Arnold Daly (1875-1927)

Peter Christopher Arnold Daly was born October 4, 1875 in Brooklyn, New York to Joseph and Mary Daly - and died January 13, 1927 in New York. He married Mary Blyth on July 1, 1900. They had one daughter - Blyth Daly - born December 5, 1901 at in London.

Arnold started his stage career as early as 1889 at the age of 14 with William Gillette's company and continued with a basic career until 1904 when he produced "Candida" by George Bernard Shaw. Arnold's parents had been long friends with Bernard's parents - making them well acquainted. Only one other had produced a Shaw play in America prior to Daly taking on the task. They didn't understand it, the hero being a dentist and the entire first scene taking place in a dentists office. He alone seemed to understand Shaw's philosophy and produce them properly. He produced at one theater, and then another until it became a permanent attraction through more than one season. When it was over he immediately produced a second Shaw play, "You Can Never Tell", which he promised would be an even greater hit than "Candida". Both plays were subsequently published and read by thousands.

Documents and Articles:

16 Rush St., Brooklyn, Kings, New York - June 10, 1880
1880 United States Federal Census

Daley, Jos. - age 41, Lumber Merchant, b Ireland, pb Ireland
" , Mary - age38, Keeping House, b Ireland, pb Ireland
" , Jos Jr - age 8, son, b NY, pb Ireland
" , Walter - age 6, son, b NY, pb Ireland
" , Peter - age 4, son, b NY, pb Ireland
" , Mary - born May 1880 in NY, pb Ireland

[Only a fragment of Rush Street still exists today and there are no buildings left older than half a century. 16 Rush would have been located very close to a wharf, on the corner of Kent Ave, along the shore of the East River. This would have been an ideal location for a lumber merchant, who would have wanted to be close to the wharves.]

New York Times (New York, New York) - April 6, 1889

The American Line steamer St. Louis will carry as passengers to-day the second company to leave this country for London under Charles Frohman's management, whose object is to present a thoroughly American play - that of William Gillette's company. It comprises Miss Ida Conquest, Miss Kate Meek, Sam Reed, Hope Ross, Arnold Daly, James Brennan, Joseph Franscover, Robert Hickman, Arthur Brown, Emerson Solle, James Rickards, four colored chorus men, a carpenter, and a property man. The company expects to open at the Garrick Theatre Saturday, April 16, with "Too Much Johnson".

New York Times (New York, New York) - October 8, 1891

"PUDD'NHEAD WILSON" AGAIN
Frank Mayo and the Mark Twin Play
at the Herald Square Theatre.

"Pudd'nhead Wilson" returned to the Herald Square Theatre last night, after a successful tour of the country. Frank Mayo, who adopted Mark Twain's story for the stage, still takes the part of Pudd'nhead. He has surrounded himself with a competent company. Although the play is long - a prologue and four acts - it is hard to indicate where elimination could be had without destroying its effectiveness, or robbing the play of some of the interest, which is sustained from the beginning. Humor and pathos alternate with that frequency which prevails in life that is picturesque, and the characters are well defined, some lovable and some despicable, as they should be in all good plays.

Frank Campeau take the place of E. J. Henley, as Tom Driscoll. Miss Eleanor Marotti has the difficult part of Roxy, the while slave, formerly filled by Miss Shaw, and is conscientious and convincing. Other new-comers are Frank E. Aiken, as York Driscoll; Emmott C. King, as Howard Pembroke, and Arnold Daly, as Chambers.

Miss Lucille Laverne, the Patsy, and Miss Frances Grahame, the Rowy, remain to delight the audiences with their acting of two interesting characters. The twins are now portrayed by Adolph Klauber and George Hallton, and Newton Chisnell is seen as Blake, the Sheriff.

Trenton Times (Trenton, New Jersey) - April 15, 1895

The Elks expect a big house at their annual benefit when "Aristocracy" will be played by one of Frohman's companies. Bronson Howard, the writer of the play, also wrote "The Banker's Daughter" "Old Love Letters," "Young Mrs. Winthrop," "The Henrietta" and "Shenandoah." Extracts from the play's programme follow.

