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diff --git a/old/63624-0.txt b/old/63624-0.txt deleted file mode 100644 index ffe2246..0000000 --- a/old/63624-0.txt +++ /dev/null @@ -1,17737 +0,0 @@ -The Project Gutenberg EBook of The Life of David Belasco; vol 2, by William -Winter - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this ebook. - -Title: The Life of David Belasco; vol 2 - -Author: William Winter - -Release Date: November 04, 2020 [EBook #63624] - -Language: English - -Character set encoding: UTF-8 - -Produced by: Chuck Greif and the Online Distributed Proofreading Team at - http://www.pgdp.net (This file was produced from images - available at The Internet Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK THE LIFE OF DAVID BELASCO; VOL -2 *** - - - - - THE LIFE OF - DAVID BELASCO - - VOLUME TWO - - [Illustration] - - “_I will not be slack to play_ - _my part in Fortune’s pageant!_” - --Shakespeare - -[Illustration: DAVID BELASCO - -“_The natural successor of Lester Wallack, Edwin Booth and Augustin -Daly, as the leading theatrical manager of America._”--W. W. - -From a portrait made for this Memoir -by Arnold Genthe, New York. -] - - - - - THE LIFE - OF - DAVID BELASCO - - BY - - WILLIAM WINTER - - (1836-1917) - - “He, being dead, yet speaketh.” - - - VOLUME TWO - - - NEW YORK - MOFFAT, YARD AND COMPANY - 1918 - - - COPYRIGHT, 1918, BY - JEFFERSON WINTER - - _All Rights Reserved_ - - - - -CONTENTS - -THE LIFE OF DAVID BELASCO--VOLUME TWO - - - PAGE - -“UNDER TWO FLAGS.”--BLANCHE BATES THE RISING -STAR 1 - -BELASCO AND DAVID WARFIELD:--THEIR FIRST -MEETING 6 - -WARFIELD AND “THE AUCTIONEER” 11 - -IN THE GRIP OF THE OCTOPUS.--ANCIENT METHODS -IN MODERN BUSINESS 16 - -TESTIMONY UNDER OATH.--BELASCO _VERSUS_ ERLANGER 20 - -LAW _VERSUS_ JUSTICE 23 - -A FAITHFUL FRIEND:--WARFIELD FOR BELASCO.--THE -END OF “THE AUCTIONEER” 24 - -TEMPERAMENTAL SYMPATHY.--EARLY READING: -“THE LOW SUN MAKES THE COLOR” 28 - -GENESIS OF BELASCO’S _DU BARRY_.--CHARACTER OF -THE HISTORIC ORIGINAL 31 - -A FANCIFUL FABRIC.--“DU BARRY” FIRST PRODUCED 34 - -RICHEPIN AND THE “DU BARRY” LAWSUIT 42 - -A GRACIOUS TRIBUTE.--“REMEMBER THAT WE -LOVED YOU” 45 - -THE THEATRIC _RICHMOND_ “LOOKS PROUDLY O’ER -THE CROWN” 47 - -A DANGEROUS ACCIDENT.--ALTERING THE REPUBLIC 52 - -THE FIRST BELASCO THEATRE 55 - -“AFTER THIRTY YEARS OF LABOR.”--BELASCO IN -HIS OWN THEATRE:--THE OPENING NIGHT 60 - -THE FIRST PROGRAMME 62 - -A STUPID DISPARAGEMENT.--INCEPTION OF “THE -DARLING OF THE GODS” 67 - -THE PLAY AND THE PERFORMANCE OF “THE DARLING -OF THE GODS” 73 - -THE CREATION OF DRAMATIC EFFECTS.--DIFFICULTIES -WITH THE RIVER OF SOULS 82 - -AN OPERATIC PROJECT.--PETTY PERSECUTIONS.--AN -ARREST FOR LIBEL 85 - -SECOND SEASON AT THE BELASCO.--A CONTEMPTIBLE -OUTRAGE 91 - -HENRIETTA CROSMAN AND “SWEET KITTY BELLAIRS” 94 - -SIDE-LIGHT AND COMMENTARY ON “SWEET KITTY” 103 - -A STRENUOUS YEAR 109 - -WARFIELD IN “THE MUSIC MASTER.”--AN ANIMATED -SPEECH 111 - -CONCERNING WARFIELD, JEFFERSON, THE ELDER -SOTHERN AND THE “ONE PART” CUSTOM.--AN -AMAZING RECORD 120 - -A SHEAF OF OLD LETTERS: IN THE MATTER OF THE -THEATRICAL SYNDICATE 126 - -METHODS OF COLLABORATION 132 - -MRS. CARTER AND THE TRAGEDY OF “ADREA” 136 - - -BELASCO AND THE THEATRICAL SYNDICATE - -JUSTICE AND THEATRICAL ACHIEVEMENT 150 - -BELASCO’S UNIQUE SERVICE TO THE THEATRE 151 - -WHAT ARE WE DISCUSSING? 153 - -THE SYNDICATE-INCUBUS DEFINED 154 - -SPECIOUS PRETENSIONS TO JUSTIFY THE INCUBUS 155 - -TENDENCY TO COMBINATION IN MODERN BUSINESS 157 - -CAUSES OF THEATRICAL PROGRESS 158 - -THE RIGHT PRINCIPLE 161 - -THE OBLIGATION OF INTELLECT 162 - -“THOSE SHALL TAKE WHO HAVE THE POWER” 167 - -DIVERGENT VIEWS OF THE SYNDICATE: GROUNDS -FOR REASONABLE BELIEF 170 - -CONVERTING CONVENTION HALL:--“ADREA” IN -WASHINGTON 177 - -EXIT MRS. CARTER 184 - -SIGNIFICANT MESSAGES 186 - -VARIOUS LETTERS AND INCIDENTS OF 1905 188 - -TRIBUTE TO IRVING 194 - -BLANCHE BATES AND “THE GIRL OF THE GOLDEN -WEST” 195 - -A THRILLING STORY--AND A TRUE ONE 200 - -A MASTERPIECE OF STAGECRAFT: THE STORM IN -“THE GIRL OF THE GOLDEN WEST” 203 - -THE PARTING OF BLANCHE BATES AND BELASCO.--“THE -FIGHTING HOPE” AND “NOBODY’S WIDOW” 206 - -A GREAT NIGHT.--BELASCO AT THE METROPOLITAN.--A -GENEROUS ACKNOWLEDGMENT 211 - -BELASCO AND THE MESSRS. SHUBERT 216 - -THE ADVENT OF FRANCES STARR.--BELASCO’S “THE -ROSE OF THE RANCHO” 219 - -A NEW PROJECT:--THE SECOND BELASCO THEATRE 232 - -IN THE MATTER OF STAGE LIGHTING 242 - -OPENING OF BELASCO’S STUYVESANT THEATRE:--“A -GRAND ARMY MAN” 247 - -A DEFEATED PLAN: “THE PASSING OF THE THIRD -FLOOR BACK” 255 - -“THE WARRENS OF VIRGINIA” 258 - -“THE EASIEST WAY” 265 - -“WESTWARD, HO!”--THE SYNDICATE SURRENDERS.--INCIDENTS -OF 1909 269 - -THE SEASON OF 1909-’10: “IS MATRIMONY A FAILURE?”--“THE -LILY”--AND “JUST A WIFE” 279 - -A CHANGE OF NAMES.--THE FARCE OF “THE CONCERT” 287 - -LOSS AND GRIEF.--“NO MAN BEARS SORROW -BETTER” 293 - -A DRAMA OF SPIRITUALISM 298 - -BELASCO’S “THE RETURN OF PETER GRIMM” 299 - -CONCERNING THE EUNUCHS OF CRITICASTERISM 304 - -“THE WOMAN”--AND MR. ABRAHAM GOLDKNOPF 306 - - -BELASCO AND PLAGIARISM - -“FOLLY LOVES THE MARTYRDOM OF FAME” 310 - -“THE TRICK APPLIED” 312 - -AN ANCIENT USAGE 313 - -CHARLES READE ON PLAGIARISM 315 - -“FOR THE DEFENDANT” 318 - -CONCERNING BENEFITS--REMEMBERED AND FORGOT 324 - -THE DRAMATIC WORKS OF DAVID BELASCO - -JUVENILE EFFORTS 327 - -WRITTEN BEFORE 1882-’83 (BELASCO’S NEW -YORK CAREER BEGAN IN SEPTEMBER, 1882) 328 - -WRITTEN SUBSEQUENT TO 1882-’83 329 - -PLAYS AS YET UNACTED 332 - -BELASCO AS A DRAMATIST:--A FRAGMENT 332 - -THE GOLDKNOPF TRIAL--A UNIQUE DEMONSTRATION 336 - -A DRAMA OF PSYCHOLOGY:--“THE CASE OF BECKY” 343 - -“A GOOD LITTLE DEVIL” 348 - -“THE SECRET” 350 - -“MARIE-ODILE” 356 - -RECONCILIATION WITH CHARLES FROHMAN--AND -JOINT PRESENTMENT OF “A CELEBRATED -CASE” 361 - -LENORE ULRIC.--AND “THE HEART OF WETONA” 366 - - -VARIOUS PRODUCTIONS--MISCELLANEOUS RECORD: - -“WHAT’S WRONG.”--“THE VANISHING BRIDE.”--“THE -LOVE THOUGHT.”--“ALIAS.” 373 - -“THE GOVERNOR’S LADY” 377 - -“YEARS OF DISCRETION” 381 - -“THE TEMPERAMENTAL JOURNEY” 386 - -A REVIVAL OF THE “AUCTIONEER” 386 - -A MANIAC’S PLAY--“THE MAN INSIDE” 387 - -BELASCO IN CHINATOWN 394 - -AN ADMONITION TO STAGE ASPIRANTS 398 - -“THE PHANTOM RIVAL” 402 - -“THE BOOMERANG” 406 - -“SEVEN CHANCES” 411 - -“THE LITTLE LADY IN BLUE.”--THE LAST -PLAY EVER SEEN BY WILLIAM WINTER 413 - -“THE VERY MINUTE”--A MEMORANDUM 416 - -SUMMARY 418 - -A GREAT SHAKESPEAREAN PROJECT 441 - -CONCERNING SARAH BERNHARDT 448 - -BRIEF EXTRACTS FROM MISCELLANEOUS CORRESPONDENCE 452 - - -APPENDIX (BY J. W.) - -“VAN DER DECKEN” 459 - -“POLLY WITH A PAST” 462 - -“TIGER ROSE” 465 - -CHRONOLOGY OF THE LIFE OF DAVID BELASCO -(W. W.) 473 - -INDEX 543 - - - - -ILLUSTRATIONS. - -VOLUME TWO. - - -_In Photogravure._ - -David Belasco Frontispiece - - PAGE - -David Belasco, About 1885 16 - -David Warfield 26 - -Mrs. Leslie Carter as _Du Barry_ 42 - -David Belasco 60 - -Blanche Bates as _Yo-San_, in “The Darling of the -Gods” 76 - -David Belasco, About 1889-’90 90 - -David Belasco 136 - -Frances Starr 224 - -Augusta Belasco, Mrs. William Elliott 298 - -Reina Belasco, Mrs. Morris Gest 300 - -David Belasco 320 - -David Belasco 336 - -David Belasco 418 - - -_In Halftone._ - -Blanche Bates as _Cigarette_, in “Under Two Flags” 2 - -A Scene from Belasco’s “Under Two Flags” 6 - -David Warfield as _Simon Levi_, in “The Auctioneer” 12 - -Mrs. Leslie Carter as _Du Barry_ 34 - -Charles A. Stevenson as _King Louis the Fifteenth_, in -Belasco’s “Du Barry” 40 - -Belasco, About 1902 46 - -Belasco’s “Studio” in the First Belasco Theatre 54 - -Belasco in His Studio at the First Belasco Theatre 58 - -A Scene from “The Darling of the Gods” 72 - -George Arliss as _Zakkuri, the Minister of War_, in -“The Darling of the Gods” 82 - -Henrietta Crosman as _Mistress Kitty Bellairs_, in -“Sweet Kitty Bellairs” 100 - -David Warfield as _Herr Anton von Barwig_, in “The -Music Master” 114 - -Scene in Front of the Belasco Theatre, Pittsburgh, Pa. 126 - -Belasco’s “Adrea” Curtains 150 - -The Members of the Theatrical Syndicate 168 - -The Crowning Room,--Belasco’s Production of “Adrea” 178 - -Mrs. Leslie Carter as _Adrea_, in the Tragedy of that -Name 186 - -Henry Irving in the Last Year of His Life--1904-’05 194 - -Blanche Bates as _The Girl_, in “The Girl of the -Golden West” 198 - -To David Belasco 212 - -In Remembrance 214 - -The Opera of “The Girl of the Golden West”--A -Souvenir, to Belasco 218 - -Frances Starr as _Jaunita_, in “The Rose of the -Rancho” 232 - -Belasco in His Workshop 238 - -Switchboard of the Second Belasco Theatre, New -York 246 - -David Warfield as _Wes’ Bigelow_, in “A Grand Army -Man” 254 - -Charlotte Walker as _Agatha Warren_, in “The Warrens -of Virginia” 264 - -David Belasco and His Father, Humphrey Abraham -Belasco, in San Francisco, February, 1909--Their -Last Meeting 272 - -Nance O’Neil as _Odette De Maigny_ and Julia Dean -(the Younger) as _Christine De Maigny_, in “The -Lily” 282 - -Belasco, About 1911 286 - -Leo Ditrichstein as _Gabor Arany_ and Janet Beecher -as _Helen, Mrs. Arany_, in “The Concert” 290 - -“Oft in the Still Night” 294 - -David Warfield as _Peter Grimm_, in “The Return of -Peter Grimm” 304 - -“The Student”--David Belasco 312 - -David Belasco 328 - -Frances Starr as _Becky_, in “The Case of Becky” 344 - -Belasco, About 1914 352 - -Frances Starr as _Marie-Odile_ 360 - -Lenore Ulric as _Wetona_, in “The Heart of Wetona” 372 - -Belasco at Orienta Point--Summer Home of His -Daughter, Mrs. Gest 428 - -Benjamin F. Roeder, Belasco’s General Business -Manager 438 - -Sarah Bernhardt 450 - -David Warfield as _Van Der Decken_ 456 - -Ina Claire as _Polly Shannon_, in “Polly With a Past” 460 - -Lenore Ulric as _Rose_, in “Tiger Rose” 466 - -David Belasco--His Latest Portrait, 1918 470 - -Belasco Leading the Parade of “The Lambs” up -Pennsylvania Avenue, Washington, D. C. 476 - - - “_To him the laurels and the lyre belong:_ - _He won them well, and may he wear them long!_” - - - - -THE LIFE OF DAVID BELASCO - - - - -“UNDER TWO FLAGS.”--BLANCHE BATES THE RISING STAR. - - -The London engagement of “Zaza” ended, Belasco, Mrs. Carter, and the -members of the “Zaza” company returned to America, sailing from -Southampton, on board the steamship New York, August 18, 1900. Mrs. -Carter’s tour in that play began at the Criterion Theatre, New York, on -October 1, and Belasco turned his attention to launching Blanche Bates -as a star. The histrionic vehicle which he selected for this purpose was -a revamped dramatization of Ouida’s “Under Two Flags.” He had hoped to -obtain a drama on a fresh subject for her use and he had asked Charles -Frohman to assist in finding such a one. But, after waiting a -considerable time without any suitable play coming to light and it being -essential to bring her forward in something, Belasco determined to turn -to an old subject and revivify it. “I decided, in desperation,” he -writes, “to revive ‘Under Two Flags,’ which I had long been familiar -with, of which I had made at least two versions, and which, in the old -days, I had directed for Lotta. Her version of it, however, seemed very -old-fashioned, and I employed Mr. Paul M. Potter to make a new -adaptation of the book. I introduced a novel effect in that production -in the sand-storm in the Fourth Act; it was simple in its mechanism, but -it required much work to perfect it: it has since come into general -use.” - -Ouida’s novel is so well known to the public of the Library and, in one -form or another, histrionic adaptations of it are so well known to the -public of the Theatre, that the subject is, in every point of view, -familiar, and minutely detailed consideration of it in this place would, -therefore, be superfluous. The new theatrical epitome of that novel was -made known, for the first time, at the Garden Theatre, New York, -February 5, 1901. It was, in every detail, supervised and made practical -by Belasco, and it owed its success to his ingenious and expert -manipulation and to the embodiment of _Cigarette_ given in it under his -direction by Miss Bates. The story of that ardent, picturesque, -adventurous girl is a story of amatory infatuation, brave exploits, and -pathetic self-sacrifice, under romantic circumstances. The -representative of _Cigarette_ must be handsome, passionate, expeditious, -magnanimous, resolute, full of resource, sparkling with energy, - -[Illustration: - -Photograph by Sarony. Collection of Jefferson Winter. - -BLANCHE BATES AS _CIGARETTE_, IN “UNDER TWO FLAGS”] - -potent in fiery conflicts of feeling, and, above all, capable of -covering grief with a smile. That is the essence of her character. -Blanche Bates, possessing rare personal distinction and a temperament -equally attuned to the extreme moods of mirth and grief, was easily -proficient in the assumption of that personality and in the pictorial -and effective exposition of it. Without the presence of that actress the -play (if it had ever been produced at all) would have passed as a -populous, tumultuous stage pageant,--a spectacle of Moorish scenery and -military bustle. Animated by her power, sensibility, and spirited, -various, incessant action, it was lifted to dramatic importance and -Belasco’s “desperate” venture--as he calls it--proved brilliantly -successful. - -The employment of _Cigarette_ is the salvation from various dangers of -_Bertie Cecil_, a man whom she loves and whose love is bestowed on -another woman, and her diligence in that employment is attended by risk -and rewarded by ruin. Many persons appear to think that it is beatific -to be loved by other persons and grievous not to be loved, and, -accordingly, love-tales exemplary of the joy, on the one hand, and the -sorrow, on the other, that are sequent from those antipodal conditions -of experience are perennially popular. _Pygmalion_ worships a stone; -_Titania_ caresses the ears of an ass, and the populace is thrilled. -_Cigarette’s_ passion for _Bertie Cecil_ is of the old, familiar kind, -and, the scene being Algeria, her adventures are, theatrically, shown -across a background of singular beauty,--because that country is -remarkable for flowers, cedar forests, Oriental palms, Roman remains, -stony deserts contrasted with smiling villages, and luxuriant gardens -not distant from mountains covered with snow. - -Taste, thought, ingenuity, and sedulous care were expended on every -feature of the pageant by Belasco, and the result was a magnificent -spectacle,--one of the richest and most impressive ever seen on our -Stage. Had it been brought here by Henry Irving or Herbert -Beerbohm-Tree, it would have been hailed as a transcendent exploit in -stagecraft. Every scene was a picture, every picture was harmonious with -the phase of the story to be illustrated, and in the transitions from -the luxurious villa, with its prospect of the tranquil ocean faintly -rippling beneath the moon, to the desolate, rocky, weird, and ominous -mountain gorge a climax of solemn grandeur seemed to take shape, color, -and charm, slowly rising out of a dream of romantic beauty. The drift of -whirling mist over the darkening waves of sand on the bleak seacoast -would have seemed the most consummate of illusions had it not been -excelled by the blinding terrors of a mountain tempest. Those effects -were wrought by simple means, but they were not less splendid because of -the simplicity of their management. - -The _dramatic_ victory was not won, however, by either the pageantry or -the play. Mr. Potter’s variant version of “Under Two Flags” is hackneyed -in expedients, abrupt in movement, drastic in method, coarse in -character, shady in morals, florid in style, and it was made silly, in -some of the colloquies, by the infusion of contemporary slang and -reference. The listener heard of “rot” and also of “the -Klondike,”--unknown in the period of the story. But the old novel had -been made to yield telling situations, and the strong and splendid -acting of Miss Bates vitalized them, brilliantly animated the whole -structure, and vindicated Belasco’s faith in the ability of the actress. -The revelation of jealousy working in an unsophisticated, half-savage -nature, the elemental passion expressed in the fantastic dance, the -prayer of the breaking heart for her lover’s fidelity, the supplication -for his pardon, the agony when repulsed, the ecstasy when triumphant, -the tremendous conflict of emotions in the wild ride for rescue,--they -were all displayed with more of human nature and more of a competent -artist’s power to control feelings and to shape the effect of situation -than had been seen on our Stage for many a long day.--This was the -original cast of “Under Two Flags” at the Garden Theatre: - -_Bertie Cecil_ Francis Carlyle. -_John_ Maclyn Arbuckle. -_Rake_ Edward S. Abeles. -_Countess of Westminster_ Rose Snyder. -_Venetia Lyonnesse_ Margaret Robinson. -_Marquis of Chateauroy_ Campbell Gollan. -_Lord Constantia_ Arthur Bruce. -_Pierre Baroni_ Albert Bruning. -_Renée Baroni_ Grace Elliston. -_General Lamoricière_ Matt. Snyder. -_Paul Lamoricière_ Madge West. -_Captain de Chanrellon_ Beresford Webb. -_En-ta-Maboull_ Frank Leyden. -_Beau Bruno_ Tefft Johnson. -_Amineh_ Mrs. F. M. Bates. -_Cigarette_ Blanche Bates. - - - - -BELASCO AND DAVID WARFIELD:--THEIR FIRST MEETING. - - -“Under Two Flags” was acted at the Garden Theatre until June 3, 1901, -when that house was closed for the season and Belasco turned his -attention to preparations for the appearance of Mrs. Carter in a new -play and for the bringing forward of David Warfield as a star in the -legitimate - -[Illustration: - -Photograph by Byron. Author’s Collection. - -A SCENE IN BELASCO’S “UNDER TWO FLAGS”] - -Theatre. That actor, then a popular variety hall performer and a member -of the burlesque and travesty company maintained by Messrs. Weber & -Fields at their theatre in New York,--in Broadway, between Twenty-ninth -and Thirtieth streets,--had negotiated with Belasco, about -August-September, 1900, relative to acting under his management and on -November 2, that year, they entered into a formal agreement whereby -Belasco undertook the direction of Warfield’s professional career. Their -contract was made to cover a first period of three years: it provided -that Warfield should be presented as a star, beginning about September -or October, 1901, and that he should be paid a weekly salary of $300 and -should receive, further, 20 per cent. of the net profits of his -professional exploitation during the first year, 25 per cent. during the -second year, 30 per cent. during the third year, and 50 per cent. -thereafter, if the contract should be renewed. This engagement also -expressly required Belasco “personally to supervise the performances to -be given” by Warfield as well as to provide a play for him to act in. -The professional alliance thus begun between Belasco and Warfield has -proved, for both parties to it, one of the most fortunate ever made in -the Theatre. The personal friendship between them began many years -earlier: Belasco has given the following glimpse of its beginning: - - “There was an usher at the Bush Street Theatre--a bright little - fellow with a most luminous smile. He is still small, and his smile - is still luminous. I did not then know his name, but I had heard - that among his family and friends he was quite an entertainer, - being able to sing, to mimic and to recite. One day I was at home, - in my front room on the top floor, when I heard a voice in the - street below. I leaned out, and there on the corner, standing on a - box which scarcely raised him above the gaping onlookers, was the - little usher from the Bush Street Theatre, reciting to a curious - crowd. I went down and stood near until he had finished. Then I - went up to him and asked him his name. ‘Dave Warfield,’ said he, - giving me the smile that lived long afterwards in _Herr von - Barwig_, during all the rehearsals of ‘The Music Master,’ and that - was our first meeting.” - -David Warfield was born in San Francisco on November 28, 1866. He began -theatrical life as a programme boy, in the Standard Theatre of that -city. Later he became an usher in the Bush Street Theatre there. His -first professional appearance was made as a member of a travelling -theatrical company at Napa, California, in 1888, as the specious, -rascally Jew, _Melter Moss_, in “The Ticket-of-Leave Man.” That company -was disbanded at the end of one week, and thereafter Warfield appeared -at several San Francisco variety halls, and in a piece called “About -Town,” and gave imitations of actors whom he had seen,--among them -Tommaso Salvini and Sarah Bernhardt,--and of “types” that he had -observed in the streets of his native city. In 1890 he removed to New -York and obtained professional employment, for a short time, in Paine’s -Concert Hall, in Eighth Avenue. His next engagement was to act _Hiram -Joskins_, in a play called “The Inspector,” produced by Mr. William A. -Brady: that employment lasted two months. In March, 1891, he performed -as _Honora_, in “O’Dowd’s Neighbors,” in a company led by Mark Murphy. -In the season of 1891-’92 he acted with Russell’s Comedians, under the -management of John H. Russell, appearing as _John Smith_, in “The City -Directory.” In 1892-’93 he was seen as _Washington Littlehales_, in “A -Nutmeg Match.” In September, 1895, he became associated with the New -York Casino Theatre, where he remained for three years, acting in “About -Town,” “The Merry Whirl,” “In Gay New York,” and “The Belle of New -York,”--pieces which are correctly described as medleys of tinkling -music and nonsense. In those “entertainments,” frivolous and often -vulgar, Warfield presented several variations of substantially the same -identity,--an expert semblance of the New York East Side Jew. In 1898 he -joined the company of Messrs. Weber & Fields, and at their theatre, -where he remained for three seasons, he appeared in various rough and -commonplace travesties of contemporary theatrical successes, generally -presenting, in different lights, his photographic copy of the -huckstering, acquisitive, pusillanimous Jew of low life. One notable -variation of that type was his assumption of _The Old Man_, in a -burlesque of the offensive play of “Catherine.” Among the salient -characteristics of his acting, in whatever parts he played, were -fidelity to minute detail of appearance and demeanor and consistent and -continuous preservation of the spirit of burlesque,--a spirit which -combines imperturbable gravity of aspect with apparently profound -sincerity in preposterous situations and while delivering extravagant, -ludicrous speeches. True burlesque acting is a fine art and admirable as -such, and Warfield was heartily approved in that field; but at the time -when Belasco undertook to make him a star in the regular Theatre nobody, -I believe, except the shrewd and prescient manager,--not even -Warfield,--foresaw that within a few years he would have become one of -the most popular serio-comic actors of the modern American Stage. - - - - -WARFIELD AND “THE AUCTIONEER.” - - -The play in which Belasco elected to launch Warfield was entitled “The -Auctioneer.” He had, at first, intended to write this play himself, -calling it “The Only Levi.” But his time and energy were so preoccupied -by labor in connection with the establishment of Miss Bates and the -direction of Mrs. Carter’s career that he was unable to do so. He, -therefore, employed a playwright known as Lee Arthur (Arthur Lee Kahn) -to take his ideas and suggestions and weld them into dramatic form. The -fabric which Arthur, in fulfilment of this employment, delivered to him -was so wholly unfit for use (“an impossible thing, unworthy of -production,” Belasco designated it) that he subsequently engaged the -late Charles Klein to rewrite it in collaboration with Arthur, and, -finally, was compelled himself to rehash and partly rectify it during -rehearsals and early performances. It was first acted at the Hyperion -Theatre, New Haven, Connecticut, September 9, 1901. Warfield, testifying -on the subject in court, several years later, made a statement,--which, -surely, may be accepted as authoritative,--regarding this piece, as -originally produced, which is terse and informing: “When we began to -rehearse,” he said, “we had a book filled with words. The play was a -frost. _It was the biggest failure you ever heard of_, the opening -night.... Mr. Belasco worked day and night upon the reconstruction of -that play, from the time that he started with the rehearsals the week -before we left New York [preliminary rehearsals had been conducted by -Messrs. Klein and Arthur] until we came to New York and played, three -weeks later.” The first performance of “The Auctioneer” in the -metropolis occurred September 23, at the old Bijou Theatre, in Broadway, -between Thirtieth and Thirty-first streets. The piece, as then made -known, is a superficial, insubstantial one, which, however, contrives to -illustrate some vicissitudes of fortune, and, in the main part, -exemplifies the idea of a right philosophy in bearing them. That main -part is a Jewish auctioneer, named _Simon Levi_, resident in Baxter -Street, New York, and conducting an auction-room in the Five Points -region. _Levi_, having inherited a modest but competent fortune, -purchases a residence in a fashionable part of the city and invests the -balance of his money in a Trust Company. Then, at a festival in -celebration of the betrothal of his adopted daughter, a girl named -_Helga_, he is apprized that his stock certificates in the Trust Company -are bogus and that _Richard Eagan_, the affianced husband of - -[Illustration: - -Photograph by Pach. Belasco’s Collection. - -DAVID WARFIELD AS _SIMON LEVI_, IN “THE AUCTIONEER”] - -_Helga_, for whom he has bought a partnership in a Wall Street brokerage -firm, is to be arrested, charged with fraud in issuing them. Forced, -with his dearly loved and cherished wife, to leave his new home in -ignominious circumstances, _Levi_, though feeble in body and hurt in -spirit, bravely begins anew the strife of living,--peddling toys in the -streets. He discovers, ultimately, that the actual swindler who has -ruined him is one _Groode_, the partner of his prospective son-in-law, -from whom he recovers his wealth, delivering the culprit up to justice -and relieving the distress of his own loved ones. This story, -notwithstanding Belasco’s strenuous labor, lost little of its trite -conventionality in its histrionic relation; but his capital stage -management and the highly meritorious performance given by Warfield -under his direction made of a flimsy, trivial play a notable and -substantial success. - -It was a shrewd device, when inducting Warfield into the regular -Theatre, to do so not abruptly, but, as it were, by gentle -actuation,--to provide for his first essay a character which was little -more than an elaboration of his Jewish “specialty,” in which his early -success had been gained, with an element of pathetic experience and -feeling superadded to it. “I had been watching Warfield for years,” said -Belasco, “and I felt sure that, if he would only study, I could make a -great character [_sic_--meaning “eccentric”] actor of him; I told him -so, and when I thought he was ready I engaged him.” While I cannot -altogether agree with Belasco in his opinion, often and warmly declared, -that David Warfield is “a unique and great actor,”--not, that is, in the -same sense that, for example, Henry Placide, William Warren, Joseph -Jefferson and John Hare were great actors,--there is no question of his -rare and fine talent nor of his steady growth in artistic stature. He -has revealed in his acting an engaging personality, a genial -disposition, a gentle manner, quick sympathy with right ideals, and -capability of fervid emotion and simple pathos. Of all the many players, -male and female, whom Belasco has guided and helped to develop none, in -my judgment, owes more to his fostering care and assistance than -Warfield does: it is extremely probable that, without Belasco’s aid, he -would have remained to the end of his career a denizen of the -music-halls, instead of becoming, as he has become, one of the most -loved and admired actors of our Stage. As _Simon Levi_ he presented a -genuine, consistent impersonation in the vein of eccentric low comedy, -at places touched with tender feeling and momentarily irradiated with -pathos. His assumption of the physical attributes of this particular -Jew of low life,--the sallow complexion; the thin, wiry hair; the -splayfooted, shambling gait; the voluble gestures, the singular dialect; -the manner, now aggressive, now fawning,--was quite perfect; but his -significant achievement was his success in denoting a steadfast, -affectionate, patient nature beneath the mean outside of a petty -huckster subjected to cruel disappointment and hardship.--This was the -original cast of “The Auctioneer”: - -_Simon Levi_ David Warfield. -_Mrs. Levi._ Maria Davis. -_Mrs. Eagan._ Marie Bates. -_Callahan._ Odell Williams. -_Jacob Sampson._ Harry Rodgers. -_Richard Eagan._ Brandon Tynan. -_Mo Fininski._ Eugene Canfield. -_Minnie._ Nellie Lynch. -_Groode._ William Boag. -_Mrs. Sampson._ Helena Phillips. -_Helga._ Maude Winter. -_Dawkins._ Horace James. -_Critch._ H. S. Millward. -_Miss Manning._ Nina Lyn. -_Miss Crompton._ Elizabeth Berkeley. -_Miss Finch._ Corah Adams. -_Zeke._ Cyril Vezina. -_Mandy._ Ruth Dennis. -_Policeman._ Harry Rawlins. -_Chestnut Vender._ Richard Bevan. - - - - -IN THE GRIP OF THE OCTOPUS.--ANCIENT METHODS IN MODERN BUSINESS. - - -“The Auctioneer” played at the Bijou Theatre until December 21,--105 -consecutive performances being given there. On December 23 Warfield -began a “road tour” in that play which lasted for twenty weeks, ending -at the Illinois Theatre, Chicago, May 10, 1902. The net profit from this -tour was $80,000,--certainly an amazing sum to be gained by presentation -in the regular Theatre of an unknown star, fresh from the music halls, -who, all told, had appeared in perhaps a score of productions! But -Belasco’s actual profit from the fruits of his perspicacious judgment -and enterprise was far less than that great sum. The reason of this -seemingly strange fact is that in his professional exploitation of -Warfield he had fallen into the ruthless grip of an iniquitous -“booking-monopoly” which, practically, dominated for many years what are -known as “the first-class theatres” of America and which is still -perniciously active. Belasco’s conflict with that monopoly was long and -bitter; thousands of columns have been devoted to it in the newspaper -press of the country, and it has, at various times, occupied a prominent -place in public attention. That conflict grew directly out - -[Illustration: DAVID BELASCO - -About 1885 - -Photograph by Falk. -Belasco’s Collection. -] - -of his undertaking the management of Warfield. Several actions at law -have been incident to it. Testifying under oath in one of them, in 1905, -Belasco gave an account of his experience in relation to “The -Auctioneer” which I believe to be true in all essentials and of which I -make the following abstract and brief chronicle: - -After Belasco had undertaken to bring forward Warfield as a star he -applied to Mr. Abraham Lincoln Erlanger, junior member of the firm of -Klaw & Erlanger, theatrical managers and booking agents (i.e., “agents” -who arbitrarily arranged tours by theatrical companies through American -cities), for the purpose of making advantageous arrangements for -Warfield to appear in New York and other cities. He applied to Mr. -Erlanger because he was aware that it was, at the time, practically -speaking, impossible for him to make such arrangements, except through -the firm of Klaw & Erlanger, and that the junior member attended to such -business for that firm. He called on Mr. Erlanger at his residence, No. -262 West Seventieth Street, New York, on Sunday, December 9, 1900, and -stated his wish. Mr. Erlanger, in response, stated that “We [K. & E.] -are not in this business for our health” and inquired “Where do we [K. & -E.] come in?” Belasco replied that Klaw & Erlanger would receive their -customary commission, $300 to $400, for “booking” the play. To this Mr. -Erlanger rejoined “Hell, about that: we got to get something more.” -Belasco, after protesting that he was not, in any way, soliciting a -favor; that he assumed all risk and liability in the venture, and that -he felt it to be “a sort of blackmail” (and a very obvious sort, I -should say!) to exact from him a share in whatever gains might accrue to -him from presentation of Warfield, offered to surrender to Klaw & -Erlanger 20 per cent. of such gains, in return for “a route.” This -offer, swore Belasco, Mr. Erlanger rejected, demanding that, instead he -(his firm) should receive _50_ per cent. of any profits from the -exploitation of Warfield. To Belasco’s inquiry as to why he should -receive this unearned remuneration Mr. Erlanger rejoined “None of your -damn’ business; I want half, and _if I don’t get half_ out of Warfield -_you can’t have a route for him_. I will crush you out; sit upon you; -jump upon you, and push you out; _crush you out of this theatrical -business_!” He further admonished Belasco thus: “Understand me, Belasco; -hereafter, I want 50 per cent. of every damn’ thing you do!” Belasco, -after taking several days to consider this extortionate proposal, -decided that he could not avoid accepting it, if he was successfully to -present Warfield. He went, in company with his business manager, -Benjamin F. Roeder, to Mr. Erlanger’s office and there communicated his -decision to him, saying: “Mr. Erlanger, I can’t see any escape for me. I -want it understood that you are _compelling_ me to give up 50 per cent. -I don’t think it is right, but, if you insist, there is nothing else for -me to do.” The agreement was then made, the late Joseph Brooks, an -associate of Klaw & Erlanger, being put forward, according to Belasco’s -testimony, as a “dummy” in the written contract, in order that the -partnership of Klaw & Erlanger might be concealed from their partners in -the Theatrical Syndicate,--Messrs. Charles Frohman, Al. Hayman, Samuel -F. Nirdlinger (known as S. F. Nixon) and J. Fred. Zimmermann,--this -concealment being desired in order that Klaw & Erlanger, as booking -agents, might be able to exact more profitable terms from their -Syndicate partners than would be possible if that firm were generally -known to possess “an interest” in the presentation of Warfield in “The -Auctioneer.” Belasco, to substantiate his assertion that, actually, he -was in partnership with Klaw & Erlanger, not with Brooks, in the said -presentation, produced a number of paid cheques drawn to the order of -that firm, to a total amount of more than $30,000,--which, he swore, -represented its 50 per cent. of profits from “The Auctioneer” during -the period while that play was “booked” by Klaw & Erlanger,--a period -which, from the record, seems to have ended on January 31, 1902, at -Duluth, Minnesota. Brooks, by way of explaining those cheques, testified -that he had directed Belasco’s business agent, Roeder, to make them -payable to the order of Klaw & Erlanger because he, Brooks, was -frequently absent from New York! Brooks _admitted_ that he “made them -[Klaw & Erlanger] a present of” two-thirds of the half-interest in -presentation of “The Auctioneer” which he asserted was his. - - - - -TESTIMONY UNDER OATH:--BELASCO _VERSUS_ ERLANGER. - - -If we accept Belasco’s sworn testimony as true, then it must appear that -in the matter of arranging a tour for Warfield in “The Auctioneer” he -was the victim of as brazen and shameful an instance of blackmail as has -ever been perpetrated. It must, however, in justice be specified that -Mr. Erlanger, also testifying under oath, _flatly denied every material -statement_ made by Belasco bearing on this matter: the effect of Mr. -Erlanger’s sworn testimony, if it be accepted as true, must be to -exhibit Belasco as a villain and a liar. The eminent lawyer Samuel -Untermyer, Esq., who appeared for Belasco in the legal actions from the -records of which this conflictive testimony is cited, seems to have been -strongly impressed by its mutually exclusive nature: in reading certain -affidavits in the cases he remarked that they were “so contradictory -that they reveal a most flagrant and rank perjury on one side or the -other.” But every man’s testimony should receive the degree of respect -and credence to which his known character and reputation entitle it. I -have known Belasco for more than thirty years and, though he is (as I -know and in this Memoir have shown) often inaccurate and heedless in -regard to chronologic sequence, I know him to be trustworthy as to -substance in the statement of material facts; in short, _his_ known -character and reputation are good. Erlanger, on the contrary, is a -person whose public record, as known to me, is wholly consistent with -Belasco’s account of his conduct,--a cowardly, hectoring bully, of -violent temper and unsavory repute. Apart from this, since Erlanger has -testified relative to certain affidavits made by him “The things I -_swear_ to I only _look at casually_” (!!!) I see no reason to believe -that the things he “swears to,” derogatory of others, are worthy of any -respect or credence. It would be pleasant to me to avoid any mention of -this person, his character and proceedings; but it is impossible to do -so when writing an authentic account of the life of Belasco or of the -American Stage since about 1896. “He [Erlanger],” Belasco has declared, -“told me that if I refused his terms he would compel me to go into the -streets and blacken my face to earn a living. He said that I spoiled the -public instead of compelling them to take what the Trust chose to give, -and that a man with ideals in the theatrical business wound up with a -benefit within three years.” There is, therefore, I believe, ample -ground for the feeling toward and opinion about Erlanger which Belasco -expressed in his testimony: “I detest the man and his methods. I detest -him to-day. I think he is the most abhorred man in the country, because -he strikes hard bargains, and he makes people give up more than any -other man in the country.”