The story concerns an attempted badger game broken up by the intended victim who rescues the unwitting female lure from a gang.

It had a short tryout in Rochester, New York, during September 1910, followed by a fourteen-week run in Chicago, before premiering on Broadway in January 1911.

Lead Supporting Featured Bit Players The play was never published, so the following is compiled from contemporaneous newspaper reviews.

Harry and his partner Pops Clark have inserted their gang into Frisco Kate's boarding house by threatening to expose her past crimes to police.

Later, while waiting alone at the apartment, Doris receives a telephone call saying her father has come to town and will meet her at the boarding house.

As he takes leave of William, Gordon says "I've met many game men in my time, but you-- you were bred in the deep purple".

[2] (Curtain) Armstrong and Mizner sold the play, originally entitled In the Deep Purple, during March 1910 to Liebler & Company.

Though not a member of the Theatrical Syndicate, Tyler had a good working relationship with its leaders, including Charles Frohman.

[5] Armstrong had previously written Salomy Jane (1907) and Alias Jimmy Valentine (1909), both of which Tyler had successfully produced for Liebler & Company.

[8] When a reporter later asked whether Tyler's casting was responsible for the success of The Deep Purple, Armstrong replied: "Any village quartet can sing The Larboard Watch".

[15] Hammond also praised Hugh Ford's staging, Tyler's casting, and gave credit for interesting performances to the six principals [fn 5][15] Eric DeLamarter, writing for The Inter Ocean, was a little more critical about two plot points, and while praising Emmett Corrigan, seemed to slight the lead: "In the role of William Lake was Richard Bennett, pleased with his part and his own interpretation".

[16] After its run in Chicago was twice extended, Percy Hammond offered a fourteenth-week ode to The Deep Purple for "idol-smashing achievements".

The New York Times review sub-heading called it a "Crudely Contrived Melodrama Without Plausibility to Create Much Illusion".

[18] The reviewer did compliment the acting of Richard Bennett, Ada Dwyer, and Emmett Corrigan, and thought whatever merit the production had was due to the cast, with the exception of Catherine Calvert.

[19] The critic for The Brooklyn Daily Eagle knocked the play for being a weak version of a melodrama, and said if it did attract audiences it would mean Manhattan playgoers are "gullible".

[20] They ascribed the play's failings to the writers, and expressed sympathy for the "capable players" who "waste their efforts" in the production.

A contrary opinion came from Charles Darnton of The Evening World, who said: "It is rough, but seldom crude, and weak only when it grows sentimental.

"[21] Darnton was most impressed with Ada Dwyer's performance, and just as underwhelmed by another: "Miss Catherine Calvert is so bad she is funny.