CAST OF CHARACTERS

A newly-rich family of San Francisco

Jefferson Stockton ------------------------- Forrest Robinson

Virginia ------------------------------------ Alberta Gallatin
Diana -------------------------------------- Laura Alberta
Sheridan ----------------------------------- Arnold Daly

American Aristocracy of New York

Mr. Hamilton Stuart Lawrence ------------- Neil Warner
Katherine TenBroeck Lawrence ------------ Evelyn Pollock
Stuyvesant Lawrence ---------------------- Louis Dutton

Aristocracy of Europe

Prince Emil van Haldenward, Vienna ------- Frank Lyman
Octave, duc de Vigny - Volante, Paris ------ George W. Barnum
Marquis of Normandale, London ----------- Walter Howe
Earl of Cayston-Leigh, London ------------- Gilmore Scott
Grunthope --------------------------------- Frank Battin
Martin ------------------------------------- W. H. Hanna

250 Gratiat St., Mt. Clemens, Macomb, Michigan - June 15, 1900
1900 United States Federal Census

Cammeron, William - b. July 1859, b NY, fb NY, mb Ire - theatre manager
" , Pauline - b. Dec 1861, m 18 years, b NY, fb Ger, mb Fra
Viertue?, William A - b March 1849 in NY, pb CA - retired actor
Cooper, Samuel - b April 1860 in Vir, pb Vir. - theater manager
Vernan, Jeramie - b Apr 1870 in MA, pb Eng - actor
Vernon, Robert C - b March 1865 in Eng, pb in Eng - actor
Irvin, Steven P - b July 1867 in MA, fb RI, mb CA - actor
Daly, Arnold - b Oct 1875 in NY, pb in Ire. - actor

New York Times (New York, New York) - February 22, 1903

ACTOR'S WIFE SEEKS DIVORCE

Mrs. Arnold Daly Is Known on the Stage
as Mary Blyth

Justice MacLean of the Supreme Court has designated ex-Senator John F. Ahearn to act as referee and take testimony in the divorce action brought by Mary Blyth Daly against Arnold Daly. The referee will start with the case on Wednesday.

Arnold Daly is an actor who has been popular on Broadway for several seasons, his last appearance being at the Bijou Theatre in "The Bird in the Cage," which concluded its engagement on Feb. 14 and then start on tour. Daly played the part of the unprincipled younger brother. His wife, known on the stage as Mary Blyth, at present is playing at the Savoy Theatre with Clara Bloodgood in "The Girl with the Green Eyes." They were married July 1, 1900, and separate two years later. They have one child.

Stephen Callaghan, attorney for Mrs. Daly, has secured for her a temporary alimony allowance of $30 weekly, together with $100 cousel fees.

Washington Post (Washington, D.C.) - March 5, 1905

An important presentation of Goldsmith's sterling comedy, "She Stoops to Conquer," will be made at the New Amsterdam Theater April 17. The character of the presentation will perhaps be best indicated by the somewhat remarkable cast, it being understood, of course, that the production and all accessories will be in consonance. The principles in the cast will include Miss Eleanor Robson as Kate Hardcastle, Miss Clara Bloodgood as Miss Neville, Mrs. Charles Calvert as Mrs. Hardcastle, Mr. Kyrle Bellew as Young Marlow, Mr. Arnold Daly or Mr. Henr E. Dixey as Tony Lumpkin, Mr. Louis James as Hardcastle, Mr. Frank Mills as Hastings, and Mr. J. E. Dodson as Figory.

New York Times (New York, New York) - April 16, 1905

Arnold Daly's long and popular engagement at the Garrick in "You Never Can Tell" will terminate with the performance of Saturday, April 20.

New York Times (New York, New York) - April 23, 1905

PLAYS THAT HOLD

This is the last week of the long run of Arnold Daly in "You Never Can Tell" at the Garrick, the entire engagement numbering sixteen weeks. Mr. Daly goes immediately to London to consult with George Bernard Shaw about his plans for next season.

