Harris Theatre, New York, USA

Performed here from 30 December 1918 to 5 April 1919 by Percy Marmont (actor), J.H. Gilmour (actor), Flora MacDonald (actress), Robert Barratt (actor), Marion Rogers (actress), H. Cooper Cliffe (actor), Frank Andrews (actor), Mabel Archdall (actress), Daisy Vivian (actress). "'The Invisible Foe' presented at the Harris Theater in Manhattan last night is a well-constructed melodrama of the school popular during the early nineties, brought up to date by some little mention of the war." (31 December 1918) "Spiritualists in England and America are watching with keen interest the extraordinary and unique demonstration of spiritualistic influences which are said to have been responsible for the success of the play, "The Invisible Foe", now playing at the Harris Theatre here. Hereward Carrington, a well-known America psychic research authority, is among those who maintain that "The Invisible Foe" is being supported by the spirits. The play, which has also been produced in London, concerns information transmitted by the spirit of a dead man for the unravelling of a crime committed before his death. He alone has the key. When the play reached New York practically every theatrical dramatic critic condemned it in unmeasured terms. The critics were almost a unit in declaring that the play was uninteresting, crudely constructed, and wholly improbable. They said further, that the playwright has used ancient and melodramatic incidents and was "talking through his hat". Ordinarily, this should have put a damper on the production. But such was not the case. In spite of the critics the play picked up steadily and quickly became one of the greatest successes of the year. Spiritualists in explaining this, said that the throngs were drawn to the theater by the spirits of departed relatives and friends. One of the odd features in connection with the play's successful run was the patronage bestowed by returning soldiers and sailors. Along Broadway it is a generally recognized fact that this is practically he only play that the fighting men are paying money to see. When the subject was mentioned to Bartley Cushing, the famous American producer who staged "The Invisible Foe", he declared that there was no doubt in his mind as to the influences hovering over the play. Even while the play was in rehearsal, he said, the spiritualistic power was in operation. "I am as hard-headed and as practical as the average person concerned with producing plays" said Cushing, "and I certainly had no interest in spiritualism before putting on "The Invisible Foe'. But I have changed my views. I positively affirm that spiritualistic assistance was given us in making the play ready for the public. I repeatedly felt strange influence guiding me and directing me in my efforts to secure certain novel effects. Even the actors felt these influences. I cannot explain it, but I think everybody connected with the play felt that extramundane influences were hovering over the Harris Theater. Miss Flora MacDonald, who in the play, receives the message from the spirit which gives the clue to the real criminal, has become so converted that she has received a message from her father who died last year. As for myself, I am beginning a complete study of spiritualism." (Saturday News, 20 March 1919)