What audience-driven changes does the printed Kismet scenario record, and do its marginal notes agree with the reasons Baker gives in Chapter X?

1919 stage practice, one play. Baker says he printed the full Kismet scenario 'chiefly' to show the changes it underwent. In Chapter X he gives two: the love passage of Hajji was moved away from the murder plotting (judged in rehearsal by actor and author to protect audience sympathy), and the torture of Hajji became a blow with the key (the horror was too great 'when acted'). Bracketed marginal notes in the printed scenario (annotator not named) agree on both and add reasons and timing: the scene was split because Hajj 'could not have a love scene' while brooding about the assassination, and the order was altered in rehearsal at an actor's suggestion; the torture was cut 'as too long and too ugly' and altered during rehearsal. Other notes record a scene cut at rehearsal as irrelevant to the story, a scene cut before rehearsal on a friend's suggestion, and a scene enlarged in rehearsal. All of this concerns insiders' judgement in rehearsal, not measured audiences. Curator qualifications: Uses Kismet scenario printed by permission; short excerpts. Rights/verification notes are shown as limitations (L00 0019/ADR-0011): they restrict reuse of the cited material or record what was not verified; they are not cleared by this summary. Limitations: [component_reuse_restriction] Rights hold beyond short quotation. Evidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.

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  "citations": [
    {
      "url": "https://www.gutenberg.org/cache/epub/36580/pg36580.txt",
      "note": "candidate evidence excerpts"
    }
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