The Big Drum

Another Pinero play. Biting satire this time, ironic comedy - not a farce. The Big Drum, a novel being written by Phil, one of the main characters, is "an attempt to portray the struggle for notoriety—for self-advertisement—we see going on around us to-day." "Oh, I believe any world would content me that's totally different from the world I've lived in so long; any world that isn't flat and stale and stifling; that isn't made up of shams, and petty aims and appetites; any world that—well, such a world as you used to picture, Phil, when you preached your gospel to a selfish, common girl under the chestnuts in the Allée de Longchamp and the Champs-Elysées! ... I've been waiting—waiting for you—in my dreams—for ten years!

By : Arthur Wing Pinero (1855 - 1934)

01 - Act 1 02 - Act 2, Part 1 03 - Act 2, Part 2 04 - Act 3, Part 1 05 - Act 3, Part 2 06 - Act 4

The Big Drum is published exactly as it was written, and as it was originally performed. At its first representation, however, the audience was reported to have been saddened by its "unhappy ending." Pressure was forthwith put upon me to reconcile Philip and Ottoline at the finish, and at the third performance of the play the curtain fell upon the picture, violently and crudely brought about, of Ottoline in Philip's arms.

I made the alteration against my principles and against my conscience, and yet not altogether unwillingly. For we live in depressing times; and perhaps in such times it is the first duty of a writer for the stage to make concessions to his audiences and, above everything, to try to afford them a complete, if brief, distraction from the gloom which awaits them outside the theatre.

My excuse for having at the start provided an "unhappy" ending is that I was blind enough not to regard the ultimate break between Philip and Ottoline as really unhappy for either party. On the contrary, I looked upon the separation of these two people as a fortunate occurrence for both; and I conceived it as a piece of ironic comedy which might not prove unentertaining that the falling away of Philip from his high resolves was checked by the woman he had once despised and who had at last grown to know and to despise herself.

But comedy of this order has a knack of cutting rather deeply, of ceasing, in some minds, to be comedy at all; and it may be said that this is what has happened in the present instance. Luckily it is equally true that certain matters are less painful, because less actual, in print than upon the stage. The "wicked publisher," therefore, even when bombs are dropping round him, can afford to be more independent than the theatrical manager; and for this reason I have not hesitated to ask my friend Mr. Heinemann to publish The Big Drum in its original form.