Washington Post (Washington, D.C.) - April 29, 1905

ARNOLD DALY, THE STRENUOUS,
AND HIS STRENUOUS IDEAS

You should never think of interviewing Arnold Daly in the usual manner. In order to understand his method of being interviewed you must understand him - his impetuosity, his enthusiasm, his impatience - in a word, the characteristics of the Celt. His entrance is abrupt, and he tempers it with an apology for being late. As he is two minutes ahead of time this might appear unnecessary, but you must remember again that the apology of the Celt is never made for real sins, but merely to establish at once the pleasant relationship which comes from being able to forgive somebody something. Having disarmed criticism with one diplomatic stroke, he begins to talk, a talk punctuated at times by impatient movements about the reception room of his apartment, by making wild thrusts at an imaginary enemy in midair; by pounding the table, as if it represented the pulput edge. He has the eloquence of the Celt; he never hesitates for an idea.


"Yes, I have been taking a rest," he says. "I have to break away every little while. Just get out of town and forget everything for a day or two." He takes a bottle of medicine from his pocket, places it on the table, take it up, shakes it vigorously and replaces it. "You see the doctors have given me some dope medicine to take. I ought to have rested another day. There is nothing in the world quite so insidious as work. You begin and little by little you work more and more. You have enthusiasm and ambition and the work comes easy. You add another obligation and another ambition to the load as easily as if they were straws. You see men and women breaking down all about you; you laugh and say 'Not for me. I am made of different clay from that.' You go on.

Finally Nature Says "Stop"

"You notice that one or two familiar faces are gone and you hear So and So has had heart failure or met with an accident, and still you smile in a superior way. Finally Nature puts in a word. She says, 'All right, old chap, you go right on if you want to, but I stop. Do you understand? I stop.' Perhaps you laugh again, perhaps you do go on after Nature has put in her word of warning. If you do, you do it at your peril. You think I am staying this because I have had a day's illness? Not at all. I am saying it because the idea came to me as I was hurrying back from the theater to meet you here for this interview. I know you don't expect me to sit up and say clever things. I believe you want me to express just what is in my mind at the moment: and, crossing the street, dodging two huge automobiles, which nearly knocked me over, I thought: 'What and where are we going? What do we stand for at this moment in the eyes of eternity?' When you see a man, disguised behind a pair of huge goggles, hurling himself through space at the rate of a mile a minute, in a machine which looks like a cross between a demon and a spider, what does it signify? When you go a mental step further and realize that this man represents his day and his type, what is the conclusion?'

Measles Era of Creation

"Do you suppose for a moment that God had such a world in view in his great scheme of creation - a world of fiendish hits of iron and steel, each trying to get nowhere in the quickest time? A city full of men and women whose greatest prayer of thankfulness is uttered because they get across a street without being knocked down? Are people sane who have such points of view?

"Of course they are not! They are mad, mad as March hares! When I got to Lakewood and breathed the deitetous air, looked at the majestic cathedral pines towering to the sky, felt the repose and serenity of the place. I realized that that was life, the life we all ought to lead. Then I came back - back to a madhouse, and it is in the stress of moments like these, moments of contrast, that in spite of yourself you stop and think and question.. Perhaps in 500 years, perhaps in 5,000, men, wise men, will look back at this time and call it the measles era of creation. That is exactly what it is, and there is about as much real happiness and satisfaction as there is for the child who is passing through the measles epoch. He will get beyond it and look back and laugh at it and be thankful that it was a childish disease and soon over.

What People Want on the Stage

"For the stage what the majority of people seem to want is a locomotive engineer to arrange matters for them. A stage manager who knows his business is not desired. They want noise and a glare of color and electric lights, all red and green and yellow - they are so pretty, you know, like fireworks. Once, long ago, I was putting on a musical comedy called "The Girl from Dixie". For weeks I worked hard on the details of that little, insignificant piece, for I wanted it to be real, I wanted to work out the great desire for truth, and I tried my best to infuse a little of the languor and the relaxation of a Southern atmosphere. I was laughed at by everybody about the stage, and I shall never forget my feelings that first night when from my dressing room I heard the wild whoop which sounded like Indians executing a war dance, and was told that my nicely trained chorus had broken loose and was giving the audience what they wanted, and, incidentally, what the chorus wanted, as well. When they got through there was just about as much Southern languor left as would stock the head of a pin.

Shaw's Plays Not a Fad

"That is why I like Shaw's plays, that is why I play them. Not because they are a fad. They are not a fad. They are destined to endure. He is the only man I know who writes with a truthful regard for literary values and dramatic construction. Browning had literary value, but, poor old gentleman, he had absolutely no idea of construction. The method of procedure of the playwright, the popular playwright, is this: He says to himself: 'The people want sentiment, they want lovemaking, perhaps some obstructions, and a fourt act which ends happily, ending them away from the theater feeling pleasantly disposed to the world at large.' Shaw differs from the rest in this, that the man has something to say, something real, something valid, something absolutely worth while. He takes the tricks in the trade of the playwright to say that something. He does not simply put the trick together cleverly to hide the fact that he has nothing at all to say.

"In "You Never Can Tell" much discussion has been raised in regard tot he ending, where Valentine, after he has gained the girl's consent to marry him, is not elated by the victory, but is, on the contrary, rather depressed as he faces the matrimonial problem which means to every man the loss of his freedom. Why should there be any discussion? Simply because people don't know the truth when they hear it. It has been one of the accepted traditions of life, just as it has been of the stage, for a man to believe that he really is happy when he comes up face to face with that great change in his life. It would be absurd to say that he was miserable. He is not, but is he happy? I leave that to the man to answer. I don't believe he is. The happiness comes after, when the transition stage has been passed, and life has settled down into its routine, but at the moment - bosh! It is all on a par with the belief that a man marries the woman he wants to marry, and the woman simply sits and waits for him to ask her. Nothing of the kind! You know just as well as I do that if a woman did not want to marry a man he could woo her through all eternity and she would not change her mind, and we both know that if a woman wants to marry a man and has any opportunity at all he can't escape.


"The stage is encumbered with all sorts and kinds of traditions that noboby except men like Shaw - and they are few enough, I can think only at the moment of Ibsen and August Strindberg - have ever brushed aside to look truth squarely in the face. I believe that the men or women who wantonly destroy the ideals of a child, who take away from it the belief in Santa Claus, the fairies and brownies, and all those delicious illusions should have their head deliberately cut off, firmly, without pity or remorse. I believe, just as sincerely, that any body who deliberately panders to the infantile mental development of adults is equally at fault. Responsibility consists in throwing over ideals. They are necessary to the child, they are encumbrances to the man. Face the truth and stop clinging to moth eaten beliefs because it is easy and the other is difficult. We are all mental loafers. Mark that, mental loafers. We want success, but we want to get it with the ingredient nearest at hand.

"If the touch of pathos comes easy to us we say: 'Let us use that pathos, we only have to stretch out our hands a little way and it is right there, no matter if the sentiment is false.' But to thrust aside that sentimentality, to rouse ourselves from mental sloth and look facts squarely and uncompromisingly and make others look with us, that means strenuous work, unremitting labor, but it means success as well. A man should be just as ashamed of making money out of the incredulity of grown up children, as he should be of begging. One is no more disgraceful than the other. The stage is encumbered with men and women, all striking false noises and all knowing it, going on season after season playing playing with the same primitive abilities, never improving, never changing. It is only the mental actor who improves - and he must improve, he cannot help it. Every year will find him a better actor, for the quality of mentality does not stand still.

"But to go back to Shaw. People are always putting him and Ibsen in juxtaposition and asking you to differentiate. I do not know why, except, that they are both men who are telling great truths, tearing down sophistries and falsities, making the public, in spite of themselves, see human nature as it really is.

Why Shaw Excels Ibsen

"Both have the gift of dramatic construction. I consider 'Candida' almost perfect in its construction. I consider 'Ghosts' equally so, but I do think that Shaw has the advantage over Ibsen in this - that Shaw is a Celt and Ibsen a Norwegian. That means that when Ibsen wants to emphasize something he pauses and gives a grunt. Shaw emphasizes with a laugh, and personally I prefer the laugh. I think most of us do; certainly Anglo-Saxons do. There are lots of stories afloat about Bernard Shaw, all of them with the same amount of truth that you would expect. The real fact is that Shaw lives the life of a saint. He would be canonized by the church if he had been born in another age.

"When I saw that, I mean that he does nothing that his conscience could condemn him for. I believe that Tolstoi is another man of the same type. They are men whose lives are simple, sincere, with no taint of profligacy. Shaw does not drink, he does not take drugs, he does not even take coffee or tea, save rarely. He depends on no false stimulants for his inspiration. He has often said to me that he found all the excitement, all the exhilaration that he wanted in the church. A Romanist would know exactly what I mean. There is a stimulus that comes, you know, from relaxation, from absolute repose, and that stimulus for our work the Catholic Church gives us.

Shaw and the Church

"I have been asked the attitude of the church toward Shaw, and I do not know that it has ever found it necessary to adopt any attitude. Shaw scoffs, as all thinking men do, at many of the tricks and subterfuges the church resorts to for its children. It does not use them for adults, unless they, too, are mentally infantile. We had our dolls, and now we laugh at them, and so the church provides toys for those who need them - that is all. To go to any other church is like going to see bad acting. Next year I intend to bring out 'John Bull's Other Island.' In this Shaw takes a fling at Catholicism, at Protestantism, and at several social evils of the day.

"It would be absolutely ridiculous to bring such subjects up in a play unless a man was clever enough to present them in such a way that people would be entertained for two hours and a half. He has done it, I believe, very successfully, but, of course, the public will have to decide that for themselves. I have no fear, however, in regard to its popularity, for it is one of the best plays he has done.

"I want, too, to bring out 'Mrs. Warren's Profession' a few times - not for a long run. On account of the construction, which I think ranks it next to 'Candida,' it certainly should be well received, although the subject is, perhaps, rather too strongly favored for the average mind." The interview ends thus. "If the church did right by him they would canonize him now and call him St. George."

Washington Post (Washington, D.C.) - June 11, 1905

Remarriage of the Dalys

An interesting object of comment developed on September 22, when the news of the remarriage of Arnold Daly and Mazie Blythe was made known. Two years previously there had been a divorce, and to Mrs. Daly was given the custody of their baby daughter. Following the separation many friends tried to bring to two together, but it was not until the summer of last year that success attended these offices. Miss Blythe at the close of her season with Nat Goodwin, went for a visit to friends at Santa Monica, Cal, and it was not long before news reached her that Arnold Daly had suddenly decided to take his company of "Candida" players to the Pacific Coast. This cross-the-continent trip was really in the nature of a pursuit with intent to acquire, and at its conclusion its object fell in with the wishes of the organizer of the expedition, the second marriage taking place in San Francisco. Mr. and Mrs. Daly had been together in many companies. They first met when she was a member of Mansfield's troupe, and later when playing in "Barbara Freitchie" in support of Miss Marlowe, they were married.

Anaconda Standard (Anaconda, Montana) - November 1, 1905

POLICE OF NEW YORK CALL HALT ON PLAY
"Mrs. Warren's Profession" Too Much For Gothamites

GARRICK THEATER IS DARK

Dramadic critics of the city at man-
ager's request constitute jury and
they say it is unfit for produc-
tion - McAdee sees the play.

New York, Oct 31 - The police today stopped the production of George Bernard Shaw's play, "Mrs. Warren's Profession," by arresting Samuel Gumpertz, manager of the Garrick theater, in which the play made its first New York appearance last night, on a charge of offending public deceny in sanctioning the performance. Police Commissioner McAdee ordered that all further performances of the play should cease.

Manager Gumpertz was paroled on his promise to bring with him to court to-morrow all the members of the company, including Mary Shaw, Arnold Dally, Chrystal Herne, John Findley, Fred Tyler and George Warren, and also former State Senator W.H. Reynolds, owner of the Garrick theater.

McAdee a Witness

Police Commissioner McAdee saw the play last night, and conferred with Mayor McClellan to-day before issuing his order. The warned the company that any one participating in further performances of this play would be arrested. While the money will be refunded for seats purchased, many persons will be losers through having purchased tickets from speculators. Arnold Day made a statement this afternoon, saying:

Daly's Word Made Good

I announced in the beginning that I would constitute the dramatic critics of New York a jury to pass on the fitness or unfitness of "Mrs. Warren's Profession." Their verdict was rendered to-day. It was against the piece and I will stand by my word. I will make no attempt to repeat the performance to-night. I do not consider it dignified on my part to seek an Injunction in view of my announcement made before the opening performance. The Garrick will be dark to-night." It is said that Mr. Daly has spent $19,000 preparing "Mrs. Warren's Profession" for production.

Try "Candida"

This notice, signed "Arnold Daly" was posted outside the Garrick theater to-night: "Further performances of "Mrs. Warren's Profession" will be discontinued, owing to the universal condemnation of the press." A large force of policemen was at the theater and had difficulty in keeping an immense crowd that had gathered in order. The theater was closed and two men in the box office were busy refunding money paid for tickets. The management announced that the theater would be opened to-morrow with another of Shaw's play, "Candida."

The Anaconda Standard (Anaconda, Montana) - November 12, 1905


Arnold Daly and Bernard Shaw pretend that "Mrs. Warren's Profession" is a picture of real life, and for that reason is intolerable to the persons who have condemned the play. It abounds in foulness and immoral and degenerate characters. It defend immorality and glories in debauchery. In the play the leading roles are two young sweethearts, and an old title rake proposes for the maiden's hand and is refused. He then tell the girl of her mothers' partnership in a nefarious "profession" that has brought her so much wealth. The young lover enters, ride in hand, to kill the old rogue, and the latter [?] at the youth the fact that he and his sweetheart are half-brother and sister, a clergyman being their father. And this is the sort of indecent rot that Shaw and Daly say is "a true picture of life as it really exists." The answer to the assertion is an expression of wonderment as to the atmosphere a man has been reared in to absorb such an idea of "real life".

The Anaconda Standard (Anaconda, Montana) - November 8, 1906

ACTORS IN A FIGHT

New York, Nov. 7 - Arnold Daly and Alfred Hickman, actors, were suspended from the Lamb's club following a fight. Both are exponents of George Bernard Shaw, and there has been some jealousy between them. The two men met in the Larchmont club house and Daly started his attack. Hickman threw beer on Daly, who gave the other two minutes to apologize. The apology was not forthcoming, and soon they were rolling on the floor. Friends intervened. The fight will come up for final action before the club council in a few days.

Anaconda Standard (Anaconda, Montana) - September 29, 1907

Arnold Daly has a clever baby daughter, named Blythe, after her mother. Although only 6 years old, her infant mind is busy thinking up questions for her parents to answer. Her latest problem advanced for her parents' solution was the matter of relationship. Such questions as "What relation is papa to you, mother?" and "What is you to he?" and "What are he to I?" almost drove Mrs. Daly distracted.

Trenton Evening Times (Trenton, New Jersey) - March 22, 1912

ARNOLD DALY ILL

Arnold Daly, who was booked for a special matinee at the Walnut in Philadelphia yesterday afternoon, was unable to appear owing to sudden illness. His physician, Dr. W. A. Alton, has ordered all his engagements canceled, and Daly's Philadelphia performance has been temporarily postponed. The management of Daly's company is arranging his route, so that he can postpone his appearance until after East. The immediate cause of the star's breakdown is overwork. For a week previous to the present tour he was acting with Madame Simone in "The Return from Jerusalem," directing the production of "Half a Husband" for the Liebler company and arranging the details for his matinee recitals.

Anaconda Standard (Anaconda, Montana) - June 12, 1914

HIS FIRST APPEARANCE IN THE PHOTO DRAMA

Arnold Daly marked his first appearance in the photo drama with a splendid success, "The Port of Missing Men," the Famous Players' production running at the American theater. At no time does this tense drama of love and conspiracy lose its firm grasp on the interest of the beholder. Victor Von Syrobel, who has come to America and taken the less aristocratic name of John Armitage, is the protector of the heir to the throne of a European principality, according to the story. Frederick, the heir apparent, accompanies him to the land of the free and it is at this point that their adventures commence.

Armitage is kept busy between his lady love and the machinations of the spurious claimant to the throne, who has some trusted conspirators on his track. He proceeds to secrete the rightful heir until the time when he can present his claims to the throne. During the course of the action, John Armitage risks everything, life, fair name and liberty itself. In the end he triumphs, sets Frederick upon the throne and claims his American sweetheart. For her he elects to forego the foreign titles that are offered him and settles down to the life of an American gentleman.

World War I Draft Registration - September 12, 1918

#4243 - Arnold Daly of 22 East 62nd St., New York, NY
Age 43, born October 4th, 1875
Occupation: Actor
Next of kin: Miss Blythe Daly (daughter)
- of Great Neck, Long Island, NY
Height: Medium
Build: Stout
Eyes: Grey
Hair: Dark Brown

US Passport Application - March 15, 1921

1921 Passport Photo

Arnold Daly, born Brooklyn, NY on October 4, 1875
Father: Joseph J. Daly, born in Ireland, deceased
--arrived from Ireland about 1850 and resided in US 40 years.
Arnold previously in England and France from Dec 1919 to April 1920
Residence: 2 West 50th, New York, occupied in theater.
Intends to return to US after four months.
Going to England, France, Wales? for travel and pleasure
Intends to leave New York May 12, 1921.
Last passport obtained in Washington Dec 1919 - lost.
Age: 45
Mouth: medium
Statue: 5 feet 8 inches
Chin: thin
Forehead: medium
Hair: brown
Eyes: green grey
Complexion: Ruddy
Nose: Straight
Face: tall
Distinguishing marks: mole on back
Identifying Witness: Warren Eddinger?, theatrical, Rands? Club, NY City

Oakland Tribune (Oakland, California) - October 21, 1925

Arnold Daily Back Home and 'Broke'

NEW YORK, Oct. 21. - (AP) - Arnold Daly is back from gay Paree broke and wearing a monocle.

Oakland Tribune (Oakland, California) - January 13, 1927

Was Friend of Bernard Shaw

Peter Christopher Arnold Daly was born in Brooklyn, N. Y., October 4,m 1875. His parents, Joseph J. and Mary Daly, were great friends of the parents of George Bernard Shaw, the Irish playwright, and it was in the latter's plays that the son was to achieve most of his success.
Daly was educated at the Academy of the Sacred Heart in Brooklyn. While still in this school he acted as "call boy" at the old Lyceum theater. His first appearance in a play was as a butler in a drama in which Fanny Rice was starring. Following this engagement he played minor parts with several companies and finally received marked recognition for his interpretation of the part of "Chambers" in "Pudd'nhead Wilson." He then appeared in "Because She Loved Him So," "The Bird in the Cage," "Barbara Fritchie," "Self and Lady," "Are You a Mason?" "When We Were Twenty-One," "Cynthia," "The Girl From Dixie" and "Secret Service."

Produced Many of Shaw's Plays

On December 9, 1903, he produced the Shaw play, "Candida," following which, in company with Winchell Smith, he staged a number of Shaw's works, including some that the author had written expressly for him. In the fall of 1907 Daly founded the "Theater of Ideas" at the Berkeley Lyceum, New York, where he was the first to produce the short play bill now so much in vogue. He was unsuccessful in the venture from a financial standpoint and finally gave it up.

He had numerous similar experiences up to 1916, when, in December of that year he produced "The Master," creating perhaps the most wonderful characterization of his career. On January 9, while playing in this production at the Bandbox theater, New York City, he was stricken with an attack of peritonitis, but insisted on finishing the performance. As soon as the curtain was rung down on the last act of the play, Daly was rushed to the Roosevelt hospital and on Janurary 10 his physician announced there was little chance of his recovery. He leaves a wife, formerly Mary Blythe, a niece of General La Grange of Los Angeles, whom he married July 1, 1900, and once child, Blyth Daly. Daly was a member of both the Lambs and the Players club.

[This article is a bit interesting as it suggests that Mr. Daly died of peritonitis - inflamation of the abdominal wall, usually due to some sort of infection caused by lose bile, urine or other liquid. But he clearly died in an apartment fire. From the information in this article, and other notations of illness going back to 1905, he likely that he would not have lived much longer after the fire. In fact, men in his condition today have about a 50% chance of survival from peritonitis - especially if not treated, as he did not. With the medical knowledge of 1927, his life expectancy may have been reduced a great deal.]

The Bridgeport Telegram (Bridgeport, Connecticut) - January 14, 1927

ARNOLD DALY DIES IN FLAMES; NOTED STAGE CAREER ENDS

Distinguished Actor, Once an
Office Boy, Perishes in
Apartment Fire

NEW YORK, Jan. 13 - (AP) - Flames that stole upon him like the villain in a melodrama today ended the life of Arnold Daly, who rose from obscurity as an office boy to international fame as an actor. Trapped in his apartment in west Fifty-first street on the fringe of Broadway where he had received the plaudits of thousands only a few blocks from the site of the old Herald theatre where he made his New York debut in 1895, Daly was burned to death.

Fireman who rescued others, hacked their way into his fourth floor apartment to find his burned body lying beside an arm chair in which he had been seen a short time before reading a book. Although known to thousands, Daly could not be identified for several hours; the face that had recorded a multitude of real and simulated emotions was a charred mask. Absolute identification was made by two bunions known to Frank Whitcomb, his attorney, but not to others viewing the body.

Five Persons Rescued

The fire in which Daly died was featured by thrilling rescues by firemen who carried to safety two women who lived on the fourth floor. A father and mother on the fifth floor carries their three children to safety over roofs. Mr. Daly lived alone, his daughter Blythe Daly being on tour. He was divorced from his wife, who was Miss Mary Blythe of Los Angeles, and now Mrs. Frank Craven.

Was Frohman Office Boy

Daly died in his fifty-first year. He was born in Brooklyn and was educated in Sacred Heart academy. When he left the academy he became office boy Charles Frohman, producer. He first sprang into prominence with his production of plays by George Bernard Shaw. Then he turned actor playing in "The Jolly Squire" with Fannie Rice in 189[?]. Subsequently he went on tour in "Married Not Ma[?]ed," "La Bolle Marie," "Aristocracy" and "The Girl I Left Behind Me." His New York debut was made the Herald Square theatre three years after his first stage appearance, "Pudd'n-Head Wilson" being the vehicle and Chambers his role. He made his London debut in 1898, playing Henry Mackintosh in "Too Much Johnson" His greatest fame as an actor came from his roles in Shaw plays such as "Arms and the Man, "Candida" "Mrs. Warren's Profession".

He was last seen on the legitimate stage in "Juarez and Maxmillian" produced by the Theatre Guild last November while playing in that place. Mr Daly fell after a visit to Texas Tommy Guinan's playground, a night club suffering a slight fracture of the skull. He was in a hospital for several weeks and friends said he never fully recovered. He also turned his hand to literature, publishing in 1921 "The Dominant Male". He also produced and acted a role in his own play, "Democracy's King" produced at the Cohan theatre in 1920. He appeared in nearly 60 roles in American and England during his career ofttimes being producer and manager as well as actor.

Decatur Evening Herald (Decatur, Illinois) - January 17, 1927


Arnold Daly, famous actor and manager, was burned to death in a fire which swept the five-story studio apartment building in which he lived at 28 West 51st., New York. Fireman had great difficulty fighting the blaze as may be seen from this picture. They found Daly's charred body an hour after flames had been extinguished.

Coshocton Tribune (Coshocton, Ohio) - January 20, 1927


Stupified by fear, or overcome by illness, Arnold Daly, the actor, sat in the chair in his New York apartment while fire, starting several floors below, crept up to kill him. Conscious, he could have easily escaped through the window.

Ogden Standard Examiner (Ogden, Utah) - February 17, 1933

Anent George Bernard's visit to New York is this unpleasant story. When Arnold Daly perished in a horrible rooming house fire, S. Jay Kaufman, his most intimate friend, cabled Shaw for some expression. Mrs. Daly, now Mrs. Frank Craven, was largely instrumental in bringing Shaw to the front theatrically. Kaufman's cable read: "Arnold Daly died in room house fire." Shaw replied: "It must have been spontaneous combustion." All of which moved the usually-jesting Bugs Baer to remark: "Anyone can become sarcastic toward a dead man."