--The suits at law referred to in the -foregoing passage (suits brought by Joseph Brooks against David Belasco -and David Belasco Company, and by David Belasco Company against Marc -Klaw, Abraham L. Erlanger and Joseph Brooks, the purposes of which were -to establish whether Belasco and Brooks or Belasco and Klaw & Erlanger -were partners in the presentation of David Warfield in “The Auctioneer” -and to secure an accounting under the partnership agreement) were tried -before the Hon. James J. Fitzgerald, J., sitting in equity, at Special -Session of Part V., Supreme Court, State of New York, April 6 to 26, -1905. The decision and judgment were against Belasco, and his case was -carried on appeal to the Appellate Division, First Department, of the -Supreme Court, April 20, 1906. - - - - -LAW _VERSUS_ JUSTICE. - - -That adverse decision and judgment were based on a technicality,--on a -point of law, not on a point of fact. The learned Justice who rendered -decision and pronounced judgment did not find that Belasco had failed to -prove his contention that, actually, he was in partnership with Klaw & -Erlanger, not with Brooks, in presentation of “The Auctioneer.” He found -that “parol evidence” could not be held to alter the effect of a written -and sealed instrument of engagement. “The rule,” he declared, “allowing -parol _proof_ of an undisclosed principal _is limited to simple -contracts_, for if the agreement be _a sealed_ one, _only the parties -thereto subscribing_ can be held bound.” The question of prime public -interest in this case (and it _is_ of prime public interest, because -the veracity, reputation and standing of one of the most eminent and -influential men in our Theatre are affected by it) is not whether -Belasco could, in law, under a strict rule of evidence, _enforce_ -against Klaw & Erlanger the contract actually signed by Brooks: the -question is whether or not that contract was, _in fact_, signed by -Brooks as “a man of straw” for Klaw & Erlanger, and by Belasco under -duress. I cannot conceive that any intelligent and judicious person -could read the testimony adduced and reach any other conclusion but that -Belasco had proved his allegations as to fact. And it seems clear to me -that the learned Justice must have felt satisfied that Belasco had -proved his case, _as to fact_,--otherwise he would not have been at such -pains to argue _in extenso_ the _incompetency_ of such _proof_ under the -rule. - - - - -A FAITHFUL FRIEND:--WARFIELD FOR BELASCO. THE END OF “THE AUCTIONEER.” - - -Warfield’s second season in “The Auctioneer” began, September 8, 1902, -at the Hollis Street Theatre, Boston, and lasted for 39 weeks,--closing -at the Victoria Theatre, New York, May 30, 1903. 315 performances were -given and the net profits were $70,000. His third season began at the -Harlem Opera House, New York, September 28. It was in December, 1903, -that Brooks applied to Judge David Leventritt for a receiver for “The -Auctioneer.” Warfield, then acting in New Orleans, being apprised of -this application, declared that he would “not play under the management -of Klaw & Erlanger’s representative, a receiver, or any one but David -Belasco.” That declaration, being published in the newspaper press, was -construed by Judge Leventritt as an attempt on the part of Warfield to -coerce the court in the matter of appointing a receiver and,--remarking -that if it had not been for what he deemed to be an attempt at coercion -he would have been inclined to appoint Belasco as the receiver,--he -named W. M. K. Olcott. Warfield thereupon refused to continue acting, -his tour was summarily closed, January 10, 1904,--two weeks’ salary -being paid by Belasco to the members of the company, in lieu of -notice,--and Warfield returned to New York. Before leaving New Orleans -he published this statement: - - “When I stated I would not play under the management of any one but - Mr. Belasco, I meant just what I said. It was not a threat--simply - expression of my honest conviction as to what was just and due to - the man who has made me a successful star. ‘The Auctioneer’ was Mr. - Belasco’s own investment, every penny of it. It was he who - conceived the idea of starring me in a play of this character. - From this man Brooks I have received nothing, nor have I from Klaw - & Erlanger, who are Mr. Belasco’s partners in ‘The Auctioneer.’ The - manner in which they became partners will be shown and proved when - this case comes into court for trial. They refused to give Mr. - Belasco bookings until he had surrendered 50 per cent. of the - concern. I was an unmade star then, and Mr. Belasco was not in the - position of power which he holds to-day. We had to divide. But of - the profits which Klaw & Erlanger have made from the managers with - whom they have booked the attraction, neither Mr. Belasco nor I - have received one penny from our partners. As for Brooks, he has - never had even carfare, unless Klaw & Erlanger have been more - liberal to him than to us. - - “The trouble and annoyance which this whole affair has caused me - have made me ill. But, sick or well, I absolutely refuse to play in - ‘The Auctioneer’ for any one but my own manager, Mr. David Belasco. - I defy Mr. Erlanger to deny that he and Mr. Klaw, and not Mr. - Brooks, are the real partners of Mr. Belasco in my tour. He told me - so with his own lips, when the New Amsterdam Theatre was building - last summer. He asked me to come and see how the foundations were - getting on. And when I funked, before crossing a rather rickety - looking plank, he said ‘I won’t let you get hurt, old man. - Remember, I own 50 per cent. of you.’ When Klaw & Erlanger hand - over our share of the profits they have made on the side, through - booking my play, I will go on with the tour, if my health permits.” - -After his arrival in New York, having read the remarks of the judge in -appointing a receiver, Warfield made this further statement: - -[Illustration: DAVID WARFIELD - - Photograph by White. - - Belasco’s Collection. -] - - “I must disclaim any intention of having attempted to coerce the - court into appointing the receiver I desired. Realizing as I did - the enormous amount of labor and energy expended by Mr. Belasco in - making the tours of ‘The Auctioneer’ a success, and appreciating as - I did that without me in the cast it was a grave question whether - the success of ‘The Auctioneer’ could continue, I thought it but - proper for me to inform the court that conscientiously I could not - continue to act unless Mr. Belasco was appointed receiver. I am - very sorry that my statement had the effect it did have, but it is - pleasing for me to learn that the charges made by Mr. Brooks - against Mr. Belasco were unfounded and not believed by the court, - because the court in its opinion says that were it not from a - desire to rebuke _me_ it might have felt inclined to have appointed - Mr. Belasco receiver. That is sufficient satisfaction to us who - know Mr. Belasco’s character, because it is certainly fair to - assume that the court would not have felt inclined to appoint Mr. - Belasco receiver if it believed the charges brought against him. - - “I am forced to continue the stand I originally took. I have closed - the season of ‘The Auctioneer,’ nor will I continue to act in that - play under the management of any person but Mr. Belasco.” - -Brooks applied for a mandatory injunction to compel Warfield to continue -acting in “The Auctioneer,” under the receivership direction of Mr. -Olcott, and arguments supporting and opposing that application were -heard before Justice Leventritt in the Supreme Court on January 26, -1904. Counsel for Warfield contended that while the court might enjoin -Warfield from acting for any persons outside of his contract, it had no -jurisdiction to compel him to act if he declined to do so. Justice -Leventritt agreed with that view of the matter and held that a mandatory -injunction as prayed for could not issue. Warfield did not act again for -eight months. - - - - -TEMPERAMENTAL SYMPATHY.--EARLY READING: “THE LOW SUN MAKES THE COLOR.” - - -In his youth Belasco was an omnivorous reader (as he continues to be), -but his favorite reading was that of History, and among historical -characters that specially enthralled his imagination was Mary, Queen o’ -Scots. Indeed, he has, in conversation, given me the impression that, -from an early age, his mind has been deeply interested in the study of -those famous women of history whose conduct of life is shown to have -been governed by their appetites and passions. That taste seems morbid, -but it is readily explicable. Such women have been, are, and always will -be a direct spring of tense, dramatic, romantic situations and tragic -events, and sometimes their experience involves incidents and culminates -in catastrophes which make a strong appeal to persons who possess, as -Belasco does, a highly emotional temperament. _Queen Guinevere_, in -Tennyson’s pathetic “Idyl,” remarks that “the low sun makes the color.” -Such women as Malcolm’s Queen Margaret of Scotland or Mme. Roland, -probably, would be viewed by Belasco with merely languid respect or -indifference. Such a woman as Navarre’s Marguerite de Valois, or Queen -Catherine the Second of Russia, or the irresistible siren Barbara -Villiers, or that all-conquering captivator Arabella Stuart,--whose -image lives, perpetual, in sculpture and, as Brittania, on the coins of -Great Britain,--would, on the contrary, provide for him an exceedingly -interesting study. It is not, therefore, altogether surprising that when -Belasco had established Mrs. Leslie Carter as a successful star it -pleased him to select for public illustration in a drama one of the most -depraved and dissolute feminine characters that hang on the fringes of -history,--the shameless hussy who, about 145 years ago, was picked out -of the streets of Paris, and under the auspices of the most notorious -titled blackguard of his time wedded to a complaisant degenerate, in -order that she might succeed Mme. Pompadour as the mistress of King -Louis the Fifteenth of France. Marie Jeanne Becu (1746-1793), who began -life in Paris as a milliner, became a courtesan, under the name of Mlle. -Lange, was later a lure for a gambling house, then, ennobled as the -“Countess du Barry,” was installed as the mistress of the corrupt King -Louis the Fifteenth,--whom practically she ruled for five years,--and -finally was slaughtered in the Reign of Terror, is the theme of one of -the most pictorial, popular, and successful of Belasco’s plays. His -selection of a story of that remarkable female’s adventures for dramatic -exploitation was not, however, wholly spontaneous. In 1899, aware that a -successor to the torrid termagant of the Paris music-halls would -presently be required for Mrs. Carter’s use, he began to cast about for -a play with a central character suited to her personality and method. -Not finding anything which he deemed satisfactory in the numerous -dramas, old as well as new, by many authors, which he examined, he -began, regretfully, to contemplate the necessity of writing one to fit -his star,--regretfully, because he was weary and would have been glad to -avoid adding the labor of authorship to that of business and stage -management. His election had practically fallen on Queen Elizabeth as -the central figure to be shown, when he abruptly determined to visit -England, partly in faint hope of finding there a drama which would serve -his end; more with intent to refresh his mind by change and travel and -to stimulate himself to his new task by visiting all the places -associated with the life and reign of Elizabeth. He sailed from New York -on June 14, 1899. Soon after he arrived in London an American -playbroker, Miss Elisabeth Marbury, communicated to him that “she had a -great idea for a part for Mrs. Carter.” Belasco, entertaining a high -opinion of Miss Marbury’s judgment and rejoiced at the sudden prospect -of escaping the labor of authorship, immediately went to see her, at -Versailles, in France, and there was informed that the French poet M. -Jean Richepin “proposed to write a play founded on the life of du -Barry.” The appended account of what followed has been written by -Belasco, and it provides explicit information on a subject that at one -time was disputed with acrimony in the newspaper press and occupied much -of the attention of the theatre-going public: - - - - -GENESIS OF BELASCO’S _DU BARRY_.--CHARACTER OF THE HISTORIC ORIGINAL. - - - “Miss Marbury outlined the plot as told to her by the dramatist, - and, as she repeated it to me, the story seemed to possess great - possibilities. I had produced Revolutionary plays with much success - and the period was dramatic. No manager in search of a woman’s play - could have resisted the fascinating little milliner of history! - Not long after our first interview I made arrangements with M. - Richepin. I smile at the recollection of my conversation with the - French author! He spoke very little English and I no French at all; - yet I seemed to know what he said, and he grew most enthusiastic - over my pantomime. The contracts were arranged, the advance - royalties paid, the costume plates begun, and before I left for - London the scene models were ordered from the scenic artist of the - Comédie Française. Carried away by the enthusiasm of M. Richepin, I - bought yards and yards of old du Barry velvets, antique silks, and - furniture of the period. When I left for home I had made all - arrangements to produce a play not a line of which was written. I - returned to New York elated, feeling certain that in a few weeks M. - Richepin would have the piece ready for rehearsals. When the - manuscript of ‘Du Barry’ arrived, I could scarcely wait to open the - package. Alas! I was doomed to disappointment. ‘Du Barry,’ in the - literary flesh, was episodic. It was poetic and beautifully - written, but deadly dull. It differed entirely from the story I had - heard in Versailles. My company was practically engaged, my models - done--and no play! I wrote to M. Richepin, and gave him my opinion - of the manuscript. I did not utterly condemn his first draft, for I - hoped that with some suggestions, he might be able to reshape his - material; but the longer he worked the more impossible the - manuscript became, until at last I lost all faith in it. It - possessed a certain charm, but--it was not a play. By this time I - had paid M. Richepin something like $3,000 in advance royalties, - and the properties and scenes were almost all delivered. I was so - deeply involved that I saw no way out of it. As du Barry was free - to any dramatist, I decided it was time to have a hand in - dramatizing the lady myself. I knew exactly what I wanted and what - was best suited to Mrs. Carter. Under the circumstances, it seemed - to me that I could save time and cablegrams by taking my own - suggestions instead of sending them to Paris. I arrived at this - decision only when I found that M. Richepin was a far greater poet - than playwright. So I threw out his play and set to work on my - own.” - -Speaking of the character of “the little French milliner,” Belasco has -said: “History paints du Barry as the most despised woman of her time. -She is said to have been the most evil creature antedating the French -Revolution. I had a vast number of books relating to du Barry, and -ransacked them all for one redeeming trait in her character: not one -kind word. Alas! Not _one_! For the first time in my life I found myself -in the hands of a really bad woman. I had never met one before (bad men -I _have_ met, but women,--never!). I felt a desire to rush to her -defence.... But--I need not have troubled myself to defend the lady, -for, good or bad, from the first night until the close of the play three -years later the public liked the French milliner and the houses were -sold out.” - -A little more careful ransacking of his vast du Barry library might have -revealed some of the kind words about “the lady” which Belasco sought. -Voltaire, in 1773, signified his appreciation of du Barry’s charms in -the following couplet, which certainly carries adulation to an extreme -limit: - - “C’est aux mortels d’adorer votre image; - L’original était fait pour les dieux.” - -The following description of this handsome female explains, at least -partially, the influence that she exerted. It was written by the Comte -de Belleval, one of her many admirers: - - “Madame du Barry was one of the prettiest women at the Court, where - there were so many, and assuredly the most bewitching, on account - of the perfections of her whole person. Her hair, which she often - wore without powder, was fair and of a most beautiful color, and - she had such a profusion that she was at a loss to know what to do - with it. Her blue eyes, widely open, had a kind and frank - expression, and she fixed them upon those persons to whom she spoke - and seemed to follow in their faces the effect of her words. She - had a tiny nose, a very small mouth, and a skin of dazzling - whiteness. In short, she quickly fascinated every one.” - - - - -A FANCIFUL FABRIC.--“DU BARRY” FIRST PRODUCED. - - -The play which Belasco fabricated and produced under the name of “Du -Barry” is radically fanciful: its uses historic names, but it is not, in -any sense, history. As in many precedent cases so in this one, - -[Illustration: - -Photograph by Sarony. Belasco’s Collection. - -MRS. LESLIE CARTER AS _DU BARRY_] - -authentic records were ignored and an arbitrary, gilt-edged, rosy ideal -took the place of truth. _Nell Gwynn_, in the person of Miss Henrietta -Crosman, had worn the halo but a little time before (Bijou Theatre, New -York, October 9, 1900), and if _Nell Gwynn_ could wear it, why not -_Marie Jeanne_? This burnishing process, to be sure, is diffusive of -vast and general misinformation, but for most persons that seems to be -quite as useful as accurate knowledge, and, after all, if the Stage is -to present imperial wantons in any fashion it may as well present them -in a decent one. The gay _du Barry_ as seen by the dramatist,--or, at -least, as shown by him,--was abundantly frail, but she was also fond, -and while she did not scruple to pick up the royal pocket-handkerchief -she nevertheless, in her woman’s heart, remained true to her first love: -that is the story of the play. The adventurous actual du Barry became -the paramour of Cossé-Brissac, after King Louis the Fifteenth had died -and after she had been exiled from the French Court. In the play the -lady hides that lover in her bed (he has been wounded, and she persuades -him to seek this retirement by pounding on his wounds with a heavy -candlestick, until he becomes insensible), so that the jealous _King_, -committing the blunder of Byron’s _Don Alfonso_, in “Don Juan,” cannot -find him: she also wields the convenient candlestick with which to -smash the sconce of an interloping relative who otherwise would betray -him; she defies, for his sake, the gracious Majesty of France and every -appurtenance thereunto belonging; and, at the last, she goes -pathetically to the guillotine, still loving him and still deploring her -innocent, youthful past, when they were happy lovers together, when all -was peace, joy, and hope,--because as the old poet Rogers prettily -phrases it, “Life was new and the heart promised what the fancy drew.” -As a matter of fact, the amiable countrymen of du Barry sent her to the -guillotine, in the winter of 1793, because they had ascertained that she -was too rich to be a patriot and also, probably, had entered on a secret -correspondence with their enemies in England. - -As an epigraph to his play the dramatist selected a remark by Oliver -Wendell Holmes, that “not the great historical events but the personal -incidents that call up sharp pictures of some human being in its pang or -struggle reach us more nearly.” That statement sounds well, but it -labors under the disadvantage of not being true. The play, however, -exemplifies it to the extent of showing its heroine chiefly in her -“pang”--a condition which, seemingly, ensues upon her being a -feather-brained fool, but which she loquaciously ascribes to Fate and a -ruthless appetite for “pretty things.” There is some lightness at the -start, when _Jeanne_ is a milliner, but the opening act proves to be -practically needless, since the play does not actually begin till after -the second curtain has been raised. Then the volatile girl is tempted by -the offer of the _King’s_ love, and in order that she may accept it her -honest lover is made to misunderstand her, in an incredible manner, such -as is possible only on the stage. In the Third Act she has become a -great personage, almost a queen, and that act, which is interesting, -various, and dramatic, terminates with a highly effective scene, -possible in a play, but impossible in life,--when _du Barry’s_ wounded -lover, falling insensible on that lady’s bed and being carelessly -covered with drapery, remains there, sufficiently visible to a crowd of -eager and suspicious pursuers who are searching for him--but do not find -him. The rest of the piece shows the _King’s_ efforts to capture the -fugitive and _du Barry’s_ schemes and pleadings to save him, and it -terminates with a pathetic farewell between the lovers as _Jeanne_, -deserted and forlorn, is being conveyed to the guillotine. - -Mrs. Carter, adept in coquetry, displayed, as _du Barry_, her abundant -physical fascination, but if she had refrained from removing her shoes -and showing her feet at brief intervals during the performance she -would have been considerably more pleasing in that easy vein of -bewitchment:--they were not even pretty feet. In serious business the -method of Mrs. Carter as _du Barry_ was to work herself into a state of -violent excitement, to weep, vociferate, shriek, rant, become hoarse -with passion, and finally to flop and beat the floor. That method has -many votaries and by them is thought to be “acting” and is much admired, -but to judicious observers it is merely the facile expedient of -transparent artifice and the ready resource of a febrile, unstable -nature. An actor who loses self-control can never really control an -audience. There were, nevertheless, executive force and skill in Mrs. -Carter’s performance, after it had been often repeated under the guiding -government of her sagacious and able manager. - -Belasco’s “Du Barry” was first produced at the New National Theatre, -Washington, D. C., December 12, 1901. The first performance of it in New -York occurred December 25, that year, at the Criterion Theatre, where it -was continuously acted till the close of the season, May 31, 1902, -receiving 165 consecutive performances. The play is comprehended in five -acts and eight scenes and it implicates fifty-five persons,--of whom -five are conspicuous characters by whom the burden of the action is -sustained,--and a host of supernumeraries. It was set on the stage in a -scenic investiture of extreme costliness and ostentation, being, indeed, -almost overwhelmed in the profusion of its accessories of spectacle. -Referring to this extreme opulence of environment and attire, Belasco -has said: “I offered Charles Frohman a half-interest in my ‘Du Barry,’ -but he declined to come in with me because of the immense expense. His -judgment was logical, too. ‘Du Barry’ might easily have ruined any -manager. The expenses of the production were such that there was little -profit to be made. When the curtain rose it afforded the public an -opportunity to see how a manager’s hands were forced by the very -prodigality of the subject he had chosen. My production was lavish -because the play was laid in a lavish time. The mere ‘suggestion’ of -luxury would not do,--or so I thought. Were I to do it again, it would -be from an entirely different standpoint.” I much doubt whether, if the -venture were to be made anew, Belasco would make it in a different way. -At any rate, the purpose he had in mind was fully accomplished: the -immense prodigality of his presentment profoundly impressed and greatly -delighted his audiences, and the Criterion was densely crowded at every -performance. The two most striking scenes were those of Act Three, -which showed a room in the Palace of Versailles, and the Last Scene of -Act Five, in front of a milliner’s shop. The latter portrayed a street -in Paris, shadowed by strange, “high-shouldered” houses, through which -the wretched _du Barry_, abject and terrified, was dragged to -execution,--huddled in a tumbril, attended only by a priest, the _Papal -Nuncio_, and followed by a fierce, hooting rabble, while other men and -women appeared at various house-windows, to jeer and curse her. It was -an afflictingly pathetic scene, conceived and executed with perfect -sense of dramatic effect and perfect mastery of the means of creating -it. - -This was the original cast of “Du Barry”: - -_King Louis the Fifteenth_ of France Charles A. Stevenson. -_Comte Jean du Barry_ Campbell Gollan. -_Comte Guillaume du Barry_ Beresford Webb. -_Duc de Brissac_ Henry Weaver, Sr. -_Cossé-Brissac_ Hamilton Revelle. -_The Papal Nuncio_ H. R. Roberts. -_Duc de Richelieu_ Frederick Perry. -_Terray, Minister of Finance_ C. P. Flockton. -_Maupeou, Lord Chancellor_ H. G. Carlton. -_Duc d’Aiguillon_ Leonard Cooper. -_Denys_ Claude Gillingwater. -_Lebel_ Herbert Millward. -_M. Labille_ Gilmore Scott. -_Vaubernier_ Walter Belasco. - -[Illustration: - -Photograph by Byron. Belasco’s Collection. - -CHARLES A. STEVENSON AS _KING LOUIS THE FIFTEENTH_, IN BELASCO’S “DU -BARRY”] - -_Scario_ J. D. Jones. -_Zamore_ Master Sams. -_Jeweller_ B. L. Clinton. -_Perfumer_ Edward Redford. -_Glover_ Thomas Thorne. -_Flute Player_ A. Joly. -_A Turk_ Albert Sanford. -_Valroy_ Douglas Wood. -_D’Altaire_ Louis Myll. -_De Courcel_ Harold Howard. -_La Garde_ W. T. Bune. -_Fontenelle_ Warren Bevin. -_Renard_ Arthur Pearson. -_Citizen Grieve_ Gaston Mervale. -_Marac_ Walter Belasco. -_Benisot_ H. G. Carlton. -_Tavernier_ John Ingram. -_Gomard_ Charles Hayne. -_Hortense_ Eleanor Carey. -_Lolotte_ Nina Lyn. -_Manon_ Florence St. Leonard. -_Julie_ Corah Adams. -_Leonie_ Blanche Sherwood. -_Nichette_ Ann Archer. -_Juliette_ May Lyn. -_Marquise de Quesnoy_ Blanche Rice. -_Sophie Arnauld_ Helen Robertson. -_The Gypsy Hag_ C. P. Flockton. -_Mlle. Le Grand_ Ruth Dennis. -_Mlle. Guinard_ Eleanor Stuart. -_Mme. le Dauphine_ { _Marie Antoinette_ } Helen Hale. - { at sixteen } -_Marquise de Crenay_ Dora Goldthwaite. -_Duchesse d’Aiguillon_ Miss Lyn. -_Princesse Alixe_ Miss Leonard. -_Duchesse de Choisy_ Louise Morewin. -_Marquise de Langers_ May Montford. -_Comtesse de Marsen_ Edith Van Benthuysen. -_Sophia_ Irma Perry. -_Rosalie_ Helen Robertson. -_Cerisette_ Julie Lindsey. -_Jeannette Vaubernier_, { afterward } Mrs. Leslie Carter. - { “_La du Barry_” } - - - - -RICHEPIN AND THE “DU BARRY” LAWSUIT. - - -After Belasco had rejected Richepin’s play about du Barry, returned the -manuscript of it to him, and announced that he would produce a play -about that celebrated favorite of royalty, written by himself, there was -much pother in theatrical circles and much newspaper parade of warnings -and threats, by Richepin and various of his agents, of the dire -consequences which would fall upon him for so doing. The once widely -known firm of lawyers, Howe & Hummel, were the American representatives -of the French Authors’ Society, which supported Richepin, and Mr. A. -Hummel,--who, 1905, was convicted of subornation of perjury, imprisoned -for one year on Blackwells Island, and debarred,--who was the active -member of that firm, on January 25, 1902, brought suit against Belasco, - -[Illustration: MRS. LESLIE CARTER AS _DU BARRY_ - - Photograph by Sarony. -] - -on behalf of the French author, alleging, substantially, that Belasco’s -“Du Barry” was, in fact, Richepin’s drama of similar name (“La du -Barry”) and demanding an accounting for the receipts from -representations of it. Belasco’s reply to the complaint in that suit was -served on March 4, 1902, and it was explicit and conclusive. In that -answer he specifies that on July 22, 1899, he entered into a contract -with M. Richepin, which that author obtained “by false and fraudulent -representations,” wherein he agreed to write for Belasco a “new and -original” play about du Barry, which was to be “entirely satisfactory to -this defendant [Belasco],”--failing which he was at liberty to reject -the work and return it to Richepin. Belasco, “relying upon the said -representations, statements, and promises, and not otherwise, and -believing the same to be true, paid to the plaintiff, on the signing and -execution of the agreement, the sum of $1,000”; and, on or about July 1, -1901, upon receiving from Richepin (in London, during the run of “Zaza”) -the manuscript, in French, of “La du Barry,” he paid $1,500 more. Of his -own play, “Du Barry,” Belasco swore that it is “wholly composed and -originated by this defendant, without any aid or assistance whatever -from the play alleged to have been written by” Richepin. The latter’s -play, Belasco pointed out, was “not new and original,” as required by -the contract between them, but was “taken, plagiarized, pirated, and -copied, by the plaintiff, from public sources and publications, common -and open to the public, and that the said play was wholly unsatisfactory -to him [Belasco], of which fact he notified the plaintiff, and that the -said manuscript was thereafter returned to, and accepted by, the -plaintiff.” A motion on behalf of Richepin to strike out these damaging -clauses from Belasco’s answer was made and argued before Justice -Freeman, in the Supreme Court, March 13,--Mr. Hummel maintaining that -the allegations of fraud and plagiarism by Richepin were “irrelevant and -redundant.” The motion was peremptorily denied,--after which the legal -ardor of the French poet and his agents cooled and his suit languished: -Richepin never proceeded in the case (which appears to have been an -effort to extort money from Belasco), and it was formally discontinued -in January, 1908. - -Richepin’s play (called “Du Barri”) was produced by Mrs. Cora Urquhart -Potter, March 18, 1905, at the Savoy Theatre, London, and it was a -complete failure. “I had planned to take Mrs. Carter to London, in ‘Du -Barry,’” Belasco has told me, “but Mrs. Potter’s failure was so decisive -that I gave up all thought of attempting to do so.” Writing about the -“Du Barry” lawsuit, Belasco says: “Our quarrel was long and heated, but -eventually all was ‘forgotten and forgiven,’ and I could once more read -Richepin’s mellow poetry without tearing my hair, and Richepin said -publicly, ‘The rest is silence,’ or something as nearly like it as the -Frenchman _can_ say,”--which, truly, was most generous on the part of -“the Frenchman,” in view of the fact that, altogether, Belasco had paid -him $8,500 in a venture toward making which he had, at most, contributed -merely the suggestion of a subject. - - - - -A GRACIOUS TRIBUTE:--“REMEMBER THAT WE LOVED YOU.” - - -On the first day of the new year, 1902, Belasco was the recipient of a -gracious tribute which, as he feelingly said to me, is one of his most -cherished memories. The performance ended about half-past eleven on the -night of December 31, 1901, and a little before midnight all the members -of the company concerned in representation of his drama assembled on the -stage about Belasco, Mrs. Carter, and Charles A. Stevenson, ostensibly -to greet the new year. Just at midnight beautiful silver chimes slowly -rang out the hour, and as Belasco turned to wish the assembled company -a happy New Year Mr. Stevenson stepped forward before he could speak -and, uncovering a massive and beautiful loving-cup of silver set upon an -ebony pedestal, presented it to Belasco “as a token of the great esteem -and true affection with which, during the long and arduous preparation -of ‘Du Barry,’ every member of your organization has learned to regard -you.” Belasco, always warm-hearted and peculiarly susceptible to even -casual acts of courtesy and kindness, was so much affected by the -cordial feeling displayed by all about him in the conveyance of this -rich gift that for several moments he was unable to make any -acknowledgment. Then, speaking with difficulty and almost in a whisper, -he said: “I--I thank you, all--all--from my heart. It is very lovely. -You have worked so hard, with me and for me--all of you--so nobly and so -unselfishly that I feel it is _I_ who should give a loving-cup to -you--to every member of the company. In all my experience I have not -received a more generous, touching tribute--anything which I have -appreciated more. I am poor in words--I can only say to all of you thank -you, thank you, thank you--a thousand thousand times.” - -As Belasco ceased speaking the orchestra began to play the air of -“Maryland, My Maryland,” passing - -[Illustration: BELASCO, ABOUT 1902 - -Photograph by the Misses Selby. Belasco’s collection. -] - -from that into other melodies associated with his successful plays and -closing with a plaintive tune written specially for use in “Du Barry.” - -On the “Du Barry” loving-cup there are three inscriptions. The first is - -Washington, D. C. -December 12, 1901 -Mrs Leslie Carter in David Belasco’s Play “Du Barry” - -The second is - -Presented to -Mr. David Belasco by the Members of His Company -New Year’s, 1902 - -The third is a line from the play of “Du Barry”: - -“Remember that we loved you; we loved you -through it all” - - - - -THE THEATRIC _RICHMOND_ “LOOKS PROUDLY O’ER THE CROWN.” - - -The upward progress which Belasco made in the Theatre within a period of -six years is amazing. When the curtain was raised for the first -performance of his “The Heart of Maryland,” at the Herald Square, in -October, 1895, he possessed almost nothing except his reputation as one -of the most skilful of stage managers and a copious crop of debts. When -the curtain fell on the last performance in 1901 of “Du Barry,” at the -Criterion, he was, as dramatist, director, and theatrical manager, -known, esteemed, and recognized throughout the English-speaking world: -his debts were all discharged: he possessed a competent fortune, hosts -of admirers, troops of friends: within less than three years he had made -three memorably successful presentments in the British capital (where -American ventures are supposed always to fail!): three of the most -accomplished and popular actors of the American Stage, Mrs. Carter, -Blanche Bates, and David Warfield, were under his direction and closely -bound to him. The whirligig of Time had indeed brought striking changes. -Lester Wallack, Edwin Booth, Lawrence Barrett, John McCullough--they -were but names in theatrical management. Augustin Daly, the great -representative manager of the Theatre in America, was dead. Albert M. -Palmer, once Daly’s rival, was obscurely employed as a “business agent” -for Richard Mansfield, while Mansfield’s own ambitious but ill-fated -essay in theatre management (at the Garrick, New York, in 1895) was -completely forgotten; Mansfield was definitely committed to the policy -of a “travelling star,” and the Theatre in New York was Charles -Frohman’s much vaunted Department Store. Mr. and Mrs. Harrison Grey -Fiske, at the Manhattan, were indeed maintaining an admirable dramatic -company and making an earnest endeavor in authentic theatrical -management. But, in general, the mean spirit of the petty huckster and -the sordid, selfish policy of trade monopoly dominated the American -Stage; the chair of artistic managerial sovereignty was empty, “the -sword unswayed, the empire unpossessed,” and Belasco, ambitiously -emulative of great exemplars in his vocation, like a theatric -_Richmond_, looked “proudly o’er the crown.” He was, unquestionably, the -natural successor to Wallack, Booth, and Daly; but in order to seize -their pre-eminence, to win and wear their laurel crown of leadership, he -required to have what they had each possessed,--namely, a theatre of his -own in the capital. There seemed no chance of his obtaining one: yet, -without such a citadel, notwithstanding all his labor and achievement, -he might easily be crushed: the oppressive hand of the Theatrical -Syndicate (in his estimation veritably a “wretched, bloody, and usurping -boar”) had already been laid heavily on Belasco: a half-interest in his -presentment of Warfield in “The Auctioneer” had been extorted from him -and an equal share in his exploitations of Mrs. Carter and Miss Bates -had been demanded, though not yielded up. What if he should be denied -“routes” for those players? He had brought out Mrs. Carter in “Du Barry” -at the Criterion not because he wished to do so,--that house, which -accommodated only 932 persons, being far too small for an advantageous -season,--but because it was the only theatre in New York which he could -secure. Charles Frohman was its manager and Charles Frohman was a member -of the Syndicate: the Criterion might be closed to him at the end of his -current contract. If shut off from the “first class theatres” of the -leading cities “on the road” and shut out of New York he would -practically be ruined. These and similar considerations gave grounds for -grave uneasiness to Belasco. On the afternoon of January 7, 1902, he was -alone in his office, a little room in Carnegie Hall, as he had been -every afternoon for more than a week, seeking to devise some means of -obtaining control of a New York theatre for a term of years. Toward -evening he was disturbed by a knocking at the office door. His visitor, -when admitted, proved to be the theatrical manager Oscar Hammerstein, -between whom and himself there existed merely a casual acquaintance. -“Mr. Belasco,” said Hammerstein, without any preliminaries, “the -Theatrical Syndicate is trying to crush me out of business. Valuable -attractions have been prevented from patronizing my houses this season. -I must have attractions. You must have a New York theatre, or you will -find yourself helpless. I have one in Forty-second Street, the Republic, -which I am willing to turn over to you. I have come up here on an -impulse, on the chance that you may be willing to take over control of -the Republic.” Belasco instantly replied: “Mr. Hammerstein, I shall be -very glad to take over your theatre.” In less than a week all details of -agreement had been arranged between the two managers, and on January 14, -in the office of Judge A. J. Dittenhoefer, they signed a contract -whereby Belasco undertook the management of the Republic Theatre. That -contract was for a period of five years, with an option of renewal by -Belasco for another five years, and under it he assumed full government -of the theatre,--engaging himself to pay to Hammerstein a rental of -$30,000 a year and 10 per cent. of the gross receipts from all -performances given there. It was also stipulated that neither Mrs. -Carter, Blanche Bates, David Warfield, nor any other “star or -attraction” under Belasco’s management should play at any other New York -theatre, “except for one week each at the Harlem Opera House and the -Grand Opera House.” “That lease,” Belasco has declared to me, “was a -great thing for Hammerstein,--but it was a greater thing for me, and I -did not forget that afterward, when I was paying him from $60,000 to -$72,000 a year for his theatre. When some of my friends used to say to -me, ‘Don’t you realize that you are paying Hammerstein an _unheard-of_ -rent for his house?’ I used to answer, ‘And don’t _you_ realize how very -lucky I am _to be in a position_ to pay him an unheard-of rent?’” - - - - -A DANGEROUS ACCIDENT.--ALTERING THE REPUBLIC. - - -A few weeks subsequent to signing the lease of the Republic Theatre with -Hammerstein Belasco met with an accident which came near to putting an -end to all his projects by causing his death. On the night of March 16 -he witnessed a performance of his “Du Barry,” at the Criterion. While -the setting was being placed for the last scene--a cumbrous, intricate -setting, in which he took special interest--he left his box in the -auditorium and went upon the stage to direct the work. As he did so a -large and heavy cornice which was being swung into position high in air -broke and fell, striking him full upon the head. Another piece of -scenery, thrown out of balance by the falling cornice, collapsed, and -in a moment Belasco was buried beneath a mass of tangled wreckage. He -was with difficulty extricated, unconscious and profusely bleeding. A -physician was called, who, after a quarter of an hour, having stanched -the bleeding, succeeded in restoring the injured manager to -consciousness. It was at first feared that he had sustained a fracture -of the skull, but happily he was found to be suffering only from shock -and loss of blood due to a severe scalp wound. He was removed to his -home and within a few days he had regained his usual health. - -After carefully examining the interior of the Republic Theatre Belasco -became convinced that it required to be altered for his use. “The stage -was wrong, the house was wrong, and the colors set my teeth on edge,” he -has told me. Hammerstein was willing that he should make any changes he -desired. Belasco, accordingly, took possession of the theatre at about -the end of March and, on April 19, 1902, the work of altering it so as -to make it conform to his wishes was begun. He started that work -intending to spend from $15,000 to $20,000 on improvements. When it was -finished he had expended more than $150,000. The whole interior of the -building was torn out, leaving nothing but four walls and part of the -roof. Toward the front of the property a space was blasted out of solid -rock wherein, beneath the auditorium, were built a retiring-room for -women and a smoking-room for men. A sub-stage chamber, more than -twenty-five feet deep, was also blasted out of the rock,--incidental to -which excavation a perpetual spring of water was tapped. Talking with me -about his experience in remodelling the Republic Theatre, Belasco, in -his characteristically cheery and philosophical way, said: “I remember -your telling me about the trouble Edwin Booth got into, blasting out a -ledge of rock when he was building his theatre [Booth’s Theatre, -Twenty-third Street and Sixth Avenue, 1868-’69], but I don’t believe he -had half as bad a time as we did when that spring broke loose! I was so -crazy about having my own theatre I wanted to have a hand in everything -and I used to go down and fire some of the blasts, in spite of the -protests of my family and staff, who expected I’d blow myself to Kingdom -Come. And it was _I_ who fired the charge that started that spring! My -boys in the theatre used to call me ‘Moses’ after that, for that I did -smite the rock and there came water out of it. We _damned_ it, heartily, -I can tell you, but it was a long time before we could get it _dammed_, -and it cost me a small fortune to have the stage cavity cemented in.” - -[Illustration: - -Photograph by Byron. Belasco’s Collection. - -BELASCO’S “STUDIO” IN THE FIRST BELASCO THEATRE] - -One day, during the work of alteration, a stranger presented himself to -Belasco, demanding that he be permitted to inspect the property and -explaining that he held a mortgage on it. “I had nothing to do with the -mortgage,” Belasco told me; “that was Mr. Hammerstein’s business; but I -let him come in. He surveyed the scene of devastation with horror, -standing on a scaffold, high up, and gazing into the black pit. ‘God -above me!’ he exclaimed, after a little while, ‘I’ve got a mortgage on -four walls and a hole in the ground!’--and he fled. I never saw him -again.” - - - - -THE FIRST BELASCO THEATRE. - - -The work of demolishing and rebuilding the Republic for Belasco was -performed in five months. When it was completed he possessed one of the -handsomest and best equipped playhouses in the world. “The theatre,” -Belasco has often said, “is, first of all, a place for the _acting of -plays_.” That simple statement might be deemed a platitude, were it not -for the striking fact that its maker is the _only_ theatrical manager of -the present day who practically recognizes its truth: to the majority of -other managers the theatre, it seems, is, primarily, a place for almost -anything rather than _acting_,--is, in fact, first of all, a place for -the exploitation of their tedious conceit and the making of money by any -means. The stage of the Belasco Theatre was designed and built with the -purpose of obviating the disadvantages of restricted space and of -affording every possible mechanical aid to the acting of plays. The -entire “acting surface” of that stage--the entire surface, that is, -which could be revealed to the view of the spectators,--was a mosaic of -close-fitting trapdoors, so that on occasion it might be opened at any -place desired. In the centre of the stage was “an elevator,”--that is, -in fact, a movable platform,--fifteen feet wide and thirty feet long. -Upon this platform, when it had been lowered into the cellar cavity, -were placed the paraphernalia required in the setting of the -scenes,--articles technically designated as “properties” (furniture, -etc.), and “set pieces” (solid, heavy parts of scenic rooms, houses, -etc.)--which were then raised to the stage level for use: when done -with, these paraphernalia were sunk again into the cellarage, where the -platform bearing them was shifted aside and another similar one, loaded -with material for the next setting, replaced it and was in turn raised -to the stage. - -The drops (painted cloths), ceilings, etc., were all arranged for -hoisting into the flies, as in most modern theatres; but Belasco had -the ropes by which these articles were raised from his stage so attached -to counterweights and cranks that one man could, with ease, raise pieces -which, in former times, it had required from three to six men to hoist. - -The footlights were so arranged that the light from them was diffused -upon the stage and players without the spectators, even those in the -upper stage boxes, being able to perceive whence it came. The electric -lamps in the footlights, borders, etc., were placed in small, individual -compartments, so that no unintentional blending of lights could occur: -but every necessary different color of lamp was provided and all the -lamps in the house, whether upon the stage or in the auditorium, were -connected “on resistance,”--that is, so connected with the electric -current feed wires that the lights could be (as invariably they were) -turned up or down, as required, gently, by degrees. In short, every -arrangement that knowledge, experience, and prevision could suggest as -necessary and that liberality, ingenuity, and care could devise was -provided. “I have an even better electrical equipment in my present -theatre than I had in my first house,” Belasco has said to me, “and I am -proud of it. But in my first house I had the very best there was in the -world at the time. I had a plant that would have lit a palace: in fact, -I very much doubt whether there was a palace anywhere in all the world -as well equipped in the matter of lighting.” - -Belasco’s first theatre contained seating accommodation for 950 -persons,--300 in the gallery, 200 in the balcony, and 450 on the -orchestra, or main, floor. No effort or expense was spared to make the -house in every way comfortable and delightful to all who visited it. -Outside, in front, a massive iron marquee-awning shadowed the main -entrance, overhanging the street-walk out to the curb. The doors of the -theatre were of heavy wrought iron and opened into a lobby which was, in -fact, a sort of reception hall. The walls and ceilings of this lobby -were sheathed in oak panelling of antique finish, and large, luxurious -seats of heavy oak, upholstered in leather, were placed at each end of -it. Across the rear of the auditorium, on the orchestra floor, close to -the hindermost row of seats, extended a massive screen built of -rosewood, with heavy crystal lights, to protect the audience within from -drafts of air and to exclude street sounds. The colors of the -decorations were reds, greens, and deep golden browns,--all used in -warm, subdued shades. The rear and side walls were hung with rich -tapestries, depicting an autumnal forest. The - -[Illustration: - -Photograph by Byron. Author’s Collection. - -BELASCO IN HIS STUDIO AT THE FIRST BELASCO THEATRE] - -floors were covered with heavy, soft, dark-green velvet carpets. The -seats were upholstered in silk tapestry of a complementary shade of -silver-green color, and on the back of each of them was embroidered the -semblance of a bee,--fit emblem of Belasco’s energetic, ceaseless toil. -The ceiling and dome were handsomely decorated in dull gold, sparingly -used, with soft grays and rose. There were two drop curtains,--one of -heavy, rose-colored velvet; the other an old-fashioned one of plain -green baize. Every detail of the architecture and decorations was -delicate and harmonious, and the general effect was at once opulent and -restful. The architects employed by Belasco were Messrs. Bigelow, Wallis -& Cotton, of New York: the director was Mr. Rudolph Allen. But the -active inspiration of all this beauty and luxury provided for the public -enjoyment, the conglutinating and executive force which in the face of -manifold dissensions and difficulties held all the associate laborers -together and drove through to successful completion all the varied work -of invention and reconstruction, was Belasco himself. At last he had -carried bricks for himself to some lasting purpose! When he opened his -playhouse it was in every detail as well as in every essential a new -theatre, veritably the creation of _his_ mind and will, and he very -appropriately dropped the name of the Republic and called it The -Belasco Theatre. - - - - -“AFTER THIRTY YEARS OF LABOR.”--BELASCO IN HIS OWN THEATRE;--THE OPENING -NIGHT. - - -The first Belasco Theatre was opened on Monday night, September 29, -1902, with a revival of “Du Barry.” The night was sultry, but the house -was crowded, in every part, far beyond its normal capacity; the -performance was one of remarkable fluency, vigor, and intensity, and it -was received by the audience with well-nigh frantic manifestations of -enthusiasm. After the Third Act there were more than twenty curtain -calls, and finally, in response to vociferous crying for him by name, -Belasco came upon the stage, dishevelled, pale, and weary, but very -happy, and addressed the audience, saying: - - “Ladies and Gentlemen: It is so hard for me to speak to you as I - would wish. There is so much to say, yet so little that I can say. - It is your kind sympathy and approval that have made this little - playhouse possible. I owe you--the public--far, far more than I can - tell. You all know that it has been my life-work, my greatest - ambition, to give you the best I could. In this I can honestly say - I have not faltered since I first knocked at your door, - -[Illustration: DAVID BELASCO - -Photograph by the Misses Selby. -Author’s Collection. -] - - many years ago. And in that endeavor I stand firm to-night. I thank - the friends who have upheld me so loyally all these many years. I - thank the press for the encouragement I have received. There are - some very beautiful things in the lives of those I have followed, - and one of these is the fellowship of brother workers. I am always - inspired, I always shall be inspired, by the memory and example of - three inimitable comrades of the Theatre,--one the late Lester - Wallack, another the late, lamented Augustin Daly, and yet another - who is still with us, who has given the best years of his life to - advance the art which both you and I love so well: I refer to Mr. - A. M. Palmer. They fought the good fight, these three; they kept - the faith. They gave us glorious traditions to remember and live up - to. They gave all to advance the highest. This is something we must - never forget. - - “Ladies and gentlemen, there is another of whom I must make some - mention--one whose sympathy and help have contributed to my being - here to-night. I mean my friend and companion in work, Mrs. Leslie - Carter. Here and now I wish gratefully to acknowledge the debt of - her services, her unselfishness and loyalty in time of many - struggles. - - “I have many plans for this little theatre, ladies and gentlemen. - Let me say just a word to you about the managerial policy. I am - anxious to make my patrons feel at home when they honor me by - coming, and so I have tried to make your surroundings in front of - the curtain those of a comfortable, home-like drawing-room. I - intend that the productions and casts shall be the best that work - and care can provide. In all ways I desire to make this new - dramatic home of ours a dwelling of refinement, good taste, good - entertainment, and good art. No stone shall be left unturned, no - effort unmade, to accomplish that end. You cannot know what it - means to me to speak to you, at last, after thirty years of labor - in the dramatic calling, from the stage of my own theatre. Ladies - and gentlemen, I thank you--I thank you--I can say no more.” - - - - -THE FIRST PROGRAMME. - - -The following is the programme, in detail, of the first performance -given in Belasco’s Theatre on what was, in many ways, the happiest and -proudest night of all his life: - -BELASCO THEATRE - -_BROADWAY AND FORTY-SECOND STREET_ - -UNDER THE SOLE MANAGEMENT OF DAVID BELASCO - - * * * * * - -_Evenings at 8 precisely_ _Matinees Saturdays at 2_ - - * * * * * - -DAVID BELASCO - -_PRESENTS_ - -Mrs. Leslie Carter - -_IN HIS NEW PLAY_ - -“DU BARRY” - -“_Not the great historical events, but the personal incidents that call up -single, sharp pictures of some human being in its pang or struggle, reach -us more nearly._”--OLIVER WENDELL HOLMES. - - -CAST - -_King Louis the Fifteenth_ of France C. A. Stevenson. -_Comte Jean du Barry_, eventually brother-in-law - of _La du Barry_ Campbell Gollan. -_Comte Guillaume du Barry_, his brother Beresford Webb. -_Duc de Brissac_, Capt. of King’s Guard Henry Weaver, Sr. -_Cossé-Brissac_, his son (of the King’s Guard), - known as “_Cossé_” Hamilton Revelle. -_The Papal Nuncio_ H. R. Roberts. - } Under { -_Duc de Richelieu_, Marshal of France } _King Louis_ { Geo. Barnum. -_Maupeou_, Lord Chancellor } _the_ { C. P. Flockton. -_Terray_, Minister of Finance } _Fifteenth_ { H. G. Carlton. -_Duc D’Aiguillon_ Leonard Cooper. -_Denys_, porter at the milliner shop Claude Gillingwater. -_Lebel_, confidential valet to His Majesty Herbert Millward. -_M. Labille_, proprietor of the milliner shop Gilmore Scott. -_Vaubernier_, father of _Jeannette_ Charles Campbell. -_Scarlo_, one of “_La du Barry’s_” Nubian servants J. D. Jones. -_Zamore_, a plaything of “_La du Barry’s_” Master Sams. -_Flute Player_ A. Joly. -_Valroy_ } Of the { Douglas J. Wood. -_D’Allaire_ } _King’s_ Guard { Louis Myll. -_De Courcel_ } { Harold Howard. -_La Garde_ } Two Tavern { W. T. Bune. -_Fontenelle_ } Roysterers { Thomas Boone. -_Benard_, one of the “Hundred Swiss” Warren Deven. -_Citizen Grieve_, of the Committee of Public Safety Gaston Mervale. -_Marac_, one of the Sans-Culottes James Sargeant. -_Denisot_, Judge of the Revolutionary Court H. G. Carlton. -_Tavernier_, clerk of the court John Ingram. -_Gomard_ Charles Hayne. -_Hortense_, Manageress for _Labille_ the milliner Eleanor Carey. -_Lolotte_ } { Nina Lyn. -_Manon_ } Girls { Florence St. Leonard. -_Julie_ } at the { Corah Adams. -_Leonie_ } Milliner’s { Blanche Sherwood. -_Nichette_ } Shop { Ann Archer. -_Juliette_ } { May Lyn. -_Marquise du Quesnoy_, known as “_La Gourdan_,” - keeper of a gambling house Blanche Rice. -_Sophie Arnauld_, queen of the opera Miss Robertson. -_The Gypsy Hag_, a fortune-teller C. P. Flockton. -_Mlle. Le Grand_ } Dancers from the { Ruth Dennis. -_Mlle. Guimard_ } Grand Opera { Eleanor Stuart. -_Mme. La Dauphine_--_Marie Antoinette_ at sixteen Helen Hale. -_Marquise de Crenay_ } { Helen Robertson. -_Duchesse D’Aiguillon_ } Ladies { Miss Lyn. -_Princesse Alixe_ } of { Miss Leonard. -_Duchesse de Choisy_ } _King Louis_ { Louise Morewin. -_Marquise de Langers_ } Court { May Montford. -_Comtesse de Marsen_ } { Grace Van Benthuysen. -_Sophie_, a maid Irma Perry. -_Rosalie_, of the Concièrgerie Helen Robertson. -_Cerisette_ Julie Lindsey. - - AND - -_JEANNETTE VAUBERNIER_, afterwards _La du - Barry_ MRS. LESLIE CARTER. - - * * * * * - -Guests of the Fête, Dancers from the Opera, King’s Guardsmen, Monks, -Clowns, Pages, Milliners, Sentries, Lackeys, Footmen, King’s Secret -Police, Sans-Culottes, a Mock King, a Mock Herald, a Drunken Patriot, a -Cocoa Vender, Federals, National Guards, Tricoteuses. - - * * * * * - - -SYNOPSIS OF SCENES. - -Act I.--The Milliner’s Shop in the Rue St. Honoré, Paris. - _JEANNETTE_ TRIMS HATS. - -Act II.--(One month later.) _Jeannette’s_ Apartments, adjoining - the Gambling Rooms of the _Marquise de - Quesnoy_ (“La Gourdan”). - “THE GAME CALLED DESTINY.” - -Act III.--(A year later.) _Du Barry_ holds a Petit-Lever in - the Palace of Versailles--at noon. - “THE DOLL OF THE WORLD.” - -Act IV.--Scene 1. In the Royal Gardens. Before the dawn - of the following morning. - “FOLLY, QUEEN OF FRANCE.” - Scene 2. Within the Tent. - “THE HEART OF THE WOMAN.” - -Act V.--(A lapse of years.) During the Revolution. - Scene 1. The Retreat in the Woods of Louveciennes. - “FATE CREEPS IN AT THE DOOR.” - Scene 2. (Five days later.) In Paris again. - “A REED SHAKEN IN THE WIND.” - Scene 3. In Front of the Milliner’s Shop on the - same day. - - “Once more we pass this way again, - Once more! ’T is where at first we met.” - - * * * * * - - Time: Period of King Louis the Fifteenth and after the reign of his - Successor. - - Place: Paris, Versailles, and Louveciennes. - - * * * * * - -Mr. Belasco wishes to state that, as the traditional parting of Madame -du Barry and the King of France is impossible for dramatic use, he has -departed entirely from historical accuracy in this instance. He also -begs to acknowledge his indebtedness to M. Arsène Houssaye for his -sequence of scenes. (“Nouvelle à la main, sur la Comtesse du Barry.”) - - * * * * * - -Between Acts I, II, and III there will be intervals of 12 minutes; -between Acts IV and V an interval of 15 minutes. - - * * * * * - -The entire production under the personal supervision of Mr. Belasco. - - * * * * * - -Stage Manager H. S. MILLWARD. - - * * * * * - -Scenery by Mr. Ernest Gros. - - * * * * * - -Incidental Music by Mr. William Furst. - - * * * * * - -Stage decorations and accessories after designs by Mr. Wilfred Buckland. - - * * * * * - -General Manager for Mr. Belasco MR. B. F. ROEDER. - - * * * * * - -As an epigraph for the first performance given in his theatre, and also -for a souvenir book then distributed,--a richly printed volume called -“The Story of Du Barry,” written by James L. Ford and issued in a -limited edition,--Belasco used, under the caption “Before the Curtain,” -the appended fourteen lines from Francis Bret Harte’s versified address -written for the dedication of the California Theatre, San Francisco, -January 18, 1869, on which occasion (when Belasco was among the -spectators) it was read by Lawrence Barrett: - - “Brief words, when actions wait, are well; - The prompter’s hand is on his bell; - The coming heroes, lovers, kings, - Are idly lounging at the wings; - Behind the curtain’s mystic fold - The glowing future lies unrolled. - - * * * * * - - - “One moment more: if here we raise - The oft-sung hymn of local praise, - Before the curtain facts must sway; - Here waits the moral of your play. - Glassed in the poet’s thought, you view - What money can, yet can not do; - The faith that soars, the deeds that shine, - Above the gold that builds the shrine.” - - - - -A STUPID DISPARAGEMENT.--INCEPTION OF “THE DARLING OF THE GODS.” - - -Among the meanest and most stupid disparagements of Belasco which I have -chanced to notice in recent years is one made by Mr. Albert Bigelow -Paine, the adulatory biographer of Samuel L. Clemens (Mark Twain). In -recording a conversation which he says he had with Clemens Mr. Paine -writes: “‘I suppose,’ I said, ‘the literary man should have a -collaborator with a genius for stage mechanism. John Luther Long’s -_exquisite plays_ would hardly have been successful without David -Belasco to stage them. _Belasco cannot write a play himself_, but in the -matter of acting construction his genius is supreme.’” (The italics are -mine.--W. W.) Remembering that Belasco is, among many other things, the -author of “May Blossom,” “The Heart of Maryland,” “The Girl of the -Golden West,” “Peter Grimm,” and “Van der Decken,” it seems to me that -Mr. Paine has, in that sapient comment, provided for thoughtful persons -a useful measure of his intelligence. Furthermore, his disparagement of -Belasco as a writer of plays suggests that it is competent, in this -Memoir, to inquire as to what, precisely, are the “exquisite plays” of -John Luther Long, one of Belasco’s collaborators in authorship. Mr. Long -is a fiction writer of talent, which has been widely and generously -recognized. His name is associated with six plays and no more,--namely, -“Madame Butterfly,” “The Darling of the Gods,” “Dolce,” “Adrea,” “The -Dragon Fly,” and “Kassa.” “Madame Butterfly,” as a play, is, -exclusively, the work of Belasco: it was written and produced before he -and Long met. “Kassa” is a commonplace farrago of theatrical absurdity, -rant, and miscellaneous trash, tangled into a mesh of sacerdotal -trappings and fantastic, complex, and dubious Hungarian embellishments -and is as devoid of literary merit as it is of dramatic vitality. It was -produced by Mrs. Leslie Carter, in 1909, after she had ceased to act -under the direction of Belasco, and it was a failure. “The Dragon Fly” -was written by Long in association with Mr. E. C. Carpenter, was -produced in Philadelphia, in 1905, and was a failure. “Dolce” has not -been acted or published and I know nothing about it. As to “The Darling -of the Gods” and “Adrea,”--not only did Belasco “stage” those plays -(that is, produce them), but he is at least as much _their author_ as -Mr. Long is; a fact which I venture to assume that Mr. Long would be the -last to deny. - -“The Darling of the Gods” owes its existence wholly to Belasco. When he -had leased the Republic Theatre and while he was preparing to undertake -its renovation he also began to plan his managerial campaign there. In a -letter he writes: - - - (_David Belasco to William Winter._) - - “...It was a strenuous, anxious time for me. I had so many things - to think of and so much to do that sometimes I felt like that man - in Dickens who tries to lift himself out of his difficulties by his - own hair! I saw that I was to be forced to fight for my - professional life--and I wasn’t ready. The public had been taught, - season by season, to expect always more and more from the actor, - the author, and, especially, the producer. The standard of - production was so high that the theatre-goer looked not only for - great acting but also for artistic perfection and beauty in the - stage settings. The progressive manager was forced to invest - immense sums in his stars and productions, and it was because I did - this without hesitation that I was so unpopular with some of my - contemporaries. According to them I “spoiled the public” because I - looked _first_ to the artistic instead of to the commercial - result.” - -Belasco had for several years prior to 1902 desired to present Mrs. -Carter in a series of Shakespearean and classical plays which, as he -wrote to me in that year, “have long been in her repertory but in which -I have never yet had the opportunity of bringing her out.” Mrs. Carter -was then the principal player under his management: it was both justice -to her and sound business judgment for him to open his new theatre with -a performance in which she was the star. It would indeed have been a -brilliant achievement for him to have opened it with a superb revival of -one of Shakespeare’s great plays. But, on the other hand, theatrical -management,--although, rightly understood, it entails, first of all, a -moral and intellectual obligation to the public,--is a venturesome -business, not an altruistic amusement: Belasco had invested more than -$98,000 in making his presentment of “Du Barry”: it, plainly, was -necessary to earn with that drama at least the cost of producing it -before he could bring forth Mrs. Carter in another play. And it was -obvious that while he could impressively open his new theatre with a -sumptuous revival of that popular success it could not advantageously -hold the stage there for more than a month or two and that he must have -another striking dramatic novelty ready in hand with which to follow the -revival. Among the many plays which Belasco wrote and rewrote during the -strolling days of his youth is a melodrama entitled “Il Carabiniere,” -which he called “The Carbineer.” The scenes and characters of that old -play are Italian. Belasco resolved to refashion it for the use of -Blanche Bates. But the multifarious demands on his time and strength -made it necessary for him to have assistance in performing this task, -and remembering the success of Miss Bates in his Japanese tragedy of -“Madame Butterfly” he altered his purpose and determined to base on the -old Italian tale a romance of Japan, and he proposed to John Luther -Long,--well versed in Japanese customs,--that he should help him in the -work. This proposal was accepted; the manuscript of “The Carbineer” was -turned over to Long, and, about February, 1902, the collaborators began -their work on the play which afterward became famous under the name of -“The Darling of the Gods.” That play is practically a new one, not an -adaptation: the labor of writing it was finished in June, and it was -produced for the first time anywhere, November 17, 1902, at the New -National Theatre, Washington, D. C.: on December 3, following, it was -acted for the first time in New York, at the Belasco Theatre, where it -succeeded “Du Barry,” which had been acted there for the last time on -November 29. This was the original cast of “The Darling of the Gods”: - -_Prince Saigon_ Charles Walcot. -_Zakkuri_, Minister of War George Arliss. -_Kara_ Robert T. Haines. -_Tonda-Tanji_ Albert Bruning. -_Sir Yuke-Yume_ James W. Shaw. -_Lord Chi-Chi_ Edward Talford. -_Admiral Tano_ Cooper Leonard. -_Hassebe Soyemon_ Warren Milford. -_Kato_ J. Harry Benrimo. -_Shusshoo_ F. Andrews. -_Inu_, a Corean Giant Harrison Armstrong. -_Yoban_ Carleton Webster. -_Crier of the Night Hours_ Charles Ingram. -_Kugo_ } { Maurice Pike. -_Shiba_ } { E. P. Wilks. -_Migaku_ } The seven spies { Rankin Duvall. -_Kojin_ } of _Zakkuri_ { Arthur Garnell. -_Ato_ } { Joseph Tuohy. -_Tcho_ } { Winthrop Chamberlain. -_Taro_ } { John Dunton. -_Man in the Lantern_ Westropp Saunders. -_The Imperial Messenger_ F. A. Thomson. -_First Secretary_ Legrand Howland. -_Second Secretary_ A. D. Richards. -_Banza_ } { Gaston Mervale. -_Nagoya_ } { Albert Bruning. -_Tori_ } { Fred’k A. Thomson. -_Korin_ } { Rankin Duvall. -_Bento_ } _Kara’s_ “Two-sword { J. Harry Benrimo. -_Kosa_ } Men” { Richard Warner. -_Takoro_ } { John Dunton. -_Kaye_ } { Arthur Garnell. -_Nagoji_ } { A. D. Richards. -_Jutso_ } { Dexter Smith. - -[Illustration: - -Photograph by Byron. Belasco’s Collection. - -A SCENE FROM “THE DARLING OF THE GODS” - -“_The Feast of a Thousand Welcomes_”] - -_Little Sano_ Madge West. -_Chidori_ Mrs. Charles Walcot. -_Rosy Sky_ Eleanor Moretti. -_Setsu_ Ada Lewis. -_Kaede_ Dorothy Revell. -_Madame Asani_ France Hamilton. -_The Fox Woman_ Mrs. F. M. Bates. -_Isamu_ May Montford. -_Niji-Onna_ Helen Russell. -_Nu_ Madeleine Livingston. -_Princess Yo-San_ Blanche Bates. - -_Gentlemen of Rank_, Messrs. Redmund, Stevens, Dunton, Smith, Meehan, -Richards, Shaw, Chamberlain and Shaw. - -_Geisha Girls_, Misses Winard, Karle, Vista, Mardell, Coleman and Ellis. - -_Singing Girls_, Misses Livingston, Mirien and Earle. - -Heralds from the Emperor, maids-in-waiting to the Princess, screen -bearers, Kago men, coolies, retainers, runners, servants, geisha, -musume, priests, lantern bearers, banner bearers, incense bearers, gong -bearers, jugglers, acrobats, torturers, carp flyers, Imperial soldiers -and _Zakkuri’s_ musket-men. - - - - -THE PLAY AND THE PERFORMANCE OF “THE DARLING OF THE GODS.” - - -The tragic drama of “The Darling of the Gods” is an excellent play, one -of exceptional power and ethical significance. It is a unique fabric of -fancy, wildly romantic, rich and strange with unusual characters, lively -with incident, occasionally mystical with implication of Japanese -customs and religious beliefs, opulent with an Oriental splendor of -atmosphere and detail, like that of Beckford’s romance of -“Vathek,”--fragrant with sweetness,--like Moore’s “Lalla Rookh,”--busy -with movement, effective by reason of situation, and communicative of a -love story of enchaining interest and melancholy beauty. That story is -told in continuous, cumulative action,--each successive dramatic event -being stronger than its predecessors in the element of suspense; and at -the climax there is a weird picture of supernatural environment, a -thrilling suggestion of the eternity of spiritual life and personal -identity,--a poetic symbolism, at once pathetic and sublime, of the -glory and ecstasy, the supreme triumph, of faithful love. - -The story of _Yo-San_, the heroine of that play, who is designated “the -darling of the gods,” separated from all adjuncts and accessories, is -simple. She is a princess in Japan, betrothed to a Japanese courtier -whom she does not wish to wed. She has stipulated, as a preliminary -condition of their marriage, that the courtier must prove his valor by -capturing a certain formidable outlaw, _Prince Kara_, who, on being -captured, will be put to death. She has been saved from fatal dishonor -through the expeditious courage and promptitude of that outlaw -(unrecognized by her as such), and on seeing each other they become -lovers. _Kara_ pledges himself to appear at the palace of her father, at -a “feast of a thousand welcomes” to be held in his honor, there to -receive that parent’s thanks. Thither he comes, passing through the -guards of _Zakkuri_, the dreaded _War Minister of Japan_, but sustaining -a desperate hurt in doing so. _Yo-San_, when her lover, wounded and -almost dying, has failed to make his escape from the precincts of the -palace through a cordon of enemies, conceals him in her dwelling, and -for many days she tends him, till his wounds are healed, and then, for a -time, those lovers are happy in their secret love. The girl is, however, -compromised by this indiscretion, and when presently her father, _Prince -Saigon_, discovers her secret,--and, as he thinks, her dishonor,--she is -declared an outcast; and her lover (taken prisoner while attempting to -fight his way to freedom) is doomed to torture and death. She is -compelled to gaze upon him as, stupefied with opium, he is led down into -a chamber of infernal