Shortly after Corbett won the heavyweight championship from Sullivan in 1892, he appeared in Gentleman Jack, written by his manager and a collaborator. Corbett portrayed a college youth, saddled with a convict father and falsely accused of a crime himself, who wins a championship fight against one of his detractors. Other plays manufactured for Corbett were A Naval Cadet, Pals and After Dark, the last subtitled obscurely, Neither Maid, Wife or Widow. Boxing became a poor second to acting in Corbett's life. He gave up the championship to Fitzsimmons in 1897, and was beaten by Fitz's successor, Jeffries, in 1900 and 1903. By 1906, Corbett had completely lost his taste for the ring and found George Bernard Shaw.
G.B.S. discovered prizefighting in England in 1882 when it was still illegal. After attending his first clandestine fight, he said cynically of the buffs, "Anyone with a sense of comedy must find the arts of self-defence delightful (for a time) through their pedantry, their quackery, and their action and reaction between amateur romantic illusion and professional eye to business." He scoffed at the professed admiration for boxing techniques and went on, "The spectators did not want to see skill defeating violence: they wanted to see violence drawing blood and pounding its way to a savage and exciting victory in the shortest possible time."
Despite this ridicule, Shaw saw in the sport a platform for controversy, and he wrote the novel that was to become Corbett's vehicle. In it Shaw wanted to know why the law permitted vivisection and other bloodletting and banned prizefighting. In an afterpiece to his dramatization of the novel he deplored the knockout but remarked: "It is only fair to add that it has not been proved that any permanent injury to the brain results from it. In any case the brain, as English society is at present constituted, can hardly be considered a vital organ."
As a clothesline on which to hang his social dissertations, he concocted a plot in which a professional fighter (Cashel), training near the mansion of a regal lady (Lydia Carew), wins her affections in competition with a Member of Parliament and her enamored butler.
Some years after writing the novel, G.B.S. got wind of a plan to dramatize it in the U.S. In order to protect his copyright Shaw hastily wrote a blank verse adaptation, by his own admission borrowing freely from Shakespeare and Marlowe.
When another American version, to be fashioned for Corbett, was proposed, Shaw consented to the deal, for his rights were now secure. Corbett and Shaw soon comprised an international mutual admiration society. Corbett thought that some of the things G.B.S. wrote were "bright" and added that he had got a laugh out of Man and Superman. Shaw, who had never seen Corbett either as fighter or actor, was all for him because he paid his royalties in advance. During rehearsal Corbett began to construct an analogy between his own life and that of Cashel—a man looked down upon because he was a fighter. Corbett told an interviewer, "I sacrificed what little social standing I had—everything, in fact. My father wouldn't speak to me for three months afterward." His father ran a livery stable.
The play had its premiere at Daly's, New York's most fashionable theater, on January 8, 1906. Asked in his dressing room if the highbred audience would frighten him, Corbett said, "If a fellow can keep his head in the ring, with a lot of madmen yelling at him, he ought to be able to keep it at Daly's."
The first act went well. There were some gasps when Corbett appeared nude from the waist up, daring for Daly's. Lydia, the society lady, seemed to like what she saw. She also admired the manly way in which Corbett got at the core of their romance: "If I can't have the satisfaction of marrying you, I may as well have the satisfaction of saying I'd like to." The final curtain came down to spirited applause. Most of the critics were kind to Corbett.
However, there was only one really knowledgeable critic on hand, the "gentleman on the aisle" for the New York American. This was Philadelphia Jack O'Brien, who later that year disputed the claim to Jeffries' vacated heavyweight title with rival Tommy Burns.
Philadelphia Jack had a knack for dramatic fiction himself. He originally made his name by knocking out a bunch of stumblebums in England and cabling back glowing reports to the U.S. He built himself up into such an attraction that, when he returned, he dictated terms to promoters and selected his own opponents. These he even rehearsed to make their fights exciting—an anticipation of the imaginative ways of modern professional wrestling.