for six months.  Since he was twenty-two he has appeared in nothing but leading roles.  In Shakespearean productions he has appeared as Hamlet, Romeo, Shylock, Benedick, Iago and Orlando; in The Three Musketeers as D'Artagnan, and in the famous dramas of Bulwer-Lytton as Richelieu and Claude Melnotte.  He has played the part of David Garrick in David Garrick and Ingomar in Ingomar.  For two weeks he played a leading role with Julia Marlowe in McVicker's Theater, Chicago, and in the original run of Josephine, Empress of the French, appeared with Rhea, the great French actress, in Broadway Theater, N. Y. With Donald Robertson he appeared in the Art Institute, Chicago, in the plays of Ibsen, Browning, Milton, Goethe and others and it was while here, in October, 1908, that James O'Donnell Bennett, the noted dramatic critic of Chicago, wrote in the Record-Herald:

His ideals are high, his nature unselfish and his equipment solid.  He is a tower of strength to any organization because he has the craftmanship of his calling at his fingers' ends. * * * He can propel a scene and hold it up.  His method is simple and vigorous and he has authority both in speech and demeanor.


Press Comment

The most beautiful play of all ages.—
Chicago Daily News.


The best example of dramatic work now extant.—
New York Evening Post.


A sensation.—
New York Times.


A masterpiece.—
Washington Post.


The most remarkable play in the English language.—
Harper's Magazine.


A work of art that is true enough and simple enough to touch the heart of the world.—
Chicago Tribune.


It has come to stay ten weeks; it ought to stay a year.—
Chicago Journal.


An absorbing human story.—
New York Sun.


Well, here is something worth while at last.—
New York Evening Mail.


A work which will loom large in contemporaneous drama.—
New York World.


The surprise of the theatrical year.—
New York Telegraph.


A drama of absorbing human interest and deliciously humorous situations.—
Canadian Magazine.






HE SEEMS POSSESSED



Press Comment

It is a play that leaves no one unmoved.—
The Independent.


Of a sudden The Servant in the House has become the thing to see.—
Harper's Weekly.


Represents one of the highest uses to which the theatre may be put, and it offers capital entertainment.—
Red Book Magazine.


It is a work for the world to see and ponder upon.—
Chicago Record-Herald.


Its absorbing interest is on a par with its spiritual uplift and its moral inspiration.—
The Hebrew Standard.


A drama which combines in an unusual degree absorbing interest as a play with keen satire of certain tendency in the church.—
The Outlook.


The Servant in the House is like a fresh breeze that enters through an open window and expels some of the fetid atmosphere of the theatre.—
Theatre Magazine.


Mr. Kennedy puts into the perfection of his execution as much passion as the ancient monks put into the pictures they painted to the glory of God.—
Atlantic Monthly.



CHARLES RANN KENNEDY, the author of The Servant in the House, comes of a famous English family of scholars, preachers and educationalists.  The family includes the dramatist's grandfather, Charles Rann Kennedy the elder, whose studies in Demosthenes are well known in this country; Dr. Benjamin Hall Kennedy, the late Regius Professor of Greek in the University of Cambridge, England; and Sir William Rann Kennedy, the present Lord Justice of Appeals.

Mr. Kennedy's great grandfather, Rann Kennedy, a noted cleric and classical scholar in his day, was an intimate friend of Washington Irving, who wrote portions of his Sketch Book in the old Kennedy parsonage at Acocks Green in Warwickshire.  His father dying young, Charles Rann Kennedy has earned his own living since the age of thirteen.

In his time he has played many parts—office-boy, lawyer's clerk, telegraphist, socialist organizer, magazine writer, lecturer, theatrical business manager, actor, producer and dramatist.

Figure
 In addition to the above, he at one time studied for Holy Orders, and as he playfully confesses himself, he is even now, only a clergyman in disguise!

THE SERVANT IN THE HOUSE contains a story that goes to fundamentals and so touches the common heart.  It depicts the love of a father for his child, carrying that love through his poverty, degradation and bitterness.  The child, when too young to realize her father's condition, has been placed in comfortable circumstances but her heart still cries for her father as her father's cries for her.  How that love, like a magnet draws them together, is beautifully told in the play.  Like a song of praise through, the play, moves the figure of Manson.  The embodiment of the ideal, the vision of love and truth towards which the world, in spite of wars, sorrow and poverty, is slowly moving.






ROBERT



SMITH'S MY NAME.  DON'T YOU CALL ME SMYTHE.






Figure


MARY


ROGERS


MARTHA


MANSON


ROBERT


THE VICAR

CHARACTERS IN THE SERVANT IN THE HOUSE

THE BISHOP




Designed and Printed by
FRANKLIN C. HOLLISTER
500 SHERMAN STREET. CHICAGO