torment. Then she is apprised that she can secure -his life and liberty by betraying the hiding place of her lover’s outlaw -followers, and in desperate agony she does betray them: but she gains -nothing by that action except an access of misery. _Prince Kara_, -surprised with his band by soldiers of the _War Minister_, having, with -a few of his followers, fought his way through the lines of his enemies -and discovered that the secret of their hiding place, confided by him to -_Yo-San_, has been by her revealed, commits suicide in the honorable -Japanese manner, and she is left alone, with only his forgiveness as a -comfort, and with the hope that,--after a thousand years of loneliness -and grief, in the underworld of shadows,--she will be again united with -him in the eternal happiness of heaven. The play shows _Yo-San_ as an -innocent, confiding, pathetic figure, a child-woman, passing amid stormy -vicissitude, cruel temptation, and afflicting trials to a forlorn and -agonized death by suicide, and leaves her at the last, redeemed and -transfigured, on the verge of Paradise, where _Kara_ stretches out his -arms to embrace her, and where there is neither trouble nor parting nor -sorrow any more. - -The experience of this Japanese girl is the old ordeal over again, of -woman’s sacrifice and anguish, when giving all for love. Something of -Shakespeare’s _Juliet_ is in that heroine, something of Goethe’s -_Margaret_, something of the many passionate, wayward, mournfully -beautiful ideals of woman’s sacrifice that are immortal in story and -song. She is a loving and sorrowing woman, true, tender, faithful -forever, and celestial alike in her - -[Illustration: BLANCHE BATES AS THE _PRINCESS YO-SAN_, IN “THE DARLING -OF THE GODS” - - Photograph by Livingston Platt. - - Belasco’s Collection. -] - -love, her temptation, and her grief. The character of _Yo-San_ combines -some of the finest components of womanhood and, indeed, exemplifies -virtues such as redeem the frailty of human nature--purity of heart and -life, true love, endurance, heroism of conduct, and devoted integrity of -spiritual faith. Blanche Bates gained the greatest success of her -professional career by her impersonation of _Yo-San_. She was an -entirely lovely image of ardent, innocent, ingenuous, noble -womanhood--such an image as irresistibly allured by piquant simplicity, -thrilled the imagination by an impartment of passionate vitality, and by -its exemplification of eternal constancy in love,--the immortal fidelity -of the spirit,--captured the heart. Her facility of action and fluency -of expression were continuously spontaneous, and she was delightful both -to see and to hear. Indeed, the acting of Miss Bates, which, from the -first of her performances on the New York Stage, had shown a charming -wildness and freedom, was, in the character of _Yo-San_, more -unconventional than ever. Her appearance was beautiful, her action -graceful, alert, vigorous, and free from all restraint of -self-consciousness and finical prudery. The clear, keen, healthful north -wind was suggested by it, the reckless dash of a mid-ocean wave, the -happy sea-bird’s flight. There was no ostentation about it, no parade, -no assumption of the moral mentor. Her personation of Belasco’s _Juliet_ -of Japan came in a time of dreary “problems,” “sermons,” “lessons,” -“arguments,” “symbols,” and the flatulent nonsense of siccorized novels -and dirty farces, and it came as a relief and a blessing--the authentic -representative of youth, health, strength, love, and hope. - -There is one moment in “The Darling of the Gods” when suspense is -wrought to a point of intense tension, and when the inherent, essential -faculty of an actor, the power to reveal almost in a flash the feeling -of the heart and the working of the mind, is imperatively required. It -is when _Kara_, wounded, exhausted, desperate, has sought refuge in the -dwelling of the _Princess Yo-San_ and, by her, has been succored and -concealed. _Migaku_, _the Shadow_, a spy of the terrible _War Minister_, -_Zakkuri_, has traced him to that refuge, but a devoted guardian of -_Yo-San_, _Inu_, a Corean giant, has detected the presence of the spy, -has seized and slain him, and has hidden the body in a stream. _Zakkuri_ -and the father of _Yo-San_ follow the spy, and come to the dwelling of -_Yo-San_. _Zakkuri_ wishes that it be searched, but he agrees to accept -her oath, if she will give it, that she knows nothing of the whereabouts -of _Kara_. The _Princess_ is summoned and, denying the presence of -_Kara_, is required by her father to swear that she has spoken the -truth. Words can faintly indicate the beauty of the picture and action -which follow, as the girl seeks to protect her lover. The time is night. -The scene is a strange, fantastic, fairy-like garden of old Japan, a -bower of flowers with twining wistaria wreathing the trees and houses, -and, far, far off, visible in the silver moonlight, a great snow-capped -volcano, the peak of which is touched with ruddy light. The father and -the dreaded _Minister of War_ stand before the door. Miss Bates, as -_Yo-San_, stood a little above them, dressed in soft, flowing white -garments, open at the throat, her black hair loose about her face and -shoulders, her beautiful dark eyes suffused with a fascinating -expression of innocence, tranquillity, and tenderness. Without a moment -of hesitation, on being required to take the most solemn of oaths, she, -with sweetly reverential dignity, raised a bowl of burning incense and, -holding it before her, spoke, in a voice of perfect music: “Before -Shaka, God of Life and Death,--to whom my word goes up on this -incense,--I swear, hanging my life on the answer, I have not seen this -Kara!” Then, as the discomfited searchers withdrew, she stood a moment, -in the soft light streaming upon her from within the house, and, gazing -after them, added, looking upward, “It is better to lie a little than to -be unhappy much!” If she had done nothing else,--though the remainder of -her professional life should be barren,--that single moment stamped her -as a great actress. - -It is, in any time, a noble achievement--one too much praised in words, -too little sought in deeds--to bring home and make vital to the human -heart the sanctity and beauty of love. The actor who does this can do no -more. Pictorial art upon the stage attains to a marvellous height when -it presents such a scene as that of the River of Souls and the reunion -of long-sundered souls, in this romantic, imaginative, and beautiful -play. Such an achievement in the dramatic art as the setting before the -public of such a play and such a performance as Blanche Bates gave of -its heroine vindicate the beneficent utility of the Theatre, because it -cheers and ennobles, and thus practically helps society, through the -ministration of beauty. This is a hard world. Almost everybody in it -struggles beneath burdens of care and sorrow. Multitudes of human beings -dwell in trouble and suffering. An imperative need of our race is the -strength of patience and the light of hope. Dramatic art, or any art, -which satisfies that need, or even remotely helps to satisfy it, is a -blessing. The rest is little, if at all, better than a curse. - -There was fine acting in “The Darling of the Gods” besides that of Miss -Bates. The part of _Zakkuri_, the _War Minister_,--a callous, -remorseless, cold villain, of the Duke of Alva type,--is the main source -of action in the drama, and it is elaborately and vividly drawn. It was -played by George Arliss, who gave in it a thrilling incarnation of -dangerous force and inveterate wickedness, almost humorous in its icy -depravity: he had an exceptional success, even for an actor who always -acts well. - -And there are many splendid imaginative and dramatic passages in this -play besides those which have been particularly examined. As set upon -the stage by Belasco it was a spectacle of superb opulence, surpassing -all its predecessors in wealth of color and beauty of detail. In the -Scene of the Night Watch at the gates; in that of the stealthy, -nocturnal search for _Kara_, outside the lodge of the _Princess_, and in -that of _Yo-San’s_ supplication for her lover’s life there is the very -poetry of terror. Some of the expedients employed had been used in -earlier dramas,--such as “Patrie” and “Tosca,”--but they were so freshly -handled that they were made newly terrible with an atmosphere of grisly -dread. Belasco, in short, offered to his public in this production a -true dramatic work of novelty, variety, and scenic splendor, -extraordinarily rich in the element of histrionic art; an offering that -was symmetrical and magnificent, prompting a memory of the old days of -“Pizarro,” “The Ganges,” and “The Bronze Horse,” but proving that his -day also was golden and that Aladdin’s Lamp had not been lost. - - - - -THE CREATION OF DRAMATIC EFFECTS.--DIFFICULTIES WITH THE RIVER OF SOULS. - - -Supreme dramatic effects are, as a rule, produced in the Theatre as -results of patient, prescient labor, using known, definite means to -definite foreordained ends,--as, for example, in such perfect histrionic -epitomes as _Shylock’s_ return through the lonely midnight streets to -his deserted dwelling, as arranged by Irving; the momentary shuddering -horror of Mansfield’s _King Richard the Third_, when, alone, in the -dusk, seated upon the throne to which he has made his way by murder, he -sees his hand bathed blood-red in a seemingly chance-thrown beam of -light; the exquisitely poetic and lovely scene of the serenade, in -“Twelfth Night,” invented by Daly, in which the theme of the comedy is -pictured without a word; or the long, dreary vigil of _Madame -Butterfly_, waiting - -[Illustration: - -Photograph by Livingston Platt. Belasco’s Collection. - -GEORGE ARLISS AS _ZAKKURI_, _THE MINISTER OF WAR_, IN “THE DARLING OF -THE GODS”] - -through the night for her recreant lover, devised by Belasco. Sometimes, -however, even the most resourceful of stage managers, though possessed -of perfectly clear purpose, find themselves baffled and balked in every -endeavor to embody a picture in action and create a designed effect: it -is with them as it is with a painter who, while knowing exactly what he -desires to depict and, theoretically, exactly how to paint it, -nevertheless fails again and again in his attempts to do so, until, as -sometimes happens, chance seems to point a way to achievement. Such an -experience came to Belasco, in his execution of the imaginative and -lovely scene of the River of Souls, in this Oriental tragedy. Writing of -it, he records the following interesting recollection: - - “There was one scene in ‘The Darling of the Gods,’ called the River - of Souls, which drove me almost mad and very nearly beat me. It was - a sort of purgatory between the Japanese Heaven and the Japanese - Hell. I engaged twenty young girls who were supposed to represent - the floating bodies of the dead, but they wouldn’t float. No matter - how hard I tried, the twenty souls looked like twenty chorus girls. - Night after night, I kept the young ladies and a number of - carpenters at work, but the illusion could not be carried out. The - play was produced in Washington, and during the last rehearsal the - River of Souls was the blot on the production; in fact, I had - postponed the opening for three nights because of this scene. At - last I made up my mind to give it one more trial and if it could - not be improved to cut it out. Dawn found Miss Bates asleep in a - stage-box, the company curled up on properties, the carpenters and - electricians ready to drop, and the River of Souls as bad as ever. - So I threw up my hands. ‘Thank you, ladies and gentlemen,’ I said, - ‘out goes the River of Souls.’ I gave the order to strike [to clear - the stage of scenery]. At that moment all set-pieces were pulled - apart, the gauze curtain was down, and two calcium lights were at - the back of the stage. As the scene-shifters drew up the back drop - a carpenter walked across. His shadow was thrown several times on - the shifting gauze in a most spectral fashion. ‘Stop!’ I called - out. ‘Stop where you are! Don’t move! Don’t move!’ The poor - carpenter halted in his tracks: he must have thought me mad. ‘We’ve - got it!’ I exclaimed. I sent out for coffee and rolls, and called - another rehearsal at six in the morning. I must say everyone - rejoiced with me. When we finished breakfast I had the gauze so - arranged as to catch the shadows of the young ladies whose souls - were supposed to be floating between heaven and hell. I threw away - the expensive paraphernalia, and instead of permitting the young - women to be suspended in the air they walked behind the gauze, - stretching out their arms as though floating through the strong - rays of light. I have shown many different scenes, but none so - baffling as this and none more impressively effective.... When I - met Sir Herbert Beerbohm-Tree, who produced ‘The Darling of the - Gods’ in London, he said that as he read the description of this - effect in the manuscript he had not believed it could be carried - out.” - -“The Darling of the Gods” was one of the most costly and least -profitable of all Belasco’s many lavish productions: the original -investment exceeded $78,000 and the expenses of presentment were so -great that, notwithstanding it was acted to immense audiences, at the -end of two years he had gained with it only $5,000. - - - - -AN OPERATIC PROJECT.--PETTY PERSECUTIONS.--AN ARREST FOR LIBEL. - - -While demolition of the Republic Theatre and construction of its -successor were in progress Belasco made an unsuccessful attempt to -fulfil a purpose which he had cherished for several years,--the purpose, -namely, to cause the writing of, and to produce, a series of true comic -operas, American in theme but similar in character to the brilliant and -delightful combinations of satire, melody, and fun which made famous the -names of Gilbert and Sullivan. “I hoped,” he said, “to find a pair of -American authors that could be developed into at least something like -such a team as Gilbert and Sullivan, and for a while I thought I should -succeed,--but it was too much to hope for.” As part of his plan for this -operatic enterprise Belasco engaged the well-known singer Miss Lillian -Russell, for whose talents he entertained high respect: “I _know_,” he -has said to me, “that Lillian Russell could have done far finer things -than ever she has done--and I wanted her to do them under my -management.” Inability to obtain any musical play for Miss Russell’s use -which was satisfactory to him finally compelled Belasco to release her -from engagement and to abandon a project which, adequately performed, -would have been of great benefit to our Stage. - -From the time when it became publicly known that Belasco had assumed the -management of a theatre of his own, in New York, until 1909, when -self-interest at last reopened to him the long closed theatres dominated -by the Theatrical Syndicate, he was made the object of an almost -continuous series of attacks, annoyances, and persecutions, often merely -petty, sometimes extremely serious, the origin of which is not always -demonstrable but the motive of which, unmistakably, was to defame, -hamper, and injure him in his professional vocation. Thus, a few days -before the opening of his new theatre he was accused in several -newspaper diatribes of having “stolen” the services of three prominent -actors,--namely Lillian Russell, Blanche Bates, and David -Warfield,--then under engagement to him, from other theatrical managers, -regardless of prior contracts. The dispute on this subject has been -top-loftically described as a tempest in a teapot, but as the accusation -is, in fact, one of most dishonorable and illegal conduct the entire -refutation of it should be recorded. Miss Russell wrote about the matter -as follows: - - “I am very proud to have it known that Mr. Belasco is to be my - future manager, but it is doing him a great injustice to assert - that he tried to get me away from other managers with whom I was - under contract. He, emphatically, did nothing of the kind. - Everything was done in the most amiable spirit among all concerned, - and, as a matter of fact, he and I were brought together, in a - business relation, entirely by outside parties.” - -From Miss Bates came a letter in which she said: - - “I was entirely free from all contract obligations when Mr. Belasco - first made me an offer to come under his management. I left Liebler - & Company quite voluntarily, as I did not care to go to London with - ‘The Children of the Ghetto.’ I was therefore out of an engagement - when Mr. Belasco sent for me to create the leading part in a new - comedy.... I was given the greatest opportunity of my life in - ‘Madame Butterfly,’ and I have grown from leading woman to a star - under his management. And because I know that my artistic future is - safer in his hands than with anyone else I would not for a moment - consider an offer from another manager.” - -And Mr. Warfield sent to Belasco by telegraph from Boston this request -and statement: - - “Please deny for me that I had one more year [of service under - contract] at Weber & Fields’. I came to you having always had an - idea you could better my position.” - -A week before the first presentment of “The Darling of the Gods” in New -York an allegation even more injurious was made against Belasco when -several newspapers of the metropolis published affirmations by a female -author, known as Onoto Watanna, to the effect that characters and -incidents from two stories by her, “The Wooing of Wistaria” and “A -Japanese Nightingale,” had been appropriated by Belasco and incorporated -in “The Darling of the Gods” and that two acts of that play were pirated -from a dramatization of one of those stories. - -To these aspersions Belasco made prompt rejoinder by institution of a -suit against Mrs. Bertrand W. Babcock, asking $20,000 damages for -malicious libel. Mrs. Babcock was arrested, December 3, 1902, on a -warrant issued in this action and held in $500 bail. At the time of her -arrest Belasco made a statement as to his motives and feelings in -bringing suit in which he said: - - “My purpose in causing the arrest of Mrs. Babcock (Onoto Watanna) - is to stop, once and for all, the groundless persecution to which I - am subjected whenever I dare to present a new play. That my - productions are thorns in the sides of several managers I am - perfectly aware, but through Mrs. Babcock, who will now have to - give an account of her claims against me in court, I hope to reach - the real instigators of this attack against my integrity as a - manager and a man. I have never met Mrs. Babcock in my life nor - have I read either of her books, to one of which Klaw & Erlanger - have announced that they have purchased the dramatic rights. The - first I heard of Mrs. Babcock was about two months ago, at which - time my play had neither been put in rehearsal nor read to any one - who could possibly have told her of its plot, characters, or - incidents. At that time she informed a prominent morning newspaper - man that the firm of Klaw & Erlanger were very anxious to have her - bring a suit against me for plagiarism. I laughed at the whole - matter, for, knowing that ‘The Darling of the Gods’ was entirely - original with Mr. John Luther Long and myself, I could not conceive - of any person being foolish enough to make such a charge. But it - was the last shot in my enemies’ locker. From the day I started - work on this production I have been harassed in every direction. I - am almost as anxious to get this case into court and settled at - once and for all as I am to have the ‘Du Barry’ controversy - clinched. All I claim is the right of any citizen to pursue his - business unmolested. - - “This whole affair from start to finish is a conspiracy to throw a - nasty slur on my name as a playwright and manager on the eve of a - new production in which I have invested a great deal of money: and - with the courts to help me I intend to unmask a few of the real - culprits. Furthermore, I find now that Mrs. Babcock’s story ‘The - Wooing of Wistaria’ was not published until last September. Our - play was finished early in June. By causing the arrest of this - woman I hope, in addition to justifying myself, to establish a - precedent whereby other playwrights, when they happen to be - successful, may be able to take drastic means to protect themselves - against similar persecutions.” - -On February 6, 1903, at a hearing in this libel suit of Belasco’s, -before Justice Leventritt, of the Supreme Court, Mrs. Babcock, in -effect, withdrew the libel complained of (denying that she had made the -defamatory allegations ascribed to her), and the order of arrest -previously issued against her was, in consequence, vacated. The purpose -of the aspersions made was, undoubtedly, that stated by Belasco.--A -dramatization of Mrs. Babcock’s story of “A Japanese Nightingale” was -produced by Klaw & Erlanger, at Daly’s Theatre, New York, November 19, -1903, with Miss Margaret Illington as _Yuki_, its chief female -personage: the production of that play, it was generally understood in -theatrical circles at the time when it was made, was designed to exhibit -the authentic investiture and interpretation of a tragedy of Japan and -thus to display the artistic and managerial superiority of Messrs. Klaw -and Erlanger to Belasco: it was acted at Daly’s forty-four times and -then withdrawn. - -On May 30, 1903, the 186th performance of “The Darling of the Gods” -occurred at Belasco’s Theatre, which was then closed for the season. On -June 6, at Minneapolis, Minnesota, Belasco brought to an end a tour by -Mrs. Leslie Carter and a theatrical company of 147 other players, -presenting his “Du Barry,” which began at Brooklyn, New York, - -[Illustration: DAVID BELASCO - -About 1889-’90 - -Photograph by the Misses Selby. -Author’s Collection. -] - -December 2, 1902, which comprehended forty-two cities (extending as far -south as Galveston, Texas, and as far west as San Francisco), and which -involved travel of more than 10,000 miles, during most of which the -company was luxuriously transported on special trains. - - - - -SECOND SEASON AT THE BELASCO.--A CONTEMPTIBLE OUTRAGE. - - -The Belasco Theatre was reopened for its second season, that of -1903-’04, September 16, with a revival of “The Darling of the -Gods,”--acted by the original company,--which held the stage there until -November 14, sixty-four performances being given. On November 16 Mrs. -Carter emerged there in “Zaza,” which was acted for one week and was -followed, on the 23rd, by “Du Barry,” of which sixteen performances were -given. A peculiarly contemptible outrage, incidental to the protracted -campaign of persecution waged against Belasco, was perpetrated on the -first night of the “Zaza,” revival when a process server, employed and -instructed by the disreputable Abraham Hummel, leaped upon the stage -during the performance and served upon Mrs. Carter (who had nothing to -do with the matter) notice of an action at law brought by Miss Eugenie -Blair and Mr. Henry Gressit against Belasco, in which, alleging rights -of ownership in the play by Charles Frohman (who at the time was also -represented by Hummel), they prayed for an injunction to stop his -presenting “Zaza” in New York. “Few things,” Belasco has said, “could -have distressed me more than the thought that Charles Frohman could be -in any way a party to such conduct.” Among the many miscellaneous papers -which Belasco has permitted me to examine, in compiling material for -this Memoir, is a hurried note from Frohman which indeed reads strangely -in the light of this incident: - - -(_Charles Frohman To David Belasco._) - -“New York, Friday, -“(August 30?), 1899. - -“Dear Dave:-- - - “Don’t fail me on ‘Shenandoah.’ This is _my chance_, and you can do - much for me. _You know how I depend on you!_ After our engagement - the tour is arranged as you have asked it. 11 A.M., Tuesday, Star - Theatre. All details I have people to look after. - -“CHARLES.” - - - -The great success of “Shenandoah,” which made possible the career of -Charles Frohman, was in large part due to the sagacious and practical -help of Belasco, given in response to this appeal,--and the latter -manager, it seems to me, changing a single word, might well have -exclaimed with the betrayed monarch in Wills’s play about the Martyred -King, “Charles Murray, hast thou waited all these years to pay -me--_thus!_” Frohman, Belasco has informed me, assured him, long -afterward, when Gentle Peace had enfolded all their contentions, that he -was not priorly cognizant of Hummel’s outrageous instructions: -well,--perhaps he was not: but, if he was not, it is a pity he did not -so declare at the time of his quondam friend’s persecution and so shield -himself from contempt. Belasco’s lawyer, the Hon. A. J. Dittenhoefer, -commenting on this needless and shameful interruption of a public -performance, observed that “The case has remarkable features. As Mr. -[Charles] Frohman is half-owner of the play with Mr. Belasco, he is -really being served with papers by his own lawyers; moreover, Mrs. -Carter is not named in the papers, and it is against all precedent and -decency to serve them on her in such a way. They should have been served -on Mr. Belasco, or on the box-office, which stood open. There has been -plenty of time and ample opportunity for that.” Of course there had been -“plenty of time and ample opportunity”!--but such orderly and decent -service would not have annoyed and distressed a nervous, impulsive, -sensitive man, whom it was desired to harass and injure.--The injunction -asked for was denied by Justice Scott, December 11, 1903. - - - - -HENRIETTA CROSMAN AND “SWEET KITTY BELLAIRS.” - - -On June 15, 1900, Belasco entered into an agreement with the English -fiction writer Egerton Castle by which he obtained optional rights of -producing dramatizations of five novels by that author and his wife and -collaborator, Agnes Castle. He relinquished his rights in four of those -novels, “Young April,” “The Pride of Jennico,” “The Star Dreamer,” and -“The Secret Orchard,” but he exercised them with regard to a fifth, “The -Bath Comedy,” upon which he based a play. His purpose, originally, was -to bring forth Blanche Bates in its central character, when “The Darling -of the Gods” should have ceased to hold public interest. Many reasons, -however,--chief among them desire to please Mr. Castle by an early -production,--caused him to change his plan. He, accordingly, in January, -1903, engaged the accomplished actress Miss Henrietta Crosman to assume -the principal part in the play which he had founded on Mr. Castle’s -story, and, on November 23, of the same year, at the Lafayette Square -Opera House, Washington, D. C., he produced it for the first time, under -the title of “Sweet Kitty Bellairs.” Pursuant of what was, I am -convinced, a deliberate plan to harass Belasco and hinder him in his -managerial enterprises, the lawsuit instituted by Joseph Brooks -(incidents of which have already been recounted) was brought almost in -the moment of that first performance. Belasco, however, had grown -accustomed to persecution and remained unperturbed by it. On being -notified, November 24, of Brooks’s allegation in the matter and asked -for a statement, he dismissed the subject in two sentences: “It is,” he -said, “a pack of lies, and I am too busy with this production -[“Bellairs”] to make any answer to these persons [meaning Brooks and his -associates] now. When I am disengaged I will make a reply.” - -Belasco’s presentment of his “Sweet Kitty Bellairs,”--made for the first -time in New York, December 9, 1903, at the Belasco Theatre,--revealed a -comedy as well as a spectacle, because, while it satiated the vision -with luxuriance of ornament and color, it set a truthful and piquant -picture of manners in the jewelled framework of a story generally -credible and always romantic as well as at once humorous and tender, -merry and grave. The central purpose of it is the display of a study in -womanhood, an exceptional female character, a peculiar and fascinating -type; and the predominant attribute of it, accordingly, is sexuality. -The dashing coquette of old English fiction lives again in his _Kitty -Bellairs_,--not precisely _Lady Froth_, _Lady Bellaston_, _Mrs. Rackett_ -or _Mrs. Delmaine_, but a purified, glorified ideal of those gay, -tantalizing, roguish dames, a creature of sensuous beauty and reckless -behavior, whose whole occupation in life is the bewitchment of man; and, -in a silver fabric of gossamer comedy, this siren and all her associates -are engaged in adjusting their amatory relations. In other words, this -is a play of intrigue. - -“The Bath Comedy” is an extravagant and flimsy novel, and the dramatist -derived but little material from it,--that little, however, comprising -the jealous, peppery, belligerent, irrational husband; the silly, pretty -wife, with her saccharine endearments and ever-ready tears; the -ingenuous young nobleman, _Lord Verney_, so readily dazzled; and the -burly, genial, blundering ardent Irish soldier, _O’Hara_, so fond and -faithful, so rich in desert, and, at the last, so completely forlorn. -Expert use is made, likewise, of the diverted love-letter, inclosing the -tress of red hair. No spectacle, indeed, could, intrinsically, be -funnier than that presented by the enraged, suspicious, tumultuous -husband, intent on fighting with every red-haired man in Bath, in order -to be avenged on the unknown epistolary suitor of his absolutely -innocent wife. Taking this bull-headed mistake as a pretext for action, -and taking as a basis _Kitty’s_ wicked scheme for the relief of _Lady -Standish_,--who has temporarily wearied her husband by her dulness and -who will be taught to win and hold him by gay indifference and the -piquant allurement of coquetry,--Belasco built a structure of story and -action practically original and certainly brilliant. Writing on this -subject, he modestly says: “The dramatization was not easy: I was -obliged to add to the plot, but I used the atmosphere and characters of -the book,”--and, it may be added, contrived to fashion a charming and -effective comedy where, perhaps, any other dramatist of the time would -have failed. - -After an insipid Prologue, in crude rhyme, the old English city of Bath -is shown, in a beautiful picture, and therein is displayed a populous, -animated scene, constructed to exhibit as a background the raiment, -manners, morals, and pursuits of Bath society, in the butterfly days -that Smollett and Sheridan have made immortal. Then the story,--slender -and frail but amply adequate for its light purpose,--is rapidly -disclosed. _Kitty Bellairs_ will help _Lady Standish_ to bewitch her -indifferent husband by making him jealous; and when, through _Kitty’s_ -artful roguery, his dangerous wrath is directed against _Lord Verney_, -whom she would like to have for her own sweetheart, she will intervene -to prevent the impending duel and will implicate herself in a most -disastrous and distressing tangle of comic trouble. Two situations ensue -that are essentially dramatic and that also involve affecting and -enjoyable elements of pathos and humor. _Kitty_ and _Lady Standish_, -having proceeded to _Lord Verney’s_ lodging, in hope to avert a -catastrophe that their mischief has invoked, are in peril of -compromising discovery there, and at the climax _Kitty_ takes upon -herself the apparent disgrace and shame by coming forward to shield her -friend. Later, in the thronged assembly-room,--in a pageant of almost -unprecedented magnificence,--the brilliant _Bellairs_, ostracized by the -ladies of Bath, appeals to _Lady Standish_ for vindication and finds -that spineless comrade too weak and too timid to speak the truth. The -latter incident provides the supreme moment of the comedy, and, however -much its probability may be questioned, no spectator of it, adequately -acted, will for an instant doubt its theatrical effect. The preparations -for it are made with extraordinary skill. The scenic adjuncts to it -provided by Belasco were of royal opulence. It is fraught with -emotional suspense; it is a sharp surprise, and it has the decisive -potentiality of a dramatic act. Later the scene shifts to a Bristol -tavern, where _Lady Betty_ makes a tardy explanation, retrieving the -wrong, while _Verney_ and _O’Hara_ and the rest of the soldiers march -away,--in a storm, most deftly managed (as Belasco showed it), of wind -and pouring rain,--and _Sweet Kitty Bellairs_ is left in possession of -the field, a little rueful, perhaps, but rehabilitated and triumphant. -This close seemed somewhat tame, as a sequel to the ballroom effulgence, -but it was inevitable: after the clock has struck twelve it must -necessarily strike one. There is no thirteen. - -The antique moralist, while gazing on that gorgeous spectacle,--“the -teacup time of hood and hoop, or when the patch was worn,”--might, -perhaps, be moved to inquire whether women, in their traffic with the -impulses of love, the caprices of their own sex and the follies of the -other, do really think and act as they are made to think and act in this -play of Belasco’s: but, as the antique moralist knows nothing whatever -about women, he would only bewilder himself by such interrogatory. -Enough to know, in gazing on that spectacle, that it dazzles his vision -and that the story pleases his fancy. He sees a woman to whom humdrum -conventionality is intolerable; a woman who is fearless alike of -vindictive feminine spite and insolent masculine tolerance; a woman who -can be magnanimous; a woman who is nothing if not brilliant: and all -this ought to content even a cynic. The dramatist has made _Kitty -Bellairs_ much more of a woman and _Lord Verney_ much more of a man than -they were in the Castle novel,--where, indeed, _Bellairs_ is -unprincipled and heartless and _Verney_ foolish: a coarse flirt and a -callow milksop. Evil influence may be incarnate, without evil deed. In -the play this heroine is a thoroughly noble, gentle, and tender woman, -underneath her panoply of mirth and mischief, and she acts from a good -heart, and not from mere vanity and sensuous caprice. Miss Crosman -entered into this character with absolute sympathy, and, as to the -glittering side of it, so embodied it as to create a cogent effect of -nature. There is an appeal made by _Kitty_ to her Irish and other -military friends, when they behold her in apparent disgrace, that -strikes the true note of pathos, and, in the speaking of this, Miss -Crosman eloquently and nobly expressed the dignity of conscious virtue, -while in the denotement of tenderness she much exceeded -expectation,--because tenderness is not characteristic of her acting in -general, the drift of her temperament and style setting toward pert -assurance, skittish - -[Illustration: HENRIETTA CROSMAN AS _MISTRESS KITTY BELLAIRS_, IN “SWEET -KITTY BELLAIRS” - -Photograph -by Sarony. Belasco’s Collection. -] - -sport, sparkling raillery, and sprightly banter. _Kitty’s_ attitude, -during most of the comedy, is that of a maker of innocent -mischief,--with a spice of wickedness in it,--and she complicates -everything from pure love of drollery. This Miss Crosman made perfectly -and delightfully clear. The dilemma in Act Second, when _Kitty_ and -_Lady Betty_ are surprised in the bedroom at _Verney’s_, and the -exaction of an hysterical outburst at the end of Act Third a little -overtaxed the strength of the actress; but her impersonation of _Kitty -Bellairs_ lives in memory and is treasured for unity of purpose and -consistency of method, blithe spirit and buoyant action, sentiment -sweetly denoted beneath arch pleasantry and many winning graces of -manner, inflection, and playful prettiness. Belasco gained a new and -lasting laurel of success with this production, in which all points had -been well considered and nothing left to chance. The first performance -in New York was given in the presence of a brilliant and delighted -multitude. The final curtain did not fall till after midnight,--but - - “Noiseless falls the foot of Time - That only falls on flowers.” - -This is the original cast of “Sweet Kitty Bellairs”: - - “_They lived in that past Georgian day - When men were less inclined to say - That ‘Time is gold’ and overlay - With toil their pleasures._” - - * * * * * - - -_IN THE PROLOGUE._ - - * * * * * - -_Master of Ceremonies_ Mark Smith, Jr. -_The Prologue will be spoken by_ Antoinette Walker. - - * * * * * - - -_IN THE PLAY._ - -_Sir Jasper Standish_ John E. Kellerd. -_Col. the Hon. Henry Villiers_ Edwin Stevens. -_Captain Spicer_ } { Frank H. Westerton. -_Lord Verney, Lieut._ } Of the { Charles Hammond. -_Mr. Tom Stafford, Lieut._ } 51st { James Carew. -_Mr. Bob Chichester, Lieut._ } Regiment. { Clyde Fogel. -_Gandy, Private_ } { Addison Pitt. -_Fenwick, Private_ } { Shelley Hull. -_The Bishop of Bath and Wells_ H. Rees Davies. -_Col. Kimby McFiontan_ R. Peyton Carter. -_Capt. Denis O’Hara_ } { J. Malcolm Dunn. -_Major Owen MacTeague_ } Of the { Alfred Cahill. -_Mr. Lanty MacLusky, Lieut._ } “Inniskillings.” { Douglas Wood. -_Mr. Darby O’Donovan, Cornet._} { Emmet Lennon. -_Mallow_ Stanley Drewitt. -_The Innkeeper of the Bear Inn_ Harold Watts. -_First Courier_ Howard Hull. -_Second Courier_ S. K. Blair. -_Post Boy_ William Whitney. -_Mistress Kitty Bellairs_ Henrietta Crosman. -_Lady Standish (Julia)_ Katharine Florence. -_Lady Marie Prideaux_ Louise Moodie. -_Lady Bab Flyte_ Edith Crane. -_Mistress Bate-Coome_ Genevieve Reynolds. -_Hon. Mrs. Beaufort_ Charlotte Nicoll Weston. -_Miss Prue_ Bernice Golden. -_Miss Doll_ Sybil Klein. -_Miss Debby_ Jane Cowl. -_Miss Sally_ Lydia Winters. -_Selina_ Lillian Coffin. -_Lydie_ Estelle Coffin. -_Barmaid of the Bear Inn_ Mignon Hardt. -_Clorinde_ } { Mrs. Irvin Chapman. -_Dorothea_ } { Gertrude Dorrance. -_Arabella_ } _Mrs. Bate-Coome’s_ { Edith Rowland. -_Angela_ } daughters. { Helen Hale. -_Marjorie_ } { Edna Griffen. -_Mistress Tilney_ Sara Delaro. - - - - -SIDE-LIGHT AND COMMENTARY ON “SWEET KITTY.” - - -“Sweet Kitty Bellairs” was acted at the Belasco Theatre until June 4, -1904, when the season ended and that house was closed. It was revived -there in the fall, September 3, and, with Miss Crosman in its chief -part, was subsequently acted in many other cities. In the season of -1905-’06, Miss Crosman having retired from Belasco’s management, it was -again revived, with Miss Bertha Galland as _Kitty_, and on October 5, -1907, with Miss Eva Moore in that part, it was played at the Haymarket -Theatre, London. On February 3, 1904, while this comedy was in the full -tide of its first success, one of the many groundless suits against -Belasco, accusing him of plagiarism, was brought by Grace B. Hughes, -otherwise known as Mary Montagu, who asserted that Belasco’s play was an -infringement of one by her, entitled “Sweet Jasmine,” and applied for an -injunction to stop him from further presentment of it. Her application -was argued before Justice E. Henry Lacombe, March 18, and on March 26 -was denied. One of the most vicious propensities of newspaper journalism -was sharply illustrated in connection with Miss Montagu’s wanton -aspersion on Belasco’s honesty: when it was _made_, her charge of -plagiarism was generally and conspicuously published by the press; when -it was _disproved_, it ceased to be “live news” and merely curt and, in -general, obscure record was made of the issue. Minor “resemblances” -between the two plays, adduced by the complainant in this action by way -of substantiating her charge of literary theft, were such as the facts -that in both a military band played music; in both “green” is mentioned -as the color of grass, and in both a lover states the nature of his -feeling toward the woman he loves. Yet, without any possibility of -redress, Belasco was compelled to expend energy, time, and money on -making a serious defence against the preposterous accusations of -irresponsible frivolity! To oppose and defeat the suit of Miss Montagu -cost him a large sum. There is no reasonable doubt that, in the majority -of cases, such accusations of plagiarism as those which have been -brought against Belasco are made in hope that the person accused will -buy off the accuser as the quickest and cheapest way of ending -annoyance. Belasco, however, has never gratified such hope; and he -assured me: “I never will--for I prefer to lose a thousand dollars in -money and ten thousand in time and trouble rather than to submit to -blackmail.” In denying the writ applied for by this impudent defamer the -court declared that “No direct evidence of copying, either of language -or dramatic situation, is shown. A comparison of the two plays shows -that _they are wholly dissimilar in plot, in characters, in text, and in -dramatic situations_. The climax of one act in each piece was -principally relied upon in argument--where the unexpected discovery of -the leading character in a place where she should not be makes a -dramatic situation.... This is an old device; it was common property to -all playwrights since Sheridan used it in ‘The School for Scandal’ [And -since long before that time!