Leon Schiller’s Victory was prepared as an introduction of Schiller’s theatre management in Teatr Rozmaitości in Lviv. That was both a symbolic and significant decision, even if, from contemporary perspective, Schiller’s motivation for choosing Conrad’s work for his repertoire might seem unclear. The memoirs of Władysław Daszewski, Schiller’s scenographer and his close companion, can be helpful in this respect. Daszewski recalls the demanding working conditions in Teatr Rozmaitości – the preparation of all the elements of decoration in summer heat and without any support of artisans – and also emphasises Schiller’s deep commitment that might be identified with that of Heyst. Other unarticulated reasons could have haunted Schiller during his preparations for the staging and at an even earlier stage when he made his repertoire choices: with Conrad’s Victory, he probably attempted to, firstly, win the hearts of Lvivian melodramatic viewers, and, secondly, to play, warmly but ironically, with their specific, if narrowed, expectations and their elitist theatrical routine. To trace the possibilities, I refer to the studies of melodrama by both Polish and English specialists, i.e., by Partyga or Ratajczakowa, and by Brooks or Williams, respectively.