This article was written in 1906; it conveys many impressions of early feminine struggles for political independence.  The fact is, Mr. Howard often expressed his disappointment over the showing women made in the creative arts, and that he was not willing to let the bars down in his own profession is indicated by the fact that, during his life-time, women dramatists were not admitted as members into the club he founded.

The reader is referred to two other articles by Mr. Howard—­one, “Trash on the Stage,” included in the “Memorial” volume; the other, on “The American Drama,” which is reproduced here, because, written in 1906, and published in a now obsolete newspaper magazine, it is difficult of procuring, and stands, possibly, for Mr. Howard’s final perspective of a native drama he did so much to make known as native.

The most national of Howard’s plays is “Shenandoah;” it is chosen for the present volume as representative of the military drama, of which there are not many examples, considering the Civil War possibilities for stage effect.  Clyde Fitch’s “Barbara Frietchie,” James A. Herne’s “Griffith Davenport,” Fyles and Belasco’s “The Girl I Left Behind Me,” Gillette’s “Secret Service,” and William DeMille’s “The Warrens of Virginia”—­a mere sheaf beside the Revolutionary list which might be compiled.

According to one authority, “Shenandoah” was built upon the foundations of a play by Howard, produced at Macauley’s Theatre, Louisville, Kentucky.  As stated by Professor Matthews, the facts are that Howard took a piece, “Drum Taps,” to Lester Wallack; who, true to his English tradition, said that if it was changed in time from the Civil War to the Crimean, he might consider it.  It is certain, however, that if the cast of characters, as first given under the management of Montgomery Field, at the old Boston Museum, November 19, 1888, be compared with the program of the New York Star Theatre, September 13, 1889, it will be found that the manuscript must have been considerably altered and shifted, before it reached the shape now offered here as the authentic text.  The fact of the matter is, it was not considered a “go” in Boston; we are informed that such managers as Palmer and Henry E. Abbey prophesied dire end for the piece.  But Charles Frohman hastened to Boston, on the advice of his brother, Daniel, and, giving half-interest in the piece to Al Hayman, he arranged with Field for rights, procured “time” at the Star Theatre with Burnham, and, as is told in “C.F.’s” biography, hastened to Stamford, Connecticut, to talk with Howard.  According to this source, he said to the playwright: 

“You are a very great dramatist, Mr. Howard, and I am only a theatrical manager, but I think I can see where a possible improvement might be made in the play.  For one thing, I think two acts should be merged into one, and I don’t think you have made enough out of Sheridan’s ride.”

The opening night, with General Sherman in the audience, was a memorable occasion.  It was the beginning of “C.F.’s” rapid rise to managerial importance, it ushered in the era of numberless road companies playing the same piece, it met with long “runs,” and the royalty statements mounted steadily in bulk for Howard.  It was the success of the hour.