--W. W.]. Analyzing the details of the -situations as presented in these two plays, the points of _essential -difference_ so far outnumber the points of similarity that it is -difficult to understand how anyone could persuade himself that one was -taken from the other.”--The following letters provide an interesting -side-light and commentary on the history of “Bellairs”: - - -(_David Belasco to Egerton Castle, in London._) - -“Cartwright Cottage, -“Manhanset Manor, New York, -“August 29, 1904. - -“My dear Mr. Castle:-- - - “You must pardon me for not replying to your letter. I am much run - down by overwork, and as I had to finish Mrs. Carter’s new play for - the coming season besides much other work my doctor ordered me to - the Adirondack Mountains, and before going I gave orders to my - secretary to keep all mail for me until my return. Thank you for - the story you sent. It is charming, but as it so closely follows - the line of ‘Sweet Kitty Bellairs,’ and as that play has made such - a success, I am afraid that another on the same subject and in the - same period would fall flat in this country. So if anyone applies - to you for the rights you will understand that I relinquish them. - - “Next week ‘Sweet Kitty’ opens at my theatre for a few weeks, then - it will be started off on tour. I need not tell you the condition - of things theatrical in America. The Syndicate has brought nothing - but disgrace and humiliation to the profession. Things artistic are - at their lowest ebb. Last season was the worst financially the - theatres ever experienced. Many fortunes were lost. Outside of - ‘Sweet Kitty Bellairs’ I don’t think any manager produced a - success. Of course I lost money on the production. A play of that - period is expensive, and as I make my productions perfect it - invariably takes me a year to get back the original cost. This - coming season is the year of the Presidential Election, which - always hurts the theatres, but I think we shall do well on tour - because of our New York success. I think it inadvisable to attempt - ‘Sweet Kitty’ in England until after its first tour in this - country. If by chance it should slip up over in London it would - hurt our prospects for the play here. While the papers attach very - little importance to a play successfully produced in England, they - cable over a failure with sensational particulars, and it hurts all - throughout the country. I think it would be wise to arrange for the - production of ‘Sweet Kitty’ in London later, making the - arrangements during the coming season, but, as I stated, I don’t - think it would be well to produce it yet. - - “Hope that you are meeting with every success. With best wishes to - Mrs. Castle and yourself, - -“Faithfully, -“DAVID BELASCO.” - - - (_David Belasco to Egerton Castle, in London._) - -“The Belasco Theatre, -“New York, March 3, 1905. - -“My dear Mr. Castle:-- - - “Your letter of February 5 received. I regret very much that ‘Sweet - Kitty Bellairs’ has not done better than it has. But I am - constrained to attribute this to the fact that, in order to please - you, I put it on during an unpropitious season, when there was - little or no interest in plays of the Georgian period, because the - country was surfeited with them--with comic operas of the - Eighteenth Century, and revivals of Sheridan. Again, I myself had - just finished the production of ‘Du Barry,’ which, while it is of a - more regal nature than ‘Bellairs,’ is still of the Eighteenth - Century, a costume play of manners and customs. All this tended to - take from ‘Kitty’ the charm of novelty, a detraction which could - not be overcome by the fact that I spent more than $65,000 on the - production and gave it a cast comprising some of the highest - salaried artists in America. - - “It was my intention to hold the play in reserve for Miss Bates, - and produce it this year, with her in the title rôle. She is one of - my own stars, and very popular. Had I done so, waiting for the - flood of plays of that period to cease, I am convinced the result - would have been far different. - - “Miss Crosman closes in April, and I shall then recall the company, - store the production and send it out when the road conditions in - this country are more favorable. I believe it to be a valuable - piece of property over here, and that it may yet make enough money - to enable me to get back at least my original outlay. My loss up to - date on the play is $50,000. - - “In regard to the English production, I deem it inadvisable to - commit myself at present, because I yet hope to have a theatre of - my own in London, and, in consequence, am saving all my material - for that time. Moreover, in ‘Kitty Bellairs’ I know so well the - things that made it a great artistic success in this country, and - there are so many details about the production to need my personal - supervision, that I should really be afraid to let it be put on - without me. To make the play ‘go’ at all, it must have a special - cast, without which its fate would be foredoomed, and I do not care - to trust the selection of this cast to another. In short, the - English production is a risk I do not wish to take, until I can - give it my own personal attention. - - “With kindest regards, I am - -“Faithfully, -“DAVID BELASCO.” - - - - - - -“THE DARLING” IN LONDON.--A HEARTY TRIBUTE. - - -On December 28, 1903, the English actor and manager Herbert -Beerbohm-Tree produced “The Darling of the Gods,” with notable success, -at His Majesty’s Theatre, London,--himself appearing in it as _Zakkuri_, -with Miss Marie Löhr as _Yo-San_ and George Relph as _Kara_. A -characteristic instance of journalistic meanness was then provided by -“The London Times,” which ascribed the beauty and perfection of Japanese -detail in the production to the influence of Mme. Sada Yaco,--a Japanese -eccentricity who had appeared on the stage in London and profoundly -agitated the esthetic circle of “souls” resident in that city. As Tree’s -presentment of the tragedy of Japan was made in faithful adherence to -Belasco’s prompt book thereof and as Belasco never saw the Japanese -actress, either on the stage or off, it would be interesting to learn in -what manner her “influence” was exerted on him or his work. It is -pleasant to turn from such paltry carping to read the hearty tribute -paid by Tree, speaking from the stage of his theatre, in grateful -acknowledgment of public approval: - - “Ladies and Gentlemen:--I thank you for this splendid, wonderful - reception of ‘The Darling of the Gods,’ but I must tell you that - all the credit for what you have seen here goes across the ocean to - that great idealist and genius of the Theatre, my comrade David - Belasco, whom I so much admire. Never in all my career have I - received from anybody [else] such a perfect ’script of a play. - Every detail, every bit of costume, every piece of business, every - light, is set down for us, and every note of music furnished, - making it all so easy to produce this play that we can only claim - credit for carrying out instructions! Concerning the genius and - imagination that created it all and is responsible for it all,--I - must say that, knowing him as I do, I can see that it is all - Belasco-Belasco-Belasco, from the rise to the fall of the curtain. - Words are inadequate to pay tribute to him; but I shall have the - pleasure of sending him a cable to-night, to tell him how - tremendously you have all enjoyed and applauded this wonderful play - and how grateful we all are to him as well as you! - - “Hereafter, it is my hope that Mr. Belasco and I shall do some work - in collaboration and that I may induce him to send us more of his - productions--perhaps, to bring them over himself and have them - acted for you under his own supervision....” - -“Tree was always most generous to me,” Belasco has said; “and his -‘Darling’ speech made me very happy. I like appreciation and -encouragement when I have worked hard and tried to deserve it. Always -after doing my ‘Darling’ Tree used to address me as ‘Sir David,’ and -several times in public speeches he said that if they had me in England -they would knight me--which was very kind and lovely, but plain ‘Mister -Dave’ is good enough for me!” - -[Just before leaving this country for the last time Tree read Belasco’s -striking play about the spiritual survival of man, “The Return of Peter -Grimm,” and arranged to produce it in London,--an arrangement which was -abrogated by his sudden and untimely death, July 2, 1917.--J. W.] - - - - -A STRENUOUS YEAR. - - -The year 1904 was one of peculiar perplexity and vexation for -Belasco--of incessant strenuous labor and (as I deem) of most malicious -harassment which might well have broken both his health and his spirit -had he not been sustained by vital enthusiasm and a steadfast, -invincible will. In that year he had not only to bear the heavy expense -of producing “Sweet Kitty Bellairs,” together with the loss and -anxieties incident to theatrical management amid generally disturbed -business conditions and the distraction and annoyance of Miss Montagu’s -monstrous lawsuit, but, also, he had to provide new plays and new -productions for Mrs. Carter and for Warfield, to make his plans for the -future of Blanche Bates, and to encounter at last the open and -unrestricted animosity of the Theatrical Syndicate. “I am,” Belasco has -truly said about himself (1903), “a patient and peaceful man: I don’t -want to fight with anybody. I want to attend to _my_ business in _my own -way_--to do my work unmolested and to interfere with nobody. But neither -will I permit anybody to interfere with _me_, or to dictate to me, if I -am able to resist.” And speaking of Belasco’s course in theatrical -management, his general representative, B. F. Roeder, publicly declared -at about the same time (June, 1903): “Mr. Belasco’s policy will remain -exactly what it has always been. He will be independent of all factions -and [will] place his companies wherever he can get the best terms and -time.” Such a policy, indisputably right as it is, was not one which the -Theatrical Syndicate would brook, and it soon brought that oppressive -monopoly into direct and open conflict with Belasco in the conduct of -his business. Foreseeing an immense popular interest in the World’s Fair -(Louisiana Purchase Exposition) at St. Louis, in 1904, Belasco resolved -that his superb production of “The Darling of the Gods” should -concurrently be presented there. He felt great and wholly natural and -frank pride in that production: he knew that he could not much longer -hold together the company acting in it, and he desired that as many -persons as possible should see his tragedy to the best advantage. When, -however, he applied to the Syndicate booking agency, presided over by -Mr. A. L. Erlanger, to arrange for an engagement in St. Louis, during -“the Fair,” he was informed that it could not be done. He thereupon -instructed his own booking agent, an experienced manager, William G. -Smyth, to arrange for presentment of “The Darling of the Gods” at an -independent theatre there, the Imperial, and his order was at once -obeyed. It is not worth while to relate in detail the story of the -attempt to coerce Belasco into cancelling that engagement: it is enough -to state that (as he told me at the time) when it had proved impossible -to intimidate him the uncouth Erlanger destroyed the contracts -previously executed through his agency, between Belasco and theatre -managers in various cities,--and, in profane and insulting language, -sent him notice that he could not thereafter present his productions in -_any_ Syndicate theatre. - - - - -WARFIELD IN “THE MUSIC MASTER.”--AN ANIMATED SPEECH. - - -Once committed to “open war” with the Trust and having got the St. Louis -engagement of Miss Bates securely arranged, Belasco turned to completion -of the plays for Warfield and Mrs. Carter. He had, at first, intended to -write the Warfield piece unaided, but the demands on his time and -strength had rendered that impossible and he had employed the late -Charles Klein (1867-1915) to work with him. “I had,” he said, “given -much thought to the subject of the play I needed for Warfield, but with -all my other responsibilities and cares I found that I must get somebody -else to do much of the actual writing. One night while having supper in -a restaurant with Roeder, after the play, I told him that I was going to -ask Klein to undertake it. ‘Well,’ Roeder said, ‘this is a good time to -ask him--here he comes,’ and Klein, who had just come in, walked over to -our table and told me he had been thinking for some time about writing a -play for Warfield! I told him what I had in mind, and before we -separated we had agreed to do the piece together.” - -The outcome of that agreement was the play of “The Music Master,” which -was produced for the - -[Illustration: - -Photograph by Sarony. The Albert Davis Collection. - -DAVID WARFIELD AS _HERR ANTON VON BARWIG_, IN “THE MUSIC MASTER”] - -first time at the Young’s Pier Theatre, Atlantic City, New Jersey, on -September 12, 1904. “The Music Master” is not remarkable for either -originality of design or felicity of construction, but it is pure in -spirit, interesting in story, picturesque in setting, and healthful in -influence, and it was apparent from the first that it would have a long -and abundantly prosperous career. There has been on our Stage such -excessive exposition of vice and degradation, of the possible depravity -of human conduct and wickedness of human motive, that it was an active -benefaction to place such a play before the public, a positive blessing -to receive the privilege of mental contact with its pure and noble ideal -of humanity. It was announced, without qualification, as having been -written by Charles Klein: that was an injustice. It is, in fact, a -patchwork,--in the form in which Klein first shaped it being based to -some extent on a play by Felix Morris (1847-1900) called “The Old -Musician,” and then made over by Belasco, with a distinctively -perceptible interfusion of dramatic expedients from that fine old drama -“Belphégor; or, The Mountebank.” The central person, _Herr Anton von -Barwig_, the Music Master, is a German musician, of a familiar -type,--peculiar but attractive; impassioned but gentle; droll but -piteous; fervid but patient: an image of moral dignity and -self-sacrifice,--and the posture of situations and incidents that have -been utilized for his presentment shows him as a loving father, -occupied, under conditions of almost sordid adversity, in a quest for -his daughter, whom an unworthy wife and mother has taken from him, -flying, with a paramour, from Germany to the United States, whither he -has followed them. That daughter, at last, he finds and, in -circumstances cruel to himself, practically befriends by keeping the -secret of her paternity. The conspicuous attributes of this -person,--attributes blended and interwoven beneath a serio-comic surface -of foreign manner and broken English,--are, intrinsically (of course -with variant investiture), those that have long endeared such characters -as _Michonnet_, _Triplet_, _Mr. Peggotty_, _Caleb Plummer_, and _Doctor -Primrose_: attributes, namely, of love, charity, fidelity, fortitude, -patience, humor, simplicity, spontaneous goodness, and an unconscious -grace equally of conduct, manner, and thought. The purpose, manifestly, -was to place an eccentric, gentle, affectionate, humorous, and somewhat -forlorn elderly man in a predicament of sad circumstance, and in that -way to arouse pity and stimulate the promptings of charitable impulse. -That purpose was accomplished; and therefore, aside from all -consideration of its inspiration and while the play is neither novel -with invention, potent with strong dramatic effect, nor brilliant with -polished dialogue, it possesses the solid worth of fidelity to simple -life, the charm of diversified character, and the beauty of deep, -tender, human feeling. - -It was a wise choice to combine those attributes into a stage figure, -and David Warfield,--finding himself liberated, mind and heart, into a -congenial character,--gained in embodying it the most substantial -success of his professional career,--making of that figure a vital -emblem of heroism that is never flamboyant and virtue that is never -insipid; an image of paternal affection that typifies innate dignity of -character and the sweet, gentle, lovely patience of pure -self-abnegation. In earlier performances this comedian was almost -exclusively photographic; but time, thought, and practice,--the forces -that constitute experience,--gradually expanded and ripened his art, and -in his performance of this part (when repetition had eliminated -excessive nervous trepidation and made it “a property of easiness” to -him) he showed intuitive insight and was deeply pathetic. That is true -success; because the higher purpose of acting a play is not proclamation -of the talents of an actor, but liberation and enforcement of the utmost -of beneficial influence upon an audience that a play contains. Warfield -in “The Music Master” conquered by the two great virtues of simplicity -and sincerity. The principal artistic defects in the -personation--defects conspicuous in all Warfield’s acting and to the -elimination of which he seems to be curiously indifferent--were a hard, -metallic voice and a poor method of elocution. The best dramatic -expedient in the play is that by which the father’s dubious, inchoate -recognition of the daughter is confirmed. At that point and in the -sequent situation (“lifted” from “Belphégor”) the actor evinced -sympathetic delicacy and tempestuous fervor. The closing scenes of the -play are marred by episodes of irrelevant incident and by prolixity, -obscurity and artifice, in the long-drawn passage of parental and filial -recognition,--which, indeed, requires but a glance. - -Belasco has written the following reminiscence of the production of “The -Music Master,” in which he shows just appreciation of the destructive -result of those excessive expedients of stage “realism” which, in some -of his earlier productions, impaired precisely the _effect_ they were -designed to create: - - “We always spoke of _von Barwig_ as ‘the music teacher.’ Naturally - that became the name of the play; but as the character grew our - musician impressed us as a master, and our title was changed to - ‘The Music Master.’ - - “I think there were at least fourteen versions of this - comedy-drama. Even after the cast was engaged, we went over the - manuscript again. The entire Supper Scene in the First Act was - written while the company was assembled on the stage; so, too, was - the ending of the play. Such radical alterations were made at the - last rehearsal that one of the acts was almost entirely rewritten. - We had a scene, wherein _von Barwig_ dreamed of his past life in - Leipzig. While the stage was dark, a double took Warfield’s place - in the armchair and remained in view of the audience while Warfield - himself moved through the following scenes. He was shown as a young - man, writing the intermezzo which was to bring him fame and - fortune. Then he was seen directing the orchestra, then in his - home, where he came fresh from his triumph, to find a note from his - wife, telling of her departure, and on the floor a broken toy,--the - toy by which after many years he was to identify his daughter. - These scenes were mounted on movable platforms, easily set in place - without loss of time. They were shown with telling effect at - rehearsals, but I felt that the beauty of the actor’s art was - hampered by machinery. While Warfield was making quick changes, - hurrying on and off the stage, the beautiful simplicity of his work - was lost. The artist was of less importance than scenic changes and - effects. ‘This is not a spectacular play,’ I thought, ‘all these - external matters are carrying us too far from this man’s - performance.’ To the surprise of everyone, I ordered the scenes cut - out. Instead, I showed Warfield sitting in revery, and by means of - his changing expression and a few phrases dropped now and then the - story of his past was conveyed to the spectators. His simple acting - made it all as clear as though I had really used the various - scenes. At the same time attention was centred on the actor, not - on canvas.... The Last Act represented an attic with a skylight - with its cracked panes stuffed with cloths which fluttered - violently in the wind until some of them fell out and snow drifted - through the openings. I liked the snowstorm very much, as it - accentuated the misery of the characters grouped about a little - stove. Warfield did not like the storm, but he did not wish to say - so; so he took a novel way to be rid of it. ‘Brrr!’ he said as he - walked off the stage, ‘I’m cold! The snowstorm is so realistic it - has given me a chill!’ I ordered the weather changed at once....” - -“The Music Master,” when first acted in New York,--at the original -Belasco Theatre, September 26, 1904,--was cast as follows: - -_Herr Anton von Earwig_ David Warfield. - -_Signor Tagliafico_ } Musicians of the { W.G. Ricciardi. -_Mons. Louis Pinac_ } Liberty Café. { Louis P. Verande. -_Herr August Poons_ } { Leon Kohlmar. - -_Henry A. Stanton_ Campbell Gollan. -_Andrew Cruger_ William Boag. -_Beverly Cruger_ J. Carrington Yates. -_Mr. Schwarz_ Alfred Hudson. -_Mr. Ryan_ Tony Bevan. -_Al. Costello_ Louis Hendricks. -_Joles_ Harold Mead. -_Ditson_ H. G. Carlton. -_Danny_ Master Richard Kessler. -_A Collector_ Downing Clarke. -_Mrs. Andrew Cruger_ Isabel Waldron. -_Helen Stanton_ Minnie Dupree. -_Miss Houston_ Marie Bates. -_Jenny_ Antoinette Walker. -_Charlotte_ Sybil Klein. -_Octavie_ Jane Cowl. - -After the Second Act Belasco was many times called before the curtain -and finally, responding to insistent requests, addressed the audience in -an exceptionally animated way, saying: - - “I hope you will excuse me from making a formal speech; but I am - most happy to take this occasion to say that I am glad you like our - little play and glad that Mr. David Warfield has succeeded. And I - am happy, too, to take this occasion to say publicly how proud I am - of him and how very, very grateful I am for his loyalty to - me--loyalty that no persecution could shake and no malice - undermine! There have been lawsuits, plots, perjuries, and lies; - there have been vexations enough to weary the patience of a saint - (and I am not a saint, ladies and gentlemen!): but Mr. Warfield has - remained through it all unshaken and true to me--and I honor and - thank him: and, ladies and gentlemen, as long as I possess your - confidence and friendship no theatrical syndicates, with all their - money and outside influence, can crush me or dictate to me in what - way I shall conduct my business. I rejoice in Mr. Warfield’s - success, and since this play pleases you, I will only say that our - prosperity is just so much more ammunition with which to continue - the struggle for Justice and the triumph of Right in American - theatrical management!” - -The appended letter, written by Belasco during the toil and strain of -preparing his “Music Master” and “Adrea” productions, indicates his -strenuous labor to make the former a success and his almost diffident -estimate of his practically invaluable contributions to it as a -playwright: - - -(_David Belasco to Charles Klein, at Merriewold Park, N. Y._) - -“Shelter Island, Long Island, -“New York, July 10, 1904. - -“My dear Charles:-- - - “Act Second is now in the hands of Miss Edith. As you say you have - shipped the Third Act to me I am expecting it any hour. I shall - have Act One typed as soon as possible and fire it off to you. I - hope you will like the things I have done to it. I am so anxious - that your play shall be a sensational hit _that I am giving fifteen - hours a day to it_. Whatever I do I think will help the cause,--and - after all we are working for a big success. There is too much at - stake for us all not to take off our coats and work for life. You - have been bully, my dear Charles, from start to finish, and now - with good health and with God on our side you shall reap the - benefit of your patience and hard work.--I shall drop the acts - along to you as they leave Miss Edith, and as I said before, I hope - the work I have done on them will please you. - -“Faithfully -“DAVID BELASCO.” - - - - - - -CONCERNING WARFIELD, JEFFERSON, THE ELDER SOTHERN, AND THE “ONE-PART” -CUSTOM.--AN AMAZING RECORD. - - -In commenting on Warfield’s great, indeed phenomenal, success and -popularity in “The Music Master,” Belasco writes: “I have no doubt that -he could become _a one-part actor_ and appear as _von Barwig_ -perennially, just as Jefferson played _Rip Van Winkle_ and Sothern _Lord -Dundreary_. However, neither he nor I approve of this plan.” It is -singular, indeed, what a strange, delusive, ineradicable effect the -parrot-like repetition of words sometimes creates. Belasco,--like the -majority of other persons who mention the subject,--has got it firmly -established in his mind that Jefferson and Sothern were what he -designates as “one-part actors” (actors who, as he expressly states, -follow a professional course of which he does not approve), and he will, -I suppose, go to his grave serene in the conviction that such was the -case and unconscious of the injustice he does both those great actors. -Yet Sothern gave hundreds of performances in “Sam,” “David Garrick,” -“The Crushed Tragedian,” “Home,” and “An English Gentleman” after his -great success in “Lord Dundreary”; while Jefferson’s repertory embraced -well over 100 parts; for every five performances he gave of _Rip_ he -gave about three of _Bob Acres_, in “The Rivals,” and,--to the delight -of audiences throughout our country,--he acted, hundreds of times, as -_Dr. Pangloss_, in “The Heir-at-Law”; _Caleb Plummer_, in “The Cricket -on the Hearth”; _Mr. Golightly_, in “Lend Me Five Shillings” (which, by -the way, was the last part he ever played); _Dr. Ollapod_, in “The Poor -Gentleman”; _Hugh de Brass_, in “A Regular Fix,” and _Mr. Woodcock_, in -“Woodcock’s Little Game.” _Every_ exceptionally successful actor is -_more_ popular in some one part than he is in any other, and as it was -with Jefferson in _Rip Van Winkle_ and Sothern in _Dundreary_ so also is -it with Warfield in _von Barwig_. Yet Warfield certainly is not a -one-part actor,--though for every part he has played in the regular -Theatre, aside from that one (exactly four, that is), Jefferson and -Sothern each played anywhere from fifteen to twenty-five parts. -Warfield, since his initial triumph as _von Barwig_, thirteen years ago -[1917], has acted in a revival of “The Auctioneer,” and in “A Grand Army -Man,” “The Return of Peter Grimm,” and “Van Der Decken.” Yet, time and -again, wisely and rightly, Belasco has revived for him “The Music -Master,” and always the public,--whether in the greatest cities of the -country or the smallest “one-night stand” which he has visited,--has -hailed him in that piece with joy and flocked in crowds to witness his -touching and lovely performance. During the season of 1906-’07, when he -fulfilled engagements in that play, of four weeks each, at the Majestic -Theatre, Boston, and the Academy of Music, New York, the respective -managers of those houses caused to be prepared, attested under oath, -and delivered as souvenirs to Belasco statements which show that in -eight weeks $171,179.25 was paid for the privilege of seeing Warfield’s -impersonation of _von Barwig_. That is an amazing record, surpassing any -similar and fairly comparable one known to me, and, therefore, I here -transcribe the items of receipt: - - -_MAJESTIC THEATRE, BOSTON._ - -Week ending October 6, 1906 (seven performances), $16,443.50. -Week ending October 13, 1906 (seven performances), 16,227.75. -Week ending October 20, 1906 (eight performances), 18,676.50. -Week ending October 27, 1906 (eight performances), 20,864.00. - ------------ - $72,211.75. - - -_ACADEMY OF MUSIC, NEW YORK._ - -Week ending February 2, 1907, $21,857.25. - “ “ “ 9, “ 22,249.75. - “ “ “ 16, “ 25,149.25. - “ “ “ 23, “ 29,711.25. - ------------ - $98,967.50. - -During the engagement at the Academy of Music, in 1907, the highest -price charged for a seat was $1.50. - -[Perhaps nothing more conclusively manifests the unbreakable hold of -Warfield on the affections of the American public, in this play, than -the facts that in the present season (1917-’18), notwithstanding the -stress of war and that the character he portrays is a German, his -audiences everywhere have, seemingly, been limited only by the capacity -of the theatres in which he has appeared and that, as Mr. Belasco kindly -informs me, his average gross receipts have been well over $14,000 a -week.--J.W.] - -The first engagement of “The Music Master” at the Belasco Theatre lasted -until January 7, 1905, when it was withdrawn to make way for Mrs. Carter -in “Adrea.” On January 9 it was acted at the old Bijou Theatre, and -remained there until June 3. - -Belasco was subjected to a peculiarly impudent and contemptible -persecution when Joseph Brooks (the factotum of Klaw & Erlanger and, as -asserted by Belasco, a mere “dummy” for that firm) attempted to maintain -a claim of partnership with him in the production and presentment of -“The Music Master.” The contract signed by Brooks and by Belasco, in -1901, providing for professional exploitation of David Warfield, -assigned the contract made in November, 1900, between Belasco and -Warfield, to the Belasco-Brooks “partnership”; and - -[Illustration: - - Photograph in Belasco’s Collection. - -SCENE IN FRONT OF THE BELASCO THEATRE, PITTSBURGH, PA. - -Ten o’clock in the morning, December 6, 1906: Opening of the sale of -tickets for David Warfield’s engagement in “The Music Master”] - -the Belasco-Warfield contract, which covered the seasons of -1901-’02-’03, provided for a renewal at the end of that term. Brooks, -accordingly, after “The Music Master” had been written on Belasco’s -instigation and in large part by him and after it had been produced -solely at his expense and risk, claimed a one-half interest in that -prosperous venture and sought an injunction to prevent the play from -being presented except under management of “Brooks & Belasco.” His claim -was flatly disallowed in a decision of the New York Supreme Court, -rendered by Justice Leventritt on October 31, 1904, in the course of -which the court said: - - “...Undisputed proof by affidavit is offered that the [three] - theatrical seasons contemplated [in the Belasco-Warfield contract] - ended about the first of May or at all events before the first of - June. The _alleged_ renewal was made by the plaintiff Brooks - several weeks after this latter date.” Furthermore, held the court, - “Whether the option [of renewal] in fact passed to the firm [of - Belasco & Brooks]; whether, if it did, the plaintiff could exercise - it, are questions open to grave doubt; but, conceding the right of - the plaintiff Brooks, the papers show an exercise of the option - after the close of the third theatrical season and insufficient - proof of a custom that the right survived the termination of the - season.... To enjoin a successful actor’s lucrative performance of - a successful play under (_sic_) such circumstances, when in - addition no question of financial responsibility is presented, - would be to grant, in advance of trial, on insufficient proof, the - very relief which the action itself seeks. Motion denied, with ten - dollars costs.” - -Belasco’s feeling about “The Music Master” and his esteem of and loyalty -to his friend Warfield are pleasantly shown in a declaration which he -made about them several years ago: - - “From the time the play opened until the present day I have had - many offers for it. George Edwardes promised an enormous guarantee - if we would come to England. George Newnes, proprietor of ‘The - Strand Magazine,’ said: ‘I am not a theatrical manager, but I want - to bring your play and Mr. Warfield to England.’ Cyril Maude, - Arthur Bourchier, and Sir Herbert Beerbohm-Tree all applied for the - acting rights. Another great fortune could be made out of the piece - were I to allow it to be played in stock and moving pictures, but I - have turned a deaf ear to all inducements. ‘The Music Master’ is - for David Warfield; more than that, The Music Master _is_ David - Warfield.” - - - - -A SHEAF OF OLD LETTERS: IN THE MATTER OF THE THEATRICAL SYNDICATE. - - -All of the following letters by Belasco were written during the first -year of “The Music Master,” and they well characterize the purposes of -the Theatrical Syndicate and well indicate Belasco’s lively opposition -to that oppressive monopoly. The second of them is addressed to his -cousin, the son of the famous English actor David James, and it refers -to a proposal made by the younger actor so named that he should be -brought to America, to act in some of his father’s parts, under the -management of Belasco. - - -(_David Belasco to Blanche Bates._) - -“Belasco Theatre, New York, -“September 28, 1904. - -“My dear ‘St. Louis Pet’:-- - - “Thanks for your message. It was sweet of you and your dear mother - to think of me. Warfield and his little play hit them _hard_, and - we have struck another terrific blow in the _solar plexus_ of the - Syndicate. - - “Mrs. Carter’s new play [“Adrea”] is written and I am already at - work on yours [“The Girl of the Golden West”]. I am crazy to see - you and go over the story before I get at the dialogue. As soon as - Mrs. Carter’s play is produced I shall join ‘The Darling of the - Gods’ for a few weeks, as we must have a lot of talks together. I - am going to do something _bully_ for you,--a part that you will - love. Won’t you be happy when you are again playing in New York at - the home theatre! - - “Keep well. Love to your mother,--and remember I am - -“Always your friend, -“DAVID BELASCO.” - - - - -(_David Belasco to David James, Jr., in London._) - -“Belasco Theatre, -“New York, October 14, 1904. - -“My dear David James:-- - - “Yours of October the 1st received. Yes, I did answer your former - letter. No doubt it followed you about and was finally lost. - Things theatrical are in a very bad way over here just now, and I - am still in the midst of a big combat with what is known as the - Theatrical Syndicate--a combination of men who have got together to - disgrace the Stage and commercialize it, root and branch. It is - rule or ruin with them, and unless they can force a heavy tribute - from a man he is blacklisted forthwith. I am fortunate enough to be - on their blacklist, and consequently am obliged, for the present, - to move with cautious steps and to make no more productions than I - can safely place. But it is to be hoped that a season or two will - see the lifting of this dark cloud. When that time comes, I shall - be only too happy to introduce you in this country. I know your - work and I feel sure that you would make yourself heard over here - had you the opportunity. Will you not drop me a line now and then? - I am always pleased to hear from you. - -“Faithfully yours, -“DAVID BELASCO.” - - - - -(_David Belasco to Peter Robertson, San Francisco._) - - -RIGHT -“Belasco Theatre, New York, -“April 25, 1904. - -“Dear Peter:-- - - “[E. D.] Price and Fred [Belasco] have been ‘kicking’ about the - vile cigars in San Francisco, so I am sending you a few weeds that - ought to be better than the Barbary Coast perfectos. Sorry I can’t - deliver them in person, but I cannot get away this year; so when - you are smoking them think of your old - Four-o’clock-in-the-morning-pie-chum. Heavens, my dear Peter, I - often think of those dear old days! They were struggling days for - us, to be sure, but sometimes I feel that, at least as far as I am - concerned, they were the happiest ones of life. Ambition is a - hard, hard master, and from the moment when I left ’Frisco it has - been constant work-work-work with me, - morning-noon-and-night--winter and summer! I don’t think I have had - half-a-dozen hours to myself in all that time, and to make my lot - easier, away off here in the East, I am surrounded by that - inartistic, low-lived Theatrical Syndicate, which for some reason - or other,--certainly not justly for anything I have done,--has - waged a relentless war against me. And since I cannot with honor - play in Syndicate houses I am sending my stars and productions - anywhere that I can find a roof to cover them. So far they have not - crushed me, as they said they would, for the public and the press - throughout the country have stood by me, and as long as I continue - to deserve their sympathies and friendship I shall be victorious. - In this combine against me, my dear Peter, are Al. Hayman and the - Frohmans, to whom you know I have given the best years of my life, - helping to make fame and fortune for them. Of course, with Charles - Frohman it is jealousy: Daniel Frohman resents not being able to - get my plays for nothing: with the Syndicate it is because they - feared I was getting a little too strong for them. But you knew me - as a boy--in fact, we were boys together--and no one in the world - knows better than you how I can struggle with privation and - adversity. I shall never surrender to this crowd: _never_--not even - if I am obliged to return to ’Frisco and do chores about a theatre - as you saw me do in the long, long ago. - - “Well, I have written more than I intended to, telling you my - troubles, but I shall make it a rule to send you a line now and - then and let you know all the good and cheerful news of the East. I - would give a finger to be able to drop in on you at this moment - for a cup of coffee and a piece of pie in the little old - restaurant, if it is still in existence, and to have an old-time - heart-to-heart talk. But I hope it won’t be very long before I can - do this. Hurrah! God bless you! - -“Faithfully, -“DAVID BELASCO.” - - - - -(_Peter Robertson to David Belasco, in New York._) - -“Bohemian Club, San Francisco, Calif., -“May 9, 1904. - -“My dear Dave:-- - - “I shall smoke the cigars to your continued success. I was glad to - hear from you; but I don’t sympathize in the least with your - suffering from hard work. I did sympathize much more with you in - the days when you worked,--often quite as hard and got no - salary!--‘faking’ plays for Maguire, at the Baldwin. You would - never be happy, anyway, if you hadn’t your head full of schemes, - and were not constantly producing. Your work has achieved a great - success, and work that has success behind it and success before it - is life at its best. There is nothing so hard as work that has - failure to pull it backward and the prospect of failure to push it - back. - - “_I_, too, think of the old days of coffee and cake; they were - pleasant, after all; if I had lived much beyond them since they - would still be pleasant to recall. However, my life goes on in its - even tenor, and I make myself as comfortable as possible, though I - do feel something like an old, worn-out hack--so many years I have - gone the same old round. Still, I have not quite given up hope of - better fortune. - - “Go on and make your name and fortune greater than ever, and don’t - work yourself up over any Syndicates. They need you more than you - do them.--My regards to Mrs. Belasco and the family, and Fred and - Price. - - “Always yours, “PETER.” - -Belasco, I surmise, must have smiled a little grimly at this airy -admonition “not to work himself up” about the active antagonism of the -Syndicate: the cheery advice to the weaker party in a conflict, “Go in -and win,” is doubtless excellent, but often, unhappily, it is somewhat -more difficult to follow than it is to give. Viewed from the secluded -tranquillity of the old Bohemian Club--that genial harbor of congenial -spirits--a struggle with the Syndicate may have seemed like a fight with -a phantom. For Belasco it was, and for many years remained, a hard -reality, and had it not been for his wary vigilance and indomitable -resolution he would certainly have been defeated, overwhelmed, and -ruined.--Poor Robertson never realized his “hope of better fortune”: for -several years after 1904 he continued to be the dramatic critic of “The -San Francisco Chronicle”: then, the whole duty of the managing editor -(as defined by my old friend, the journalist William Seaver--“first, to -wring your brains dry; second, to throw you away”) having been -performed, he was dismissed from his employment and, after two or three -years of anxious, dispirited, lonely waiting, he died--and, save by a -few old friends, he is thought of no more. - - - - -METHOD OF COLLABORATION. - - -The tragedy of “Adrea,” begun in 1903, was completed before September, -1904, and it was put into rehearsal, at the Belasco Theatre, in October -of the latter year. The following letters which passed between Belasco -and his friend and associate John Luther Long afford an informing -glimpse of their methods of collaboration in authorship, which Belasco -has described in these words: “Before the actual writing of ‘Adrea’ we -had the story [worked out] to the smallest detail. He lived in -Philadelphia, but spent the latter part of each week with me. After the -plot was finished we adopted a new system of collaboration. Mr. Long and -I worked on the scenes apart, then met and joined them together. Then he -revised the result and then I revised the result, and so on, until the -sixth or seventh version found the scene in very good condition.” - - -(_John Luther Long, in Philadelphia, to David Belasco, in New York._) - -“------, (?) 1903. - - “I have now, my dear Goliath, been pretty well over the history of - Rome, once more, and I have found only two places where we MIGHT - possibly stick in our pin. One is the Augustan Era, and Livia and - Julia; the other is the reign of Claudius and Messalina. I don’t - think you would like either. I am sure _I_ don’t! Besides, both - have been done to death. There were NO woman rulers of Rome, and - only one--Messalina--who took much of a hand at politics. I think - we shall finally agree upon some island or mountain plateau--the - latter commends itself because the other has been so often done. I - think we could use either the island of Pandataria in the Adriatic, - or the little island of Ilva in the Mediterranean. We could have - all the Roman splendor there, without the handicap of being, - unhistorically, IN Rome. Here is the scheme which outlines itself - in my mind: - - “When Rome was finally subdued, in A.D. 476, Romulus was on the - throne. He was kicked out and sort of lost--though he is said by - some of the histories I have read to have gone to live privately in - the Campagna. He does not seem to have left any heirs. But let us - give him some. Or _one_. This one seeks out one of these islands - and takes with him some Romans to build anew the debased Roman - Empire with the blood of the old Patricians alone. It is this - kingdom, several hundred years later,--so that four or five of - Romulus’ descendants may intervene,--where we locate our play. And - now, there are no males of the pure Roman blood and the succession - falls to the two women. - - “I rather dislike the creation of a name, such as Romancia or - Ruritania or such like, and I think we could use the real name of - the island, if we adopt it. And both are pretty good names. - Pandataria. Ilva. Or we could, as you suggested, make some name out - of the real names: Pinda--Illus--Illa--and so on. All the histories - stop at that wonderful period of ours, 476 A.D., when our Odvokar - did the trick. (One of them goes on to say that he stops there - because the rest is too indecent for publication!) But I am on the - track of some good books treating of that period--though I don’t - expect to find a woman or a ruler in it all. For, in this period, - ALL the sovereigns, without exception, were elected by the soldiers - in the field and the corrupt pretorians at home--with, once in a - while, the people waking up and saying a word. After I have well - looked up this period, I will run over and we will talk--when you - can spare the time. - - “Don’t forget to tell your girl to send me the copies she makes. If - anything should happen, by fire or flood, you have all the stuff - over there. - -“Yours, -“J. L. L.” - - - - -(_David Belasco to John Luther Long, in Philadelphia._) - -“The Belasco Theatre, -“New York, April 2, 1904. - -“My dear Jonathan:-- - - “You are right about the bench. I had already noted it and called - Buckland’s and Gros’ attention to it, but outside of that - correction, when we make the model, both the scenes will be - corkers, full of the right sentiment and feeling--the atmosphere - perfect. I am running over to see Mrs. Carter to have a talk with - her about certain people for the cast - -[Illustration: DAVID BELASCO - -Inscription: - -“_God bless you, dear friend! -Faithfully, -David Belasco._” - -“_To William Winter, Esqre._” - - Photograph by the Misses Selby. - - Author’s Collection. -] - - and also a general chat as to the costumer. She is miles deep - planning them already. Before she goes to ’Frisco you and I - together will have a talk with her. - - “I am on the Fourth Act all the time. It is great--_great_--GREAT. - They can’t beat us--we are the top notches! Furst is going insane - with pleasure over his share of the work. He loves it and is so - infatuated that he is good for nothing else at present. In fact, - everybody who has anything to do with the play is wild over it. I - shall be back on Monday. What day after that can you come over? We - will get in some big licks with Buckland, as I want to start him on - the properties, etc., as soon as possible. God give us health and - strength to knock out the great play! - -“Faithfully, -“DAVID.” - - - - -(_John Luther Long to David Belasco._) - - “Gosh! but that letter is full of good news, Goliath dear! When the - scenery and costumes begin to materialize it looks as if the - brain-squeezing would really amount to something. I shall have the - Fourth ready for you by the middle of next week. Let me know a few - days in advance of the time you want it, so that it can be copied. - I am leaving a few little things to look up, but they are not - important: such as _drums_--whether they had them in the legions; - and, if so, what were their forms: and the Roman military salute. - But I am practically done with the act. I’d like to see the models - for the First. Perhaps I can, soon. I am feeling O.K. Equal to all - the work two hands and one head can do. Don’t bother about Frohman. - We’ve got him beaten! This Fourth Act, as I get into it, is - wonderful! Send on the Epilogue whenever you are ready with it. I - am doing nothing but the Fourth and shall not, till I send it on to - you. - -“Hail, Luna of Adrea!” - -“J. L. L.” - - - - - - -MRS. CARTER AND THE TRAGEDY OF “ADREA.” - - -The tragedy of “Adrea,” by Belasco and Long, is a composition of -exceptional imaginative scope and of great dramatic power. Its scene is -a royal court of a conjectural kingdom, situated on an imaginary island -in, perhaps, the Adriatic Sea. Its time is named as about the fifth -century of the Christian era,--a time well chosen for poetic and -romantic purposes; for the vast Roman Empire had then become -extinguished in Western Europe and was slowly crumbling to pieces in the -East, and minor monarchies can credibly be supposed to have flourished -in such an era of transition and a martial chieftain out of Noricum to -have dallied with the daughters of a Roman Prince. It is a play without -historic basis; an authentic creation of the inventive brain; a vigorous -and splendid work of art, moving freely in a broad field. It deals with -great themes,--great passions, crimes, and sorrows; great and terrible -punishments of sin, and the spectacle of great character made sublime by -grief. Much of its movement proceeds in the open air: some of it -beneath the vault of night; and its web involves the terrors of tempest -and the mystery and dread of spectres from the realm of death. The form -and color of it are modern,--a form and color of rosy amplitude and -voluptuous luxuriance; but the feeling that pervades it is the ominous -feeling of the old Greek tragedies of fate and doom. Its defect is -excess--an excess of persons, objects, pictures, emotions, and words; -the superflux that proceeds from intensely passionate feeling in the -conception of the story and especially in the conception and development -of its central character. An affluence of fancy is, however, more -grateful than the frigid sense of want. This is a synopsis of it: - -The action begins in a spacious scene, in front of the royal palace of -the monarchs of the island kingdom. The _Princess Adrea_ is the blind -daughter of _Menethus_, _King of the Adrean Isles_. She is older than -her sister, the _Princess Julia_, and on the death of her father she -would succeed to the throne, if she were not blind: for the law of -_Menethus_ has ordained that “No sovereign shall wear the crown who is -not, both in mind and body, sound.” The play opens on the hundredth day -after the death of _Menethus_. The _King_ is dead, and the hour has come -for the crowning of his successor. The _Princess Julia_, long known as -“the imperial wanton,” with a company of her kind, is holding a -festival. _Kaeso_, born a barbarian, but later a pretorian tribune, -having come to Adrea, with his troops, intent on usurping the throne of -_Menethus_, sees a readier way of conquest, in a marriage with the -_Princess Julia_, soon to be _Queen_. He has been made her favorite, and -marriage with him is to follow her coronation. - -In the course of the revel the blind princess, _Adrea_, passes, led by -an Egyptian named _Garda_, on her way to the temple, in which she is to -be secluded, so that her presence at court may not trouble her sister -_Julia_, whom the people of the kingdom detest. It is premised that in -Arcady, where _Adrea_ had dwelt with her father, she had known and loved -_Kaeso_, then one of the _King’s_ martial chieftains, and that he had -sworn to marry her, but had proved faithless. Now, at the _Princess -Julia’s_ festival, _Kaeso_ and _Adrea_ meet again, and _Kaeso_ kindly -greets the blind girl. This enrages the _Princess Julia_, who thereupon -commands him to declare to _Adrea_ that he does not love her, but loves -her sister _Julia_. This cruelty he must commit, as the price of the -kingdom. He submits; the imperious _Julia_ leads her train away; and he -is left alone with _Adrea_, to whom he discloses himself, and who -receives him with the deepest tenderness of faithful love. To her his -presence can mean only that he has come to keep his oath by marrying -her. _Kaeso_ forgets _Julia_, his ambitions--everything but the woman -who has come into his arms. The watchful _Princess Julia_, apprised by a -spy, the _Court Fool_,--_Mimus_, _the Echo_,--returns to see the lovers -in their ecstasy of reconciliation, and she at once determines on a -terrible revenge. _Kaeso_, seeing _Julia_, starts away from _Adrea_, and -_Mimus_, who madly loves the blind princess, takes his place. This -_Mimus_ happens to be in an armor like that of _Kaeso_, which he has put -on in a frolic; and when _Adrea_ reaches to find _Kaeso_ her hands touch -_Mimus_, and she eagerly claims him, believing him to be her plighted -lover. “And you shall marry him!” says the _Princess Julia_; grimly -adding, as a response to _Kaeso’s_ look of horror: “It is the price of -Adrea!” - -A lapse of five hours is supposed. The scene is the same. The time is -near dawn. Soldiers are on guard. Challenges pass. Rumors have been -heard of ill to the beloved _Princess Adrea_. _Kaeso’s_ lieutenant, -_Arkissus_, devoted to _Adrea_, has heard these rumors, and he demands -an explanation of them from the now drunken and frenzied _Kaeso_. They -quarrel, and are about to fight, when a fearful cry is heard and they -halt. Then, staggering down the palace steps, moaning in agony, comes -the _Princess Adrea_, alone. Her prayer, like that of Ajax, is for -light. She beseeches the gods to grant her one moment of sight, so that -she may see the man to whom she has been given. The _Fool_ enters, to -drag her away,--for the _Princess Julia_, now _Queen_, has decreed -banishment of _Adrea_ and the _Fool_, and they must leave her kingdom -before the dawn. There is an ominous roll of thunder. The _Fool_ seizes -_Adrea_. Suddenly the heavens seem to answer her agonized supplication. -A bolt of lightning shatters the statue of her father, to which she has -been clinging, and there is an instant of darkness. When the light is -restored, a chaos stands revealed, in which _Princess_ and _Fool_ are -prostrated. _Adrea_ revives, and, with a wild cry, realizes that she can -see. Soon she remembers, and gazing down upon a “painted, hideous, -gibbering thing, in red and white,” she knows him for the _Fool_, who -has been described to her. She lifts his limp body and stares at his -vacant eyes: then she drops it and whispers, in horror: “Gods! _You!_” - -The action now shifts to a structure called “The Tower of -Forgetfulness.” To this _Adrea_ goes, not thinking to take her throne, -but only wishing to die, and thus bury her shame. The Tower of -Forgetfulness is an obelisk of great antiquity, built half on the land -and half on the sea. Its door is never closed. Here the wretch who is -weary of life can drink “the cup of oblivion,” and, through “the door of -release,” sink into the sea, and be at rest. It is _Adrea’s_ purpose to -die. Then suddenly she hears the royal trumpets, the marriage song, and -_Kaeso’s_ song of battle. At the same moment her father’s ghost appears -and enjoins her to reign, for vengeance. Looking down upon the ocean, -she beholds _Kaeso_ and _Julia_, who are returning to the palace, after -their marriage. They are in her father’s royal galley, with his effigy -at the prow. “Stop them!” commands _Adrea_. “Bring my father’s galley -here! Say that _Queen Adrea_, rides to her coronation!” _Arkissus_ -appears with his legions, and executes her will. - -The coronation of _Adrea_ ensues. _Kaeso_ is brought before her, in -order that he may sue for pardon--which the heart of the injured _Queen_ -is ready to grant. But _Kaeso_ is haughty, and the _Queen_ dismisses her -court, that she may judge him alone. She is temperate, lenient, and -fond. She pours out all her heart; but it is only to be dazed by -_Kaeso’s_ declaration that his regret is solely for his lost ambition. -He tells her that he knew of her spoliation, and allowed it. The _Queen_ -recalls her court. “Set him upon a horse of state,” she says, “drest in -a robe of gold. Strew his way with roses! Let heralds go before him and -cry ‘Conqueror!’ ‘Imperator!’ Let maidens chant songs! And when he has -reached my gates, and his men and galleys are in sight,--_whip him!_ -Whip him to his empty camp, and hold him captive there till the manner -of his death is decided.” - -The scene changes to the _Queen’s_ Cabinet. _Kaeso_ is brought in on the -way to execution. It is the supreme moment of _Adrea’s_ life. The man -she loves is on the way to death. In spite of all her wrongs she will -look upon his face again, before it is mangled by wild horses’ hoofs. -Her heart still cries out for him. Even now she would save him, if she -could. But frenzied multitudes surround the palace, maddened with -knowledge of the outrages that the _Queen_ has suffered; and she is -powerless to save. _Queen Adrea_ must tell _Kaeso_ the manner of his -death. _Kaeso_ had thought to die as a soldier should--upon his sword, -but his death is to be that of a beast, trampled beneath the iron hoofs -of horses. This fate she proclaims, but, when the first shock of horror -is past, _Kaeso_ confesses that he deserves his doom, and declares that -he will die well: and then he says that he has always loved _Adrea_, but -has put his love aside, for the sake of his ambition. Again the _Queen_ -relents. She will, at least, save him from a death of ignominy. She -offers him the sword of _Menethus_, with which to kill himself. But his -hands are chained. “You!” he begs. The thought is unendurable. She turns -away. But suddenly, turning back, she cries out, “Yes!” and drives the -blade through her lover’s heart. - -The scene changes to Arcady. Eight years have passed. _Queen Adrea_ has -come to Arcady, and there she would remain at rest. But her people call -her back to Adrea. The stanch _Arkissus_,--who has always loved her, -whose one thought is of duty, and whose duty is to obey,--brings the -prayer of her subjects that she will return and rule over them. But here -are green fields, summer skies, and the shepherds and their pastoral -music: it is a halcyon place and time; and she would remain, and linger, -and die here, and rest beneath the sod that she and her first lover once -trod together. A trumpet sounds, and a captive youth is brought into her -presence. He is the son of _Kaeso_ and _Julia_, and he has sought the -throne of _Adrea_. He is vanquished, and his mother, _Julia_, has been -slain. But there are tears in _Queen Adrea’s_ eyes, as she looks upon -him, and her arms open to him--for he has the port and lineaments of -_Kaeso_. The _Queen_ and the captive play a game,--“the Game of Being -King.” _Adrea_ places the youth on her throne, sets her crown on his -head, puts her sceptre into his hands, throws her ermine on his -shoulders, and bids him “Reign in love.” “Open the casement,” cries the -captive boy, “Let in the sun, if you play fair and set no trap for me!” -“At the King’s command,” she answers; and in those words ordains her -fate, for _Adrea_ cannot again look upon the sun without loss of her -vision. She flings the casement wide open, and, in the sudden blaze of -light, goes blind: then, when the agony is past and night has come -again, she staggers to the throne and cries, “Long live the King!” For -still the law of succession is inexorable,--and so _Prince Vasha_ -reigns, and _Adrea_ is once more only _Adrea of Arcady_. - -No student of Roman history needs to be told that among the women of -Rome (and at one time all Italy was circumscribed within the capital) -there were females illustrious for almost celestial virtues and females -portentous for the monstrosity of their hideous crimes. The authors of -“Adrea” neither distorted nature nor exaggerated fact in their -portraiture of the two princesses, _Adrea_ and _Julia_, who are opposed -and contrasted in this remarkable drama of love, crime, frenzy, -retribution, atonement, and peace. _Adrea_ is not nobler or more -virtuous than Valentinian’s Eudoxia, nor is _Julia_ more malignant, -treacherous, and cruel than Justinian’s Theodora. In this tragedy the -purpose, obviously, was to present, amid regal accessories and in all -the paraphernalia of semi-barbaric splendor, a woman of lofty mind, -potent character, and impetuous passions, and, by making her the victim -not alone of blighted affection but of deadly outrage, to involve her in -a complex tangle of torment; to make her terrible in the delirium of -exasperated feeling; to display her emotional perturbation and fierce -and ferocious conduct in a vortex of tempestuous struggle; and, finally, -to depict her noble expiatory conquest of herself, and to leave her, in -her lonely majesty, a sublime image of triumphant virtue, gentle -fortitude, and patient grief. That purpose has been superbly -accomplished. To superficial observers, indeed, the presentment of -“Adrea” appealed chiefly by reason of its implication of theatrical -situation, its startling effects of climax, and its gorgeous scenic -investiture. To thoughtful minds it came home as an illuminative and -significant exposition of human nature, artfully made through the medium -of a wonderful picture of human life in the antique world,--and in that -it reached much further than merely to the fulfilment of any immediate -theatrical need. Like the more classic dramatists of the Garrick era, -its authors drew their inspiration from the great fountain of historic -antiquity--adjusting, rearranging, and emphasizing old types and old -examples to exhibit actually (and not by any dubious method of old -symbolism) what is in our own hearts and of what fibre we are all made. -Their play is an honor to them, and it is a rich and permanent addition -to the literature of the Stage. - -Mrs. Carter impersonated _Adrea_, and finding in it a part into which -she could entirely liberate all her emotional power, without losing -control of it, she rose to the occasion. She had hitherto acted in -comedy, “sensation,” or sentimental, drama. The character of _Adrea_ is -wholly tragic. Through the wide range of conflicting emotions implicated -in her experience--the misery of blindness and loss of royal -inheritance, the ignominy of desertion by her idolized lover and of -betrayal into the lewd embraces of an odious menial, the paroxysm of -anguish when, to save her lover from a death of horror and shame decreed -by herself, she strikes him dead, and the humility of surrender when, -after years of bleak remembrance, she invites again the black eclipse -and forlorn disablement of blindness and delivers her kingdom to the -rule of her slaughtered lover’s son--Mrs. Carter moved firmly, steadily, -triumphantly,--commanding every situation and rising to every climax. No -denotement in Mrs. Carter’s acting of _Du Barry_ had even remotely -indicated such depth of tragical feeling and such power of dramatic -expression as she revealed in the scenes of the tempest, in pronouncing -_Kaeso’s_ doom, and, above all, in the terrible, piteous, tragic -self-conflict through which the Woman became the incarnation of Fate and -the Minister of Death. Mrs. Carter had long been known for her -exceptional facility of feminine blandishment, her command of the -enticing wiles of coquetry and the soft allurement of sensuous -grace,--known, likewise, and rightly admired for the clarity and purity -of her English speech, always delightful to hear: but observers studious -to see and willing to be convinced had not supposed her to be an actor -of tragedy. It took a long time for Belasco to bring her to a really -great victory, but she gained it in _Adrea_. The impersonation possessed -many attributes of beauty: symmetry, for the eye; melody, for the ear; -unity, continuity, sincerity, and sustainment, for the critical sense; -poetic atmosphere, for the imagination; but it possessed one supreme -attribute of terror,--absolute knowledge of human misery. “Look into -your heart, and write,” is an old poetic precept. “Look into your heart, -and act” ought to be joined with it: but God pity the heart into which -the true poet and the true actor must sometimes look! - -“Adrea” was first performed in Washington, D. C., on December 26, 1904, -and in New York on January 11, 1905,--at the first Belasco Theatre. The -following is the original cast of that play: - -_Kaeso of Noricum_ Charles A. Stevenson. -_Arkissus of Frisia_ Tyrone Power. -_Marcus Lecca_ R. D. McLean. -_Holy Nagar_ H. R. Roberts. -_Mimus, the Echo_ J. H. Benrimo. -_Bevilaccas_ Claude Gillingwater. -_Caius Valgus_ Marshall Welch. -_Sylvestros_ Gilmore Scott. -_Dyaixes_ Louis Keller. -_Bram-Bora_ Edward Brigham. -_Marlak_ H. R. Pomeroy. -_Master of the Tower_ H. G. Carlton. -_Servant of the Tower_ Gerald Kelly. -_The Shade of Menethus_ Charles Hungerford. -_Thryssos_ Francis Powers. -_Idmondus_ Gordon West. -_A Mock Herald_ Arthur Maryatt. -_Crassus_ Edwin Hardin. -_Herald of the Senate_ Franklin Mills. -_Page of the Senate_ Harold Guernsey. -_A Bargeman_ Luther Barry. -_Zastus_ Teft Johnson. -_Galba_ Harry Sheldon. -_Sigrad_ Charles Wright. -_Var-Igon_ F. L. Evans. -_Slave of the Whips_ James H. George. -_Slave of the Queen’s Door_ Joseph Moxler. - -[Illustration: BELASCO’S “ADREA” CURTAINS - -Photograph by Byron. Belasco’s Collection. -] - -_The Child Vasha_ (in the epilogue) Louis Grimm. -_Julia Doma_ Edith Crane. -_Garda_ Maria Davis. -_Myris_ Corah Adams-Myll. -_Lefta_ Lura Osborn. -_Lelit_ Grace Noble. -_A Singing Bird_ Madeleine Livingston. -_Adrea_ Mrs. Leslie Carter. - -Coincident with his production of “Adrea” Belasco’s fight for freedom in -the conduct of his business reached a climax that attracted nation-wide -and wondering attention and enlisted the sympathetic assistance of -eminent members of the national legislature. Whenever possible, -subsequent to his successful presentment of “The Heart of Maryland” in -Washington (October, 1895), Belasco has elected to bring out his new -plays in that city. There he desired to launch what was in some ways the -most ambitious venture of his career,--and there, accordingly, after -overcoming every obstacle that could be thrown in his way, he first made -known the tragedy of “Adrea.” But before narrating the manner in which -that production was effected it is desirable here to make somewhat -particular exposition of the antagonism he was compelled to encounter -and to record the significance of his long and costly conflict with it. - - - - -BELASCO AND THE THEATRICAL SYNDICATE. - - - - -JUSTICE AND THEATRICAL ACHIEVEMENT. - - -David Belasco has served the Public and the Theatre, ably and -brilliantly, in several fields and for many years, but his achievements -as at once theatre manager, stage manager, playwriter, instructor, and -“producer,” splendid and admirable as incontestably they have been and -are, have been equalled by other American managers, of earlier date. In -writing Biography it is prudent to remember that “there were heroes -before Agamemnon.” Much was accomplished on the American Stage long -before the advent of either David Belasco or any other theatrical -administrator of recent times, and when we review the history of the -drama in America for more than a hundred years, and consider the -managers by whom it has been fostered, conserved, and directed, we -should recall and honor the names,--among others,--of William Dunlap, -the elder Warren, William Wood, Francis Courtney Wemyss, James H. -Caldwell, Noah Ludlow, Edmund Simpson, Charles Gilfert, the elder -Hackett, the elder Wallack, William Evans Burton, and Thomas -Barry,--each of whom, in his day, deserved theatrical eminence and -gained it, and all of whom seem now to be forgotten. Lester Wallack, who -long preceded Belasco, and who also was theatre manager, stage manager, -playwriter, and actor,--and as actor with no superior and scarce an -equal in his peculiar realm,--gained laurels which will long endure. -John T. Ford, Boucicault, Barrett, McCullough, Edwin Booth, and John S. -Clarke,--all were accomplished and highly successful and distinguished -in every branch of theatrical management; and, although Belasco has -written his name imperishably on the honorable scroll of dramatic -renown, he has not eclipsed those eminent predecessors. - - - - -BELASCO’S UNIQUE SERVICE TO THE THEATRE. - - -In one service, however, that Belasco has rendered to the Theatre and -the Public he is peculiarly a benefactor, and in doing that service he -has encountered an antagonism and prevailed in adverse circumstances -with which the elder theatrical managers never had to contend. It would -be difficult to over-estimate the value of his intrepid opposition to -the tyrannical monopoly known as “The Theatrical Syndicate.” His -conflict with that arrogant, oppressive, pernicious organization, -sustained through a period of about twelve years, and finally -victorious, required unfaltering courage, tenacious purpose, skilful and -prompt action, and tireless persistence. It exacted from him prodigious -labor; it entailed upon him great expense and loss, and it compelled an -expenditure of time and strength which, if he had been left free to -devote it to his artistic labor, would have been productive of lasting -benefit to the Drama. But the sacrifice was well made, because the -Theatre and the Public profited by it,--as, earlier, and concurrently, -they profited by the resolute contest against the Syndicate (a valiant -and gallant fight for freedom and justice) waged by Harrison Grey Fiske -and Minnie Maddern Fiske. It should be noted that Augustin Daly, -Belasco’s immediate predecessor in the primacy of theatrical management -in America,--who, also, was theatre manager, stage manager, playwriter, -and “producer,” and who was consummate as an executive,--being assailed -by the Syndicate (as he several times declared to me), became one of its -active opponents and resisted its aggressions: but Daly, who died before -its despotic power had become matured, had long been an established, -powerful manager before it was formed, so that it could not do him much -harm. Belasco, on the contrary, was constrained to fight his way to -independence and influence against its active, relentless opposition -and inveterate hostility, from almost the beginning of his career in -theatrical management. - - - - -WHAT ARE WE DISCUSSING? - - -In the period of about sixteen years preceding 1912 the newspaper press -of America published many thousands of columns, often critical, at times -strongly censorious, about the “Trust” or monopoly which commonly is -known as “The Theatrical Syndicate.” Bitter fights likewise have been -waged not only in the press but in the courts relative to that -organization. The public has, from time to time, manifested interest in -the subject,--as, for example, relative to Mrs. Fiske’s appearance in -all sorts of unsuitable places, because the Syndicate had “barred” her -from the regular and (as they are technically styled) “first-class” -theatres, and to Mme. Bernhardt’s enforced performances in a circus -tent, for the same reason, and, especially, to Belasco’s almost -preterhuman efforts to present his plays in Washington (from which city -strenuous efforts were made by the Syndicate to exclude him). Yet I -believe that the public knowledge of the Syndicate,--its origin, aims, -character, policy, conduct, and effect,--has never been more than -superficial. - - - - -THE SYNDICATE-INCUBUS DEFINED. - - -What _is_ “The Theatrical Syndicate,” and _why_ should it rightfully be -denounced and opposed as a pernicious institution? - -The Theatrical Syndicate, primarily, was a partnership of six men, all -speculative theatrical managers, formed for the purpose of dominating, -for the pecuniary profit, advantage, and personal aggrandizement of its -members, the theatrical business of America, and of doing this by -methods some of which, in their practical operation, are morally -iniquitous, and should be, if they are not, legally preventable, in the -public interest. - -Those six men were: Al. (Albert) Hayman (deceased 1916), Charles Frohman -(deceased 1915), Marc Klaw, and Abraham Lincoln Erlanger, all of New -York; and Samuel F. Nirdlinger (known as Nixon) and J. Frederick -Zimmermann, both of Philadelphia, Pennsylvania. The contract under which -those persons formed their copartnership and carried on their syndicate -business was made in August, 1896, and it was renewed, in substance, in -April, 1900. - - - - -SPECIOUS PRETENSIONS TO JUSTIFY THE INCUBUS. - - -The founders of the Theatrical Syndicate have, with much fulsome -commendation of themselves and their purposes, directly or by -implication, sought to justify the position they have assumed by -specious assurances substantially to this effect: - -That the theatrical business of America was disorganized, unstable, and, -in general, so conducted as to entail loss on many or most persons -engaged in it, by reason of _competition_, poor judgment, and lack of -discrimination in its transactions; that the prevalent administration of -it was not favorable to the development of actors and the promotion of -the art of the Theatre; that their combination was made to cure, and -that it did cure, the defects of theatrical business, stabilize it and -render it reputable and responsible,--placing it, in this respect, on a -level with other business; and that, incidentally, it would, and did, -tend to prosper the means whereby the Theatre must live--namely, Acting -and the exhibition of Acting. A. L. Erlanger, executive of the Booking -Department of this organization (that is, of the firm of Klaw & -Erlanger, the particular business of which was, and is, to “book,” -_i.e._, to arrange, the tours of theatrical companies), has thus stated -a part of his views relative to the character and doings of the -Syndicate: - - “The American [theatrical] manager of to-day is _unique_, - _contrasting_ him with the _managers of long ago_, and that still - exist in England, France, and elsewhere, in that _he_ is - _qualified_ and _experienced_ in staging _all kinds_ of theatrical - entertainments.... As for the question of Commercialism _versus_ - Art in Stage matters, I cannot see where the fact that financial - solvency, _making the business of the theatrical world comparable_ - in its _integrity_ with that found in other occupations, lessens - the artistic value of the question [_sic_]. No actor will act the - worse because he knows his salary will be paid promptly; and the - fact that the business of the theatres is conducted on _firm lines_ - is calculated to encourage, rather than dismay, the actor, the - dramatist, and everybody else whose interest in the Stage is - primarily artistic.” - -In support of those views and in advocacy of the Syndicate of which he -was an active member the late Charles Frohman wrote (“The New York -Herald,” March 13, 1910): “Several men united to systematize the conduct -of the Theatre, _put the actor’s profession on a self-respecting -footing_, guard the playwright against piracy, protect the managers of -theatrical companies against unfair competition [_i.e._, competition not -profitable to the members of the Syndicate.--W. W.], at the same time -obliging them _to keep faith_ with managers of theatres.” - -A third voucher for the exalted integrity and far-reaching beneficence -of the methods exemplified in the operations of the Syndicate was -furnished by Charles Burnham, at that time manager of Wallack’s Theatre, -not himself a member of the benign brotherhood, but obviously congenial -with it, and President of “The Theatrical Managers’ Association,” a -society which the Syndicate practically dominated: - - “The commercialism of the drama,” so said that manager, “_has - justified itself...._ The Theatre of to-day is no Chicago - University or Carnegie Library. If you look after the _financial - end_ of the Drama, _which is the main thing_, the public may be - trusted to maintain a high standard.” - - - - -TENDENCY TO COMBINATION IN MODERN BUSINESS. - - -An honest, just, equitable organization of business is always right, and -no one but a fool or a knave would ever question the legality or -propriety of it. The drift of the present age, in commercial affairs, -is, and for a considerable time has been, toward combination, -organization--in a word, _efficiency_. Business men of the United -States, little by little, have awakened to the imperative necessity of -conservation of energy and resources, systematic labor, economy; the -sensible use of every force that tends to the advancement of -civilization, the increase of public prosperity, and the diffusion of -intelligence. One of those forces is the Theatre, and it is one of -prodigious influence. No intelligent observer acquainted with its -history would maintain that its condition, particularly as a business -institution, has ever been perfect or is perfect now. It is certain, -however, that its commercial condition has, within the last -half-century, very considerably improved, because not only have the ban -of the Church and the stigma of Society been, to a large extent, removed -from it, but great wealth has been bestowed on its enhancement, and -expert executive talent has sometimes been enlisted in the management of -its affairs. - - - - -CAUSES OF THEATRICAL PROGRESS. - - -It was not a commercial manager of the Syndicate type who first urged -the efficient management of the Theatre; it was an idealistic critic and -a great poet. Many years ago that ripe scholar and accomplished -man-of-letters Matthew Arnold exclaimed, in one of his Essays, “The -Theatre is irresistible--_organize_ the Theatre!” Arnold, as a youth, -had been entranced by the acting of Mlle. Rachel, and as a man had -naturally been charmed by the acting and greatly influenced by the -propulsive reformatory and constructive theatrical administration of -that great actor and theatrical manager Henry Irving. It is from such -sources of thought and of intellectual energy as Arnold and Irving, in -England, and as Wallack, Booth, and Daly, in America,[1] that the -impulse properly to organize the Theatre has proceeded; not from the -mere money-grubbing schemes of monopolistic cliques or speculators in -public amusement. Members of such cliques,--of which the Theatrical -Syndicate is one,--are, at times, frank enough to admit that (as they -are fond of expressing it) they are not engaged in theatrical business -“for their health,” and undoubtedly they are within their rights when -they seek, _by fair means_, to make their business profitable. So much -is understood and conceded: who would deny it? Monopolies, however, -frequently pose as public benefactors, and such, as already shown, is -the pose assumed by the Theatrical Syndicate. Many persons have, in one -way or another, been deceived by it, or brought to approve it. In 1898, -beginning to be conscious, in my critical and editorial work on “The New -York Tribune,” of an oppugnant influence emanant, apparently, from that -source, I determined to have a clear understanding with the late Donald -G. Nicholson, then the editor of that paper, and I formally asked him -whether “The Tribune” favored or opposed the Syndicate. In reply I -received from him the assurance that “of course ‘The Tribune’ _opposed_ -it,” and also I received a printed list of newspapers which, Mr. -Nicholson informed me, had explicitly declared their opposition to the -Syndicate as being an unjust organization, hurtful to the Theatre and -adverse to the public interest. That list contained the names of most of -the leading journals of our country. But--“There are no birds in last -year’s nest.” Most of the opposers of the Syndicate seem, like the -_Witches_ in “Macbeth,” to have “made themselves air, into which they -vanished.” Active opposition to that incubus in the press is, at -present, conspicuous chiefly by its absence. - -The pretensions of the Syndicate are one thing: its proceedings are -quite another. Equitable conduct has not been the spring of its -prosperity. Not by fair means has it become rich and powerful. Aside -from having somewhat facilitated the making possible of economically -practical routes over the country for travelling companies and the -transaction of business between resident theatrical managers and -representatives of travelling companies, it has done, literally, nothing -for the good of the Theatre; but it has done everything for the good of -itself. It is not to be supposed, for example, that because the making -of economical routes is _feasible_ through the booking agency of the -Syndicate, once such routes have been booked they are inviolate. “Dates” -are cancelled and “routes” are changed, when such change is requisite to -the advantage of the Syndicate, with total disregard of any other -consideration. “Where,” exclaimed Gladstone, “can you lay a finger on -the map of Europe and say, ‘Here Austria did good’?” Where can you lay a -finger on the map of progress in the Theatre in America and truthfully -say, “Here the Syndicate did good”? - - - - -THE RIGHT PRINCIPLE. - - -That the Theatre, to exist, must be self-sustaining; that its -administration “must show a profit,” is a proposition so elementary in -its truth and so universally conceded that it would be folly to restate -it, if there were not so much stupidity in the generally attempted -exposition of Commercialism in Art. But as a matter of right and duty -(and this is what, apparently, the Syndicate and congenial managers -_cannot comprehend_), theatrical managers are under distinct obligation -to consider the public good _before_ they consider their individual -prosperity. In other words, when a man assumes to make use of one of the -fine arts as a means of “doing business,” he assumes to wield an -indirect educational power; he undertakes,--whether he knows it or not, -whether he means to do so or not,--to affect the public taste, the -public thought, and the public morals. Therein, accordingly, he assumes -a responsibility much broader and much more important than that which is -incurred in an ordinary “business” pursuit; and, as it happens, he -assumes it under less restriction, by law, as to the possible effect of -his conduct than is imposed on the speculator in almost any other -“business.” - - - - -THE OBLIGATION OF INTELLECT. - - -Obligation of honesty and honor rests with equal force on all workers in -all branches of industry: but it is one thing to sell boots or pickles, -and another thing to disseminate thoughts and emotions. The more a man -ascends in the scale of labor the more exacting becomes his duty to -Society. A writer of novels, for example,--a Scott, a Dickens, a -Thackeray, a Cooper, or a Collins,--might, perhaps, find the largest -amount of personal emolument in writing stories calculated to vitiate -taste, injure public thought and public morals, and thus debase the -community, but, if he wrote such books, he would be a criminal, and it -would be no defence for him to say that he made money by his crime, or -to allege that because he made money the public approved of his actions. -Intellectual men have _no right_ to make money by misusing their powers. -The same sense of rectitude,--but broader, higher, finer,--that bids an -honest tradesman sell nothing that will injure the buyer enjoins upon -the worker in the arts that he should consider not merely the payment he -is to receive for his work, but the effect of that work upon the lives -and destinies of the human beings to whom it is addressed and whom it is -likely to influence. Theatrical managers stand in that position toward -the public. Thoughts and feelings are the wares in which they deal, and, -much as they are bound to consider financial profit (because they have -heavy burdens of expense to carry), they are also solemnly bound, first -and most of all, to consider the taste, the morals, and the intellectual -advancement of the community. The manager who aims at monetary gain as -the first and dominant object of his ambition and endeavor, to the -exclusion of all higher purpose, is a disgrace to his profession and an -enemy to social welfare. To him, as to the _Weird Sisters_, “fair is -foul and foul is fair.” - -There are many vocations in which little is to be considered above the -till. No person is _compelled_ to assume the management of a theatre or -the direction,--invariably of potent force,--of an educational, -influential art. If he deliberately chooses such occupation and does -assume it, he assumes it with all its inherent responsibilities,--and -the greatest of these is moral and intellectual duty. No mistake more -foolish or more culpable could be made than to regard this standard of -conduct and responsibility as visionary, impracticable, or what this -deplorably slang-ridden community flippantly mentions as “highbrow -stuff.” No strenuosity of asseveration from theatrical janitors, “Great -Moguls,” “Napoleons of the Theatre,” bullies or gamblers, flatulent with -the wind of self-complacency and conceit, that conduct of the Theatre -justifies itself by mere financial gain can vindicate a theatrical -administration which benefits a few individuals at the expense of the -public good and by the oppression of honest competitors; and that, -practically, is the administration of the Theatre which is provided by -the Theatrical Syndicate. - -The covenant made by the six members of the Syndicate contains much of -that verbiage which customarily encumbers legal documents. Some facts, -however, as to the results of its operation are apparent. Under the -contract, covering “different cities of the United States and Canada,” -independent theatrical companies, seeking to compete for public favor -and support, “were not permitted to play against” “other companies of -the same or different class,” owned, operated, controlled, or directed, -by the Syndicate. According to that covenant, “No attraction [_i.e._, no -company presenting a theatrical entertainment or performance] shall be -booked in _any_ of the said theatres or places of amusement [_i.e._, -theatres or places of amusement owned or controlled by the Syndicate] -which will [_sic_] insist on playing _in opposition_ theatres or places -of amusement in any of the cities” named in the Syndicate agreement, -unless by written permission of a Syndicate member, controlling a -theatre or theatres in such or such specific places where an independent -manager desired to present his company in an independent theatre. By -this arrangement the Syndicate, in effect, could say, and has said, to -managers of theatres outside its ownership or direct control: If you -wish to “play” _any_ of our “attractions,” at any time, you must play -_all_ the attractions we book in your theatre when we book them and on -the terms which we specify,--otherwise you _cannot have any_ of the -attractions which we book. To persons, whether star actors or managers -directing theatrical companies on tours through the country, desirous to -secure “bookings” in certain cities in which first-class theatres are -controlled by the Syndicate that organization could say, and has said, -in effect: If you wish to play in _any_ theatre owned or controlled by -us, you must play in every theatre, whenever and wherever we choose to -direct you to play, on whatever terms we choose to make for you. If that -is not, in effect, blackmail and extortion, compelling the transaction -of business under duress, what is it? The theatres owned, leased, -controlled by members of the Syndicate _are_ their theatres, and they -assert the right to conduct those theatres to suit themselves. Owners of -property certainly _are_ entitled to use it for their advantage; but -would any well-informed and fair-minded person maintain that the members -of the Theatrical Syndicate, using their property in the way I have -described, use it according to the dictates of justice? When that -kindred beneficence the Standard Oil Company desires to drive a small, -independent dealer out of business how does it go about the task? It -sets up a contiguous, superbly managed competing oil shop and undersells -the independent dealer, till he, lacking money to maintain a hopeless -struggle for his - -[Illustration: THE MEMBERS OF THE THEATRICAL SYNDICATE - -Al. Hayman Charles Frohman - Copyright by Charles Frohman, Inc. - -Marc Klaw - -Abraham L. Erlanger -Copyright, Rockwood - -Samuel F. Nixon (Nirdlinger) J. Fred. Zimmermann, Sr. - - “It is often true, as old _King Duncan_ declares, that ‘There’s no - art to find the mind’s construction in the face.’ Nevertheless, - study of the faces of the men who compose that sacred institution - of beneficence, The Theatrical Syndicate, is worth making. Such - study renders it easier to understand the condition of the Theatre - in America to-day.”--W. W. -] - -livelihood, is forced to sell his business and desist from competition. -Then the benevolent national octopus gradually advances the price of oil -until at last the public in the neighborhood has paid the cost of -driving the small competitor out of business, the field is occupied -solely by the Standard Company, and it sells oil to the people for “all -the traffic will bear.” That method may be as _lawful_ in selling -“theatricals” as in selling oil, but--is it _right_? - -If Belasco desired to present one of his “attractions,” in thirty cities -under the Syndicate domination (acceding to the terms imposed upon him), -but could, in one other city, present that “attraction” for ten weeks, -at an independent theatre, receiving eighty per cent. of the gross -receipts, while in the same city the Syndicate would “book” his -“attraction” at one of its theatres and graciously exact fifty per cent, -of the gross receipts, then Belasco would be necessitated to submit to -that predatory dictation, or else lose his “bookings” in the thirty -other cities,--in _all_ other cities,--in which the Syndicate controlled -the “first-class” theatres. - - - - -“THOSE SHALL TAKE WHO HAVE THE POWER.” - - -Perhaps that may seem an extreme case. Yet that is exactly what happened -to him. In 1902 Belasco produced “The Darling of the Gods,” Miss -Blanche Bates appearing in it as a star, in association with an -exceptionally fine and expensive company. That was a very costly -production: after two years of presentation of it Belasco had gained a -net profit of only $5,000,--while, had he chosen to do so, he could have -gained that profit in a fortnight with many an inferior vehicle. He was, -naturally, proud of his achievement. He desired that the play should be -represented within reach of the multitude assembled to view the World’s -Exposition, which was opened at St. Louis, in 1904, and he arranged to -present “The Darling of the Gods” at the Imperial Theatre, in that city. -As soon as this fact became known he was notified by Mr. Erlanger, on -behalf of the Syndicate, that he would not be permitted to do so,--the -reason being that the Syndicate would not tolerate the presentment there -of Belasco’s play in any but a Syndicate house, though the Syndicate -could not, or would not, provide him a theatre there for as long a term -as he could secure the Imperial. Belasco’s reply was that he would -certainly produce “The Darling of the Gods” in St. Louis, whereupon Mr. -Erlanger, in the presence of Belasco’s representative, destroyed and -threw into a waste basket a number of contracts, signed and executed, -providing for the presentation of that and other Belasco “attractions” -in theatres under Syndicate control in various cities of the Union and -Canada. This peremptory repudiative action, accompanied by much violent -expletive, no doubt was one of Mr. Erlanger’s genial ways of -illustrating the conduct of business on those “firm lines” he had -prescribed as so essential to theatrical regeneration, and of -illuminating the Syndicate’s righteous purpose, as stated by the late -Mr. Charles Frohman, to compel the managers of theatrical companies “to -keep faith with managers of theatres.” It clearly was a conclusive -example of the Syndicate’s beneficent methods. - -“Thus bad begins and worse remains behind”: if the general policy which -I have specified is iniquitous, how shall certain other proceedings, -conducted by the executive of the Syndicate, in the development of the -business of the Theatre, be characterized? Let the reader assume that he -wishes to bring out a new star or a new play, in New York, and does so: -his venture is successful: he plays for a considerable term in the -capital: he wishes to “book” his “attraction” on the road. The charges -made for such booking service are, I understand, reasonable,--somewhere -from about $250 to $300 for a season’s tour. But does the reader suppose -he can get his play booked and his tour arranged as simply as by paying -an agent’s commission? Let him try: perhaps he will succeed: -“circumstances alter cases”: his play may have proved so popular in New -York that theatre managers throughout the country clamor to have it -exhibited in their theatres, in which case the Syndicate might become -placable; but such good fortune is dubious. It is far more probable -that, in order to obtain a desirable route through the first-class -theatres of the country, he will find it obligatory to make “a free -gift” of an interest of from one-third to one-half of his successful -venture (in which he has done all the original work and borne all the -expense and risk) to the benevolent and protective firm of Messrs. Klaw -& Erlanger,--as, for example, it appears from his sworn testimony (see -_ante_, pp. 18-19) that Belasco was forced to do when presenting David -Warfield in “The Auctioneer.” - - - - -DIVERGENT VIEWS OF THE SYNDICATE: GROUNDS FOR REASONABLE BELIEF. - - -It is not feasible to include in this Memoir a complete History of the -Theatrical Syndicate, examining every detail of its organization, -conduct, influence, and effect,--though such a history is a necessary -part of the annals of our Stage. In the absence of such exhaustive -record the partially informed reader may be confused, perhaps misled, by -dissentaneous views of the Syndicate--about which, be it observed, I -write as an uncompromising opponent. On the one side that Syndicate is -found portrayed by its advocates as an institution of light, leading, -and beneficence. On the other side, it is found represented as an -arrogant, ruthless, grasping monopoly,--exerting an actively injurious -influence on the Drama and the Art of Acting,--and as being composed of -ignorant, avaricious, vulgar men, unfit to dominate any art--and in -particular the _quasi_-educational art of the Theatre,--and regardless -not only of the public welfare as affected by the Stage but, at least in -some instances, regardless even of the public safety. The disparity of -sentiment is diametrical. But though a whole history of the Syndicate is -not here practical, is it not possible briefly to present essential -information bearing on the subject in such a way that the reader may -disregard the discordant and disputatious views of advocates and -opponents and form an independent opinion based merely on facts of -record? I think that it is. First, then, as to disregard of the public -safety by some members of the Theatrical Syndicate: - -Soon after the burning of the Iroquois Theatre, in Chicago, December -30, 1903, during a performance there of “Mr. Bluebeard,”--a disaster in -which 602 persons horribly perished,--the New York weekly journal “Life” -published a cartoon portraying the exit of a theatre, with the door -padlocked and with smoke streaming through it, while women and children -were shown struggling to force it open and escape. A symbolic figure of -Death was shown standing beside that portal, and beneath the picture was -a caption reading: “Messrs. Klaw & Erlanger Present Mr. Bluebeard.” The -implication of that cartoon was, unquestionably, an accusation of -wholesale manslaughter. Messrs. Klaw & Erlanger, claiming that the -publication of it was a libel upon them, instituted a suit against -“Life” for $100,000 damages. That suit was tried in the United States -Circuit Court, New York, January 3 to 6, 1905, before Justice William J. -Wallace and a jury. The publication complained of was, in fact, beyond -question a libel. Under the law publication of libellous matter is -justified if it be _true_ and if it be made without malice, in the way -of legitimate comment or criticism. The issue in this case, therefore, -was perfectly clear. The jury decided in favor of “Life” after -deliberating less than five minutes--thus, in effect, certifying to the -truth and legitimacy of comment which amounted to an accusation against -Klaw & Erlanger of wholesale manslaughter through negligence. - -Second, as to the characters and reputations of the men composing the -Syndicate and the question of their fitness to dominate the Theatre: - -“The New York Dramatic Mirror,” on October 30 and November 13, 1897, -published articles, written by its editor, then Harrison Grey Fiske, -which stigmatized the members of the Theatrical Syndicate as a “_band of -adventurers_, who imagined that they could manipulate the amusement -business _for their sole gain_”; as men actuated by “clannish greed and -selfishness”; as “mercenaries” who threatened “the welfare of the -Stage”; as persons who, in their business, were guilty of maintaining a -“_system of double-dealing_, of _false pretences_, and of -_misrepresentation_”; as “illiterate managers”; as an “insolent and -mischievous clique of theatrical middlemen”; as “insolent jobbers,” -“theatrical throttlers,” “crooked _entrepreneurs_” and “an un-American -and intolerable combination of greedy, narrow-minded tricksters.” - -The several members of the Syndicate, resentful of these explicit -strictures, instituted suit against Fiske, asserting that in making and -circulating the statements about them just quoted he had uttered a -“false, defamatory, scandalous, and malicious libel” which had “injured -the complainants in their good name, fame, and reputation,” and -otherwise damaged them, all in the sum total of $100,000. The complaint -in this action was filed on November 19, 1897. - -Fiske answered, in effect, that his charges against the Syndicate were -“made in behalf of the public and [of] those engaged in the theatrical -line or profession in the United States” and were set forth as “_a fair -and true statement_ of the object and purpose of the Syndicate”; that -his articles complained of were true and not malicious, denying that -they constitute a “false, defamatory, scandalous, and malicious libel”; -asserted that “Al. Hayman was not a person of good name, fame, and -reputation,” but “that he [Hayman] with his co-complainants did by a -system of double-dealing and false pretences and misrepresentations to -the public and those engaged in the theatrical business unite and band -together by wrongful and improper expedients” to mislead and defraud the -public; “that the said J. Fred Zimmermann is not a person of good name, -fame, and reputation”; that A. L. “Erlanger is not a person of good -name, fame, and reputation, but that, on the contrary, the said A. L. -Erlanger has been arrested and convicted of crime in the State of -Pennsylvania,” and that “the name, fame, and reputation” of the -plaintiffs had been “truly set forth in the said articles mentioned in -the plaintiffs’ complaint.” - -Of course, to _make_ such damaging accusations is not to _prove_ -them,--whether they be made in a newspaper or in a legal instrument: the -noblest and best men and women the world has ever seen, or ever will -see, all are liable to traduction and attack. But the members of the -Syndicate, after taking cognizance of these accusations, after declaring -under oath that they had been damaged by the making of them in the -amount of $100,000, and after the braggart spokesman for the group had -asserted in print that “we mean to make Mr. Fiske prove his allegations -or publicly acknowledge his mistake,” dallied and delayed in the case -for two and one-half years (during all of which time Mr. Fiske, as he -personally and repeatedly assured me, was not only willing but eager to -go to trial on the facts),--and then, April 18, 1900, _discontinued -their action_. Commenting on this proceeding, Fiske said, in “The -Mirror”: - - “No pretence of legal unreadiness and no motion for delay of this - case have ever proceeded from the defence.... ‘The Mirror’ has been - not only ready but eager at all times since the joining of issue in - this case to thoroughly thresh the matter out in open court.... The - case never has been pushed in court, and _it is evident that the - plaintiffs never had any intention to try it_.” - -Judicious readers will, I believe, agree that the course of the members -of the Syndicate amounts, practically, to a confession of the truth of -Fiske’s charges; and surely, in the circumstances, they can neither -wonder nor complain because those charges have been generally -believed.--As to the power exerted by A. L. Erlanger over Belasco and -the quality of the Theatrical Syndicate as a monopoly, I consider the -arraignment made by Samuel Untermyer, before the Appellate Division of -the Supreme Court, to be perhaps the best and most entirely just that I -have ever read: - - “...Of course Belasco went to Erlanger’s house and was a - suppliant to the tender mercy of Erlanger to permit him to hire - theatres in which to produce his play. He went there because the - Syndicate’s unholy and criminal alliance which controlled the - principal theatres throughout the country had made it impossible - for any man with a play, a company, scenery, costumes, and all the - requirements for a complete production to book his play (which - means to find a roof under which to produce it) except by the grace - of Klaw & Erlanger, who controlled the Syndicate and the theatres. - And they could ask just such proportion of the profits by way of - rent and impose such other conditions as they chose. Of course - Belasco went to Erlanger’s house, and when he confronted ‘the great - man’ he not only agreed to pay the rent, generally _fifty per cent. - or more of the gross receipts_ of every performance, for the - theatres, but he was also forced to agree to give secretly to Klaw - & Erlanger under cover of Brooks’ name fifty per cent. of all the - profits of that production. No wonder Erlanger did not want that - little arrangement known to his Syndicate - -[Illustration: - -Photograph by Byron. Belasco’s Collection. - -THE CROWNING ROOM,--BELASCO’S PRODUCTION OF “ADREA”] - - partners! Why should not Belasco go to Erlanger and smilingly - consent to be fleeced? His venture was ruined unless Erlanger would - furnish ‘bookings’ on any terms Erlanger chose to extort. Should - the King go to the Beggar? Or was it meet that Belasco the Beggar - for a chance to pay for the use of theatres in which to produce his - own play with his own company, should go humbly to Erlanger, the - King of the Syndicate that controlled the theatres? - - “No such despotism has ever been known or dreamed of in this - country and none so fatal to the development of art as the evidence - discloses this Theatrical Syndicate. Every monopoly that has been - dragged into the court pales into insignificance and seems almost - harmless beside it. Every owner of a theatre contracted with - throughout the country was required to agree not to permit his - theatre to be used for any performance not under the direction [of] - or assented to by the Syndicate even during the times it was not in - use or being paid for by the Syndicate!...” - - - - -CONVERTING CONVENTION HALL:--“ADREA” IN WASHINGTON. - - -Using the despotory power alluded to by Mr. Untermyer, the Syndicate -closed all the theatres of Washington against Belasco when he attempted -to arrange for the presentment of his tragedy. “My _penchant_ for giving -the first performances of my plays before the Washington public, because -I got the real start of my independent career there,” Belasco remarked -to me, “may be, as some unfriendly critics have declared it, a -‘sentimental folly,’ but it pleases me to do so, and it seems to me to -be a matter for _me_ to decide. The less likely it became that I could -get into Washington with ‘Adrea’ the more determined I became to do so.” -The result of his determination was that Belasco suddenly and privately -hired Convention Hall, a vast, barn-like place in Washington, -inconvenient of access, situated over a market, with seating capacity -for more than 5,000 persons. It contained no stage and was in every way -unfit for theatrical use: in brief, what Belasco did was, first, to hire -a roofed space, and then build a theatre beneath it,--incidentally -complying with all the mysteriously sudden and preternaturally exacting -requirements of various administrative departments of the District of -Columbia. “In all my experience,” he remarked to me, “I never knew such -vigilance to be exercised about a theatrical performance, and I should -never have been able to meet the almost incessant and sometimes most -unreasonable demands upon me if it had not been for the kindly advice, -guidance, and assistance of Senator Gallinger and of Speaker Cannon, who -had been interested in my fight by a _protégé_ of his, Mr. Sidney -Bieber; but, one way or another, every demand was met.” About one-third -of the hall was partitioned from the rest of it by a temporary wall and -a proscenium arch. Behind this a commodious stage was erected,--all the -labor of building being performed by a company of mechanics brought by -Belasco from his New York theatre. The iron girders supporting the roof -and also the exposed parts of the ceiling were draped and covered with -fire-proof cloth and gauze, dark green in color. Several carloads of -rich hangings and furniture which Belasco had originally purchased for -use in “Du Barry” and “The Darling of the Gods” were taken to Washington -and used to decorate the interior of this improvised theatre. Seats were -arranged, the aisles were carpeted, “boxes” were built, a gallery was -erected at the rear; a chill and barren loft was converted into a -spacious, warm, and handsome playhouse, and on Christmas Eve all seemed -to be in readiness for the opening--and then the Fire Department -condemned the electric-lighting system. “For a little while,” said -Belasco, in relating the story of this enterprise, “I thought they had -me beaten, and after I had spent thousands of dollars. But I put my case -before the Edison Electric Company--and between Saturday and the -following Monday evening the Edison people tore out the condemned system -of wiring, put in a new one, laid a special main for the supply of -current, got it all inspected and passed, and we opened as advertised -on Monday night! _I_ wanted to get out on the footlights and crow! As to -safety--everything had been done and we had, for an audience of 1,400, -the spaces, exits, and stairways previously considered safe for crowds -of from 5,000 to 6,000.” - -Belasco’s conversion of Convention Hall into a theatre, for the -production of “Adrea,” and the difficulties encountered by him in doing -so caused much comment in the newspapers of the capital, and shortly -before the first performance he published the following letter in “The -Washington Post”: - - “The editorial in this morning’s ‘Post,’ under the title, ‘Theatre - Regulations in Washington,’ conveys several erroneous impressions, - and I ask this intrusion on your space to state certain facts with - which the Washington public has not hitherto been made familiar. - When I conceived the idea of using Convention Hall for Mrs. Leslie - Carter, my very first step was to come to Washington personally, to - learn directly from the heads of the building, fire, and electrical - engineering departments what changes or safeguards would be - required by each to enable me to use Convention Hall with their - entire approval and in conformity with the law. During a series of - subsequent conferences plans were made and submitted, embodying not - only all the requirements of each department, but several - additional improvements--such as wider aisles, more exits, broader - exit space, etc. These plans were fully approved by the necessary - officials of the District. - - “Having thus secured the proper indorsement, and having placed - myself right with the municipal departments, I proceeded at great - expense to make these extensive alterations, seeking, above all, in - the interest of the public, to fulfil not only the letter but also - the spirit of the law. I already have done more than I was asked to - do, and no obstacle was raised until after the work was completed. - The structural changes have been made in strict and ready - compliance with the requirements of the District officials, and - under their supervision. _My one thought, first, last, and all the - time, was to comply with the law and protect the public._ I fully - believe that I have done so.” - -The representation of “Adrea” was received with extraordinary enthusiasm -by a large and brilliant audience, not a single member of which left -before the close of the performance, long after midnight. During the -Fourth Act a violent rainfall, beating on the iron roof of the hall, -rendered much of the dialogue inaudible, and soon, the roof leaking in -many places, water poured down through the cloth and gauze hangings, -deluging the audience with green rain. “I saw Admiral Dewey, in one of -the boxes,” said Belasco, “holding an umbrella over a lady whose -beautiful white gown was ruined with green blotches; and in another -Secretary Morton and Admiral Schley with the green water splashing down -on them. But, even though they had to sit under umbrellas or be soaked, -_my audience stayed to the very end_! Is it any wonder I love the -Washington public?” - -In the local newspapers, on Christmas Day, Belasco published the -following notice “To the Washington Public”: - - “Mr. Belasco begs to state that his occupancy of Convention Hall - for Mrs. Leslie Carter’s initial performances of her new play is - because of the opposition of the Theatrical Trust, through whose - dictation no theatre in Washington is permitted to book his - attractions. Unwilling, however, to surrender his custom of making - his productions first in this city, he has rebuilt the interior of - Convention Hall, in strict observance of the legal requirements of - the District departments, and with every regard for the comfort and - safety of his patrons. He begs also to thank the people of - Washington for the friendship and most liberal support which - already assure the success of his independent enterprise.” - -When called upon the stage during the opening performance of “Adrea” -Belasco made a brief speech of thanks, the first sentence of which -brought an outburst of applause that lasted for more than two minutes: - - “Well, ladies and gentlemen, they did not prevent my opening in - Washington. And as long as this is a free country and I am able to - fight for independence in theatrical management, I will open my - companies in Washington, or in any other city that I elect to - visit. It is very late: I won’t detain you but a moment, just to - thank you in words that can’t convey my thanks for your approval, - your sympathy and support. Mrs. Carter, Mr. Long, all my company, - my staff--my loyal, splendid staff, carpenters and mechanics who - have worked here, ladies and gentlemen, for as much as forty-eight - hours at a stretch to make this opening possible--they all are - grateful to you, and I thank you, and thank them, again and again. - It would be strange indeed if we were not willing to fight for the - chance to play before you when you are all so kind to us and when - the man who fought the Battle of Manila Bay and the man who fought - the Battle of Santiago are willing to sit in a sort of green - shower-bath to watch us!” - -Belasco gave seven performances of “Adrea” during his week in -Washington, the gross receipts from which were more than $15,000. And -when that engagement was over and the accounts had all been made up and -paid he had suffered a loss of a little more than $25,000.--On the first -night in New York he made a significant speech in which he said: - - “...Nobody could ask--nobody could wish--for any more splendid - loyalty, support, and encouragement than I have received from you, - from the people of New York, from the people of every place in - America where I have presented my companies, and I am grateful, - very, very deeply and lastingly grateful, ladies and gentlemen. But - conditions in the American Theatre are bad, ladies and - gentlemen,--very bad indeed--and they ought to be remedied. The - institution we all love should not be left at the mercy of - high-handed, brow-beating, un-American hucksters. We are not afraid - of anyone, ladies and gentlemen: we--all of us; my associates, my - business staff, my splendid, loyal mechanical staffs, my - actors--have had a long, a hard and bitter struggle and have - suffered very serious annoyances and loss. I have just paid more - than $25,000 for the privilege of presenting this tragedy for one - week in the City of Washington. We do not ask or expect that life - should be made easy for us; we can fight, just as you can, for our - rights. But I say, ladies and gentlemen, that it is a crying - outrage and a burning shame that men and women who simply want to - go about their own business in their own way should be forced, in - this day and country, to undergo what we (all of us here behind the - curtain and in the offices of my theatre) have to undergo from week - to week. And, ladies and gentlemen, it is you, the public all over - this great country, who are most injured by it all--because we - cannot give you what you are entitled to get from us when you pay - your money to see our plays and what we want to give you,--that is, - the very best there is in us: we cannot give you that, ladies and - gentlemen, when we have to give so much of our time and strength - and energy and enterprise and courage to fighting a criminal - monopoly when we ought to be giving it and want to be giving it to - writing and producing plays and acting in them, for your - entertainment and pleasure.” - - - - -EXIT MRS. CARTER. - - -“Adrea” was the last new play in which Mrs. Leslie Carter appeared under -the direction of Belasco. Her first season in that tragedy closed at the -Belasco Theatre, May 4, 1905; the second (in the course of which she -acted _Du Barry_ and _Zaza_ - -[Illustration: - -Photograph by Byron. Belasco’s Collection. - -MRS. LESLIE CARTER AS _ADREA_, IN THE TRAGEDY OF THAT NAME] - -as well as _Adrea_) began there, September 20, that year, and lasted -until June 23, 1906, when it was ended at Williamsport, Pennsylvania. -Differences of opinion and divergence of interests had been growing for -some time between the manager and the actress who owed so -much,--everything, in fact,--to his sagacity and guidance. On July 13, -1906, at Portsmouth, New Hampshire, Mrs. Carter was married to William -Louis Payne, and withdrew from the direction of Belasco,--Mr. Payne -assuming the care of her affairs. In _Adrea_ she touched the highest -point of all her greatness and, thereafter, may fairly be said to have -hastened to her setting. At the time of her withdrawal from Belasco’s -management he was at work on a new play for her, dealing with the -experience of an Hungarian immigrant. It was to be called “Repka -Stroon”: although it has been finished it has not yet been acted. Mrs. -Carter has done nothing of lasting importance since her personation of -_Adrea_. Her acting, at its best, was far stronger in the emotions than -it was in the intellect; but, in _Adrea_, she met and endured the test -of tremendous situations involving conflict of various passions, and in -that respect she proved her possession of tragic power. In fact, the -defects of her performance of that part were wholly in the superficial -texture of the method, and it came home to the heart with an exceeding -effect of pathos because of the sad knowledge with which it was -freighted,--the knowledge of affliction and of grief. - - - - -SIGNIFICANT MESSAGES. - - -The following telegrams, sent by Belasco and his general manager, -Roeder, are significantly indicative of the consideration shown by the -former toward the players in his employ, as well as of the character of -his mind, and for that reason they are printed here: the actor referred -to, Mr. Benrimo, who played the _Fool_ in “Adrea,” might properly enough -have been transferred to Mrs. Carter’s company, without discussion: - - (_Telegram, David Belasco to Blanche Bates, in St. Louis._) - -“New York, October, 1904. - - “You know I would not do anything to imperil your cast or to - jeopardize our western tour. Always thought it unadvisable to - double _Prince_ and _Kato_ in San Francisco and always intended - sending another man to play _Prince_. - - “If it were not absolutely necessary for me to have Benrimo in my - new play, I would not ask for him. There happens to be no man - disengaged at present to suit this peculiar part, which means so - much to the success of the play. You may not quite understand why - it should be so, but so it really is. At the present moment I am - engaged in the greatest fight of my life and everything depends on - this new production. Its success will leave me free to give all my - attention to your new play for next season and will ensure the - working out of all my plans. It is only with our triumphs that I - can hope to beat the Syndicate. My dear girl, by this time I am - sure you have reconsidered your telegram and will help me out. - Please--please, do! There is nothing within my power that I will - not grant if you ask it, so I beg of you again, please help me out. - -“DAVID BELASCO.” - - - - (_Telegram, Benjamin F. Roeder to Blanche Bates in St. Louis._) - -“New York, October, 1904. - - “In making original cast ‘Darling’ Mr. Belasco requested other of - his stars, who gladly consented. Regret, as one of your best - friends, that you don’t follow dictates your own heart and accord - what is, after all, only a courtesy. Mr. Belasco has been kind and - generous to you always. Money has never stood in way when he could - do anything to make you happy. In consequence Chicago fire we are - still much money behind on original investment ‘Darling’ and Mr. - Belasco has more than fulfilled his contract with you. We paid out - thousands to secure your new play--have been obliged to forfeit all - and Mr. Belasco has been forced to write one himself to give you - ‘Blanche Bates part.’ I have not shown him your telegram and don’t - want to. This is the time he needs good soldiers. Be one like the - rest of us. You will lose nothing in the end. Anyway, Benrimo is - not ’Frisco favorite. Under no circumstances could we allow two - such important parts to be played by one man in ’Frisco. Mr. - Belasco is rehearsing the new men. They leave Wednesday and will - strengthen the cast. - -“B. F. ROEDER.” - - - - (_Telegram, David Belasco to Blanche Bates, in St. Louis._) - -“New York, November, 1904. - - “Thanks! Thanks! You’re a dear brick and some day I will do as much - to relieve you of anxiety. Buy the prettiest and finest rider’s - dress, with hat and cloak to match, and send the bill to me. I am - sending you two good actors, one for the _Prince_, the other for - the _Fisherman_. I am rehearsing them myself. After all, it would - have been dangerous for us to permit any one actor to double the - parts in ’Frisco. You must think so too, so instead of weakening - the cast I am strengthening it. - - “But never mind that, you have helped me out of a dilemma and - you’re a bully girl. As soon as the play is on I shall join the - company and spend some days with you to talk over your new piece - and the cast. It will be well to begin to get the eight people - under contract. If all goes well,--and it will,--you’ll be in New - York _all next year_! Love to your mother and yourself. - -“DAVID BELASCO.” - - - - - - -VARIOUS LETTERS AND INCIDENTS OF 1905. - - -In June, 1905, Belasco, accompanied by Mr. Roeder, sailed for England, -his purpose being to purchase, if possible, or else to arrange to build, -a theatre for his own use in London,--as Daly had done many years -before. This ambitious project, however, proved impracticable of -execution and, though he has never finally abandoned it, he found -himself forced by circumstances to set it aside and he soon returned to -America. While he was in England the subject of his fight against the -dominion of the Syndicate was discussed in various newspapers: in one of -them I find the following letter: - - (_David Belasco to “The London Referee.”_) - -“Hotel Russell, Russell Square, -“London, W. C., June 17, 1905. - -“To the Editor of ‘The Referee’: - - “Sir: - - “A sympathetic article in an evening paper, speaking of the methods - of the American Theatre Trust, and their efforts to crush me, also - stated: ‘Let there be no misunderstanding. Mr. [Charles] Frohman - may be entirely exempted from inclusion in this indictment. His - operations in London are in direct competition with those of the - Trust.’ - - “In order to prevent any ‘misunderstanding’ I would like to ask: - ‘_Why_ should Mr. Frohman be exempted from this indictment?’ In my - suit brought against Messrs. Klaw & Erlanger in New York, in April - last, among other things for the purpose of exposing the methods of - the Theatrical Trust, there was produced in court the original - Syndicate agreement, made in August, 1896, and renewed in August, - 1901. This agreement was signed by Charles Frohman, Klaw & - Erlanger, Al. Hayman and Nixon & Zimmermann, and according to the - evidence is still in operation. Further comment is, I think, - unnecessary. - -“I am, -“Faithfully yours, -“DAVID BELASCO.” - - - -Soon after his return to New York Belasco received a message from the -great singer Mme. Ernestine Schumann-Heink, who had been much impressed -by his presentment of Warfield in “The Music Master,” who desired to -adventure on the dramatic stage, and who proposed that Belasco should -undertake her management and write a play for her use. This he gladly -agreed to do, and the play, which was to have been a sort of sister -piece to “The Music Master” and was to have been called “The Opera -Singer,” was planned and in part written; but the demands on Belasco’s -energies and time were more than any one person could meet and he was -regretfully forced to relinquish that project. “It hurt me to let go,” -he said: “I had a good story. Mme. Schumann-Heink had great natural -talent for acting, and I believe that if I could have carried it -through, working in a tremendous scene for her, as a singer on the opera -stage, we should have set the country wild. But--there is a limit, and I -was pretty near to mine, so _that_ little scheme went up in smoke!” - -The following letters all are characteristic of Belasco in varying -moods: - - (_David Belasco to Blanche Bates._) - -“Belasco Theatre, New York, -“April 3, 1905. - -“My dear Blanche Bates:-- - - “I have received a note from Mr. William Courtleigh of the Actors’ - Society in which he asks if it is possible for you to appear with - Mr. Wm. Gillette at their benefit. I have promptly said ‘No.’ In - the first place, you are not going to support Mr. Gillette. You - would do all the hard work--yelling, shouting and running about - like a maniac,--while he sat calmly smoking his cigar, with a - calcium light upon him. Besides, this would be no novelty, as - Gillette did the same thing at the Holland Benefit and I saw the - poor little -------- girl disgrace herself. There is nothing at all - in these ‘benefits,’ and I hope you are pleased that I got you out - of this one. - -“With all good wishes, -“Faithfully yours, -“DAVID BELASCO.” - - (_David Belasco to John Luther Long, in Philadelphia._) - -“Belasco Theatre, New York, -“April 26, 1905. - -“My dear John:-- - - “I have just received the beautiful Tennysonian verses. I shall - _dramatize_ them, of course, and you were bully to send them to me. - - “But really, Jonathan, haven’t we given that gang of grafters a - shake-up? It cost me a lot of money,--but (thank Heaven!) I had it - to spend, and could unmask them. If I have done a wee bit of good - in helping to clear away the rubbish, I am more than rewarded. - - “Good luck to you, and my best affection! - -“Faithfully, -“DAVID BELASCO.” - - - - (_David Belasco to Mrs. F. M. Bates._) - -“Belasco Theatre, New York, -“July 13, 1905. - -“My dear, dear Mrs. Bates:-- - - “I am so sorry I did not see you the other morning when you called - at the theatre, but I have been nearly crazy with neuralgia for the - past week. - - “I am a little bit behind on Blanche’s play, and am hurrying off to - Shelter Island to take off my coat and go to work on it. Tell our - Blanche it is a _bully play_, and that the character of ‘_the - girl_’ is sky-high--fits her from her head to her feet! I expect to - have it in shape shortly now, and in her hands to study. I am - getting together a _bully_ cast for it. I really think the new play - _is my very best_, and I know she will be happy. Give her my love. - -“Faithfully, -“DAVID BELASCO.” - - - - (_David Belasco to Blanche Bates, in San Francisco._) - -“Belasco Theatre, New York, -“July 20, 1905. - -“My dear Blanche B.:-- - - “Your letter received. - - “I got a little behind on the play; you know I had to run off to - London to do big things for the future, and when I got back I went - under with my old attacks of neuralgia. You know how I suffer with - them, and really, this time the pain was excruciating. I’m glad to - say that I am all right again and I am working night and day, - hoping that it is the best play I ever wrote. Your part fits you - from your dear little feet up to your pretty head. It’s a _bully - part_, and I know you will like it. If you don’t,--well, you need - never kiss me again! I call the play ‘The Girl of the Golden - -[Illustration: - -Photograph by William Crooke, Edinburgh. Author’s Collection. - -HENRY IRVING IN THE LAST YEAR OF HIS LIFE--1904-’05] - - West.’ The characters call you ‘_The Girl_.’ The models of the play - are fine--the last scene of all, ‘In the Wilderness,’ is a gem. - There are some beautiful speeches in the play--very ‘Batesesque’; - the lines just _crackle_ and all the situations are human. - - “Yes, send along the photo, and I will have a poster made of you. - - “_Entre nous_, we open in Pittsburgh, before coming into New York, - playing there for two weeks at the new Belasco Theatre, as the - stockholders have named it. It will be a great night. - - “Just keep well, enjoy your summer, and the moment I have finished - the play,--which will be in about three weeks,--I will rush it into - your hands. - - “With love, hugs, kisses and things, - -“Faithfully, -“DAVID BELASCO.” - - - - (_David Belasco to Frederick F. Schrader, in Washington, D. C._) - -“Belasco Theatre, New York, -“July 22, 1905. - -“My dear Mr. Schrader:-- - - “Many thanks for your letter and for your kindly interest. I am so - glad that the press out West has taken up the question of the - Theatrical Trust so splendidly. It helps us in the big fight. There - is a hard year before us, and if we win I think we shall have - succeeded in breaking the tyrannous ring. The London press was - bully. I was interviewed extensively and succeeded in getting many - leading papers interested. They have taken up the Trust question - seriously over there. I hope you read ‘The Referee.’ They began a - series of Trust articles in the number before the last. The - article was written in a very forcible style. - - “Regarding the theatre in Washington, what you write is very - interesting and I shall be most happy to hear more about it. - - “Mr. [Fuller] Mellish called to see me, and there is an - understanding that at the first opportunity I shall gather him in. - Then,--he may remain with me for life, if he wants to. - - “With kindest regards to yourself and your wife, I am, - -“Faithfully, -“DAVID BELASCO.” - - - - - - -TRIBUTE TO IRVING. - - -While Belasco was in Washington, with his new play “The Girl of the -Golden West,” there befell one of the saddest bereavements and one of -the greatest losses the Stage has ever known,--the sudden, pathetic -death of that great actor and manager and even greater man Henry Irving, -which occurred at Bradford, England, October 13, 1905, immediately after -the close of his performance in “Becket.” Belasco, always one of his -disciples and most ardent admirers, when informed of his death, paid him -this tribute: - - “There are no more such masters! The English-speaking, the modern, - Stage has lost its greatest inspiration! The name of Henry Irving - stood for all that was artistic in the highest sense. He was the - loyalest servant of the public; the friend, the champion of the - Stage. He belonged to us almost as much as to England. And what is - saddest of all, he leaves no one behind him to take his place. He - was a great, a marvellous, actor, a dramatic genius; he was the - greatest stage director of modern times; he was the prince of - managers; and, what was best of all, he was the best and kindest of - men and the truest of friends. God rest his great soul! He has died - as he would have wished, but we shall not look upon his like - again.” - - - - -BLANCHE BATES AND “THE GIRL OF THE GOLDEN WEST.” - - -Belasco’s stirring play of “The Girl of the Golden West” was first -produced at the new Belasco Theatre, Pittsburgh, Pennsylvania, on -October 3, 1905. It is a fabric of situations contrived for the -advantageous display of that old, familiar, everlasting, always -effective theatrical personage, the Rough Diamond. The Girl was -beautiful, intrepid, passionate, vivacious; the soul of innocence; the -incarnation of virtue; the blooming rose of vigorous health; and she -could swear fluently, play cards, and shoot to kill. She kept a drinking -shop, she was adored by all “the boys”; and the fame of her probity and -her many fascinations filled the countryside of California, in the -halycon days of ’49. That fortunate State, according to the testimony of -novelists and bards, was densely populated at that time by girls of this -enchanting order; but this particular _Girl_ seems to have transcended -all rivals. She was beloved by a picturesque and expeditious outlaw, -_Dick Johnson_, known as _Ramirez_, who had gained brilliant renown by -means of highway robbery, and likewise she was beloved by the local -_Sheriff_, _Jack Rance_, a grim, obnoxious officer, self-dedicated to -the wicked business of causing that outlaw’s arrest and death. Both -those lovers were ardent, and, between those two fires, her situation -was difficult; but she always rose to the occasion, and when her outlaw -was entrapped by his pursuer the ingenuity of her love and the dexterity -of her stratagem delivered him from bondage, and, upon his promise of -reformation and integrity, launched him upon a new and better career. -The most conspicuous display of her passionate devotion and adroit skill -occurred on a night when he was captured in her dwelling. The -circumstances were essentially dramatic,--because the _Girl_ and her -favored swain were storm-bound in a mountain cabin, whither the -_Sheriff_ had tracked his prey; and the robber had been shot and -wounded, so that there seemed to be no method of escape for him, till -the _Girl_ proposed a game of poker with his foe, staking herself -against the liberty of her sweetheart, and won it by successful -emulation of the _Heathen Chinee_,--substituting “an ace full” for an -empty hand, at the decisive moment. - -[Illustration: - -Photograph by Otto Sarony. Collection of Jefferson Winter. - -BLANCHE BATES AS _THE GIRL_, IN “THE GIRL OF THE GOLDEN WEST”] - -There came a time, however, when even Love could do no more; but at that -crisis Fate interposed, in the shape of Public Opinion,--that is to say, -the friendship of “the boys,”--and the _Girl_ and her lover were united. - -The condition of California in 1849 was, to say the least of it, -turbulent. Some parts of that State are in a turbulent condition now. -Groups of “the boys” can still be discovered. They are not paragons, -though, and they never were. The existence of good impulses in uncouth -persons does not make them less uncouth. Fine qualities can, and do, -exist in beings who are unfamiliar with soap and the toothbrush; but it -would seem that the study of human nature can be pursued, more agreeably -than elsewhere, among saponaceous branches of the race. It is more -pleasant to read about “the boys” than it is to see them. But, broadly -speaking, in Belasco’s drama the _Girl_ is the play, and with Miss Bates -as the _Girl_ there was little more to be desired. Shorn of all -extraneous fringes--variously impious, improper, vulgar, and offensive -interjections of profanity and violent expletive--the play is the image -of a lovely, impetuous woman’s devotion to her lover,--a devotion that -is shown in a series of actions by her to save him from danger and ruin -and to make him happy. Feminine heroism is the theme, and the _Girl_ -selected to exemplify it is meant to be “a child of nature,” simple, -direct, and true--and Belasco was entirely accurate when he wrote that -the part fitted the actress for whom he made it from her head to her -feet. Given the specified ideal to interpret, Miss Bates placed her -reliance on Acting, and there were moments in her performance,--as, for -example, in the First Act, as the _Girl_ speaks of the protective -instinct in the heart of woman,--when the soul that showed itself in her -face was beatific. She gave, throughout, a personation of extraordinary -variety and strength. In the situations devised for the -heroine,--situations, which, while not radically new, are ingeniously -contrived and are fraught with the dominant spell of suspense,--the -actress had to express the growth of love; the blissful sense of being -loved; the bitter pangs of jealousy; the passionate resentment of a -heart that thinks itself betrayed and wronged by the object of its love; -the conflict of anger with affection; the apprehension of deadly peril, -and the nobility of self-conquest. The exaction of the part is -tremendous, equally upon physical resource and nervous vitality, but, at -every point, it was met and satisfied. The play exemplifies its author’s -remarkable faculty of continuation in the making of characteristic -dialogue, together with ample felicity of invention, and it is overlaid -with profusion of details. The midnight tryst of the _Girl_ and the -_Road Agent_ is not altogether a credible device, but, once assumed and -arranged, that situation,--comprehending the outlaw’s detection, as -such, by the _Girl_, the awakening of furious jealousy, her turning him -out into the storm, her subsequent harboring of him, and the game of -cards with the outlaw’s life and liberty staked against the _Girl’s_ -whole future,--is handled with consummate skill and moulded to splendid -results, and there the acting of Miss Bates rose to a magnificent climax -of emotion, fully expressed and yet artistically controlled and -directed,--a triumph of intellectual purpose. - -This was the original cast of “The Girl of the Golden West”: - -_The Girl_ Blanche Bates. -_Wowkle_, an Indian squaw Harriet Sterling. -_Dick Johnson_ Robert Hilliard. -_Jack Rance_ Frank Keenan. -_Sonora Slim_ John W. Cope. -_Trinidad Joe_ James Kirkwood. -_Nick_ Thomas J. McGrane. -_The Sidney Duck_ Horace James. -_Jim Larkens_ Fred. Maxwell. -_“Happy” Haliday_ Richard Hoyer. -_“Handsome” Charlie_ Clifford Hipple. -_Deputy Sheriff_ T. Hayes Hunter. -_Billy Jackrabbit_, an Indian J. H. Benrimo. -_Ashby_ J. Al. Sawtelle. -_José Castro_ Roberto Deshon. -_Rider of the Pony Express_ Lowell Sherman. -_Jake Wallace_, a travelling camp minstrel Ed. A. Tester. -_Bucking Billy_ A. M. Beattie. -_The Lookout_ Fred. Sidney. -_A Faro Dealer_ William Wild. -_The Ridge Boy_ Ira M. Flick. -_Joe_ H. L. Wilson. -_Concertina Player_ Ignazio Biondi. - -_Citizens of the Camp and Boys of the Ridge._ - - - - -A THRILLING STORY--AND A TRUE ONE. - - -One of the most tense and effective passages in contemporary drama is -that contrived by Belasco, in this play, when the _Sheriff_ detects the -concealment of the _Road Agent_, _Johnson_, in the _Girl’s_ home. -Through the swirling snow he has caught a glimpse of a man’s figure near -to the cabin of the _Girl_, has shot at it, and has, in fact, hit and -grievously wounded _Johnson_, who has then been given refuge in the -cabin and concealed by the _Girl_ in a low loft. _Rance_, having come to -the cabin and been assured that nobody is concealed there, is about to -leave. He goes toward the door, he is about to open it and step out, but -turns to speak to the _Girl_, holding a white handkerchief with which -he has wiped the snow from his face; as he does so, a drop of blood -falls from the helpless wounded man above him upon the handkerchief, -then another,--and _Rance_, watching the little crimson stain grow, -instantly comprehends. Belasco, referring to this device, which, -obviously, is as simple and as possible as it is effective but which was -somewhat censured by captious fault-finders, writes this interesting -account of its origin: - - “It was from my father that I first got the idea which afterwards - so well served me in ‘The Girl of the Golden West,’--the incident - of the Sheriff and the blood dripping on his handkerchief. The - experience occurred during the Cariboo mine period. My father and - his friend, Shannon, with several others, had a hut together. There - had been a heavy snow, so for awhile they had to give up all idea - of prospecting. Food was growing very scarce, until finally the - twenty-four huts that constituted the expedition could boast of but - three or four loaves of bread, one bottle of whisky, a scant supply - of bear meat, and some straggling fish. The miners were apt to be - careless, and the food supply became so low that it was necessary - to form a committee to guard the precious stores. A Sheriff and a - commission of deputies made a law that anyone taking more than was - handed to him should be shot without trial. Thus things went on for - a few weeks. A poor fellow from Philadelphia who was in camp had - had the blues for months before this, and had made every effort to - start for home. In the midst of the famine he was taken with the - hunger fever, and when the boys told him that he was very low he - cried out that he did not want to die. So one night he sneaked over - to the box, and stole a bit of bread and beef and some gold dust. - Then he fled from camp. The next day he was missed, and the loss in - the chest discovered. The Sheriff immediately went after him. - Instinctively the poor fellow must have felt that he was being - followed, for he doubled on his own tracks, and came back to the - hut. My father was playing poker at the time, and presently heard a - shot outside. The missing man staggered into the room and fell at - the feet of the players. ‘Humphrey,’ he gasped, ‘for the sake of my - wife, don’t let them do me up. Save me!’ My father told him to get - out or be plugged, and he pulled his gun from his belt. But at the - same time my father did not say anything when the fellow crawled - upstairs into the loft. Hot upon this came the Sheriff, asking all - sorts of questions, but never a guiding answer did he receive from - the players. Then he joined the game, just as he did in ‘The Girl - of the Golden West,’ my father living an eternity while the man was - above them. They let the Sheriff win so as to make him feel good, - and the game finally broke up. As he held his hand out to my father - for a good-night shake a drop of blood fell upon his arm. A - blanched face looked down through the rafters, a hand clutched - nervously at a shirt, now deep-stained in red. The Sheriff gazed at - the telltale spot on his arm, and smiled cynically as one can - afford to do who is master of such a situation. - - “‘Did you fellows know he was up there?’ he asked, taking his gun - from his pocket. - - “There was nothing to be said; the facts were against it. The - victim was caught. There was no staying the hand of the law; one - could see this very well as the Sheriff gripped his gun and drew - himself up to his full height. Standing there, his gaunt shadow - thrown against the wall, his white face etched deep with marks of - hardship and of toil, he poked the muzzle of his gun between the - rafters and fired. He had done his job, and so he left without - another word. - - “Now, the morning after ‘The Girl of the Golden West’ opened, one - or two critics declared that I did not know the times; they said - that my gambler, so distinctively played by Frank Keenan, was a - caricature, that he was taken from prints rather than from life. - Why, I know the period of ’Forty-nine as I know my alphabet, and - there are things in my ‘The Girl of the Golden West’ truer than - many of the incidents in Bret Harte!” - - - - -A MASTERPIECE OF STAGECRAFT: THE STORM IN “THE GIRL OF THE GOLDEN WEST.” - - -Considered technically, Belasco’s production of “The Girl of the Golden -West” was a genuine masterpiece of stagecraft, and it is specially -memorable for the perfect example it exhibited of the right use of -“realism” in the Theatre,--the use, in this instance, of an artfully -created and perfect semblance of Nature in one of her wildest, most -terrible moods as a background,--always felt, yet never obtruded,--for -dramatic action the effect of which it steadily augmented and enforced. -Nothing of the kind which I have ever seen in the Theatre has fully -equalled in verisimilitude the blizzard on Cloudy Mountain as depicted -by Belasco in the Second Act of this fine melodrama--such a bitter and -cruel storm of wind-driven snow and ice as he had often suffered under -in the strolling days of his nomadic youth. When the scene, the interior -of the _Girl’s_ log-cabin, was disclosed the spectators perceived, -dimly, through windows at the back, a far vista of rugged, snow-clad -mountains which gradually faded from vision as the fall of snow -increased and the casements became obscured by sleet. Then, throughout -the progress of the action, intensifying the sