The years 1875 and 1887 are the mileposts between which stretched a long period of successful play-writing by Steele Mackaye.  By ’75, he had already written “Marriage” (1872), “Arkwright’s Wife” (1873) and “Clancarty” (1874).  There followed quickly “Rose Michel” (1875, in collaboration), “Queen and Woman” (1876, an adaptation from Hugo), “Won at Last” (1877), “Through the Dark” (1878), “An Iron Will” (1879, later to be called “Hazel Kirke,” 1880), “A Fool’s Errand” (1881, an adaptation), “Dakolar” (1884), “In Spite of All” (1885), and “Rienzi” (1886).  Then came the present play, followed by “A Noble Rogue” (1888) and “Money Mad,” modelled after Hugo.

In correspondence with Mr. Percy Mackaye, it is significant to hear him insisting on his father’s change in sociological bearing having taken place while writing “Paul Kauvar.”  Timeliness was given to its initial presentment through the fact that at the moment some Chicago anarchists had been on trial, and were condemned to death.  Writing of the incident, William Dean Howells recalls that: 

At the house of Judge Pryor, in 1887, several of us came together in sympathy with your father, who was trying—­or had vainly tried—­to get the United States Supreme Court to grant the Chicago anarchists a new trial.  With your father I believed that the men had been convicted on an unjust ruling, and condemned for their opinions, not for a proven crime.  I remember your father’s wrathful fervour, and the instances he alledged of police brutality. [Letter to Mr. Percy Mackaye.]

In a published interview, Mackaye expressed his concern for the case; but he likewise was reticent about making theatre capital out of it.  He is reported to have said: 

The play was first called “Paul Kauvar; or, Anarchy.”  Then I thought “Anarchy” would be the best title, and under that I produced it in Buffalo.  After its production, the Chicago anarchists were hanged, and, to avoid a possible charge of trading on that event, I went back to my first title.  Later, however, the subtitle, “Anarchy,” was gradually reduced to smaller lettering and finally dropped.

The success of the play on its first night was a double triumph, for twelve hundred leading citizens had signed an invitation to have it given in Mackaye’s native city, and the evening was a kind of public testimony to his position.  This was one of the rare instances of an American dramatist receiving such recognition.  Mackaye assumed the title-role, and, supporting him were Frederick de Belleville, Eben Plympton, Sidney Drew, Julian Mitchell, May Irwin, and Genevieve Lytton.  Commenting on the occasion, the Buffalo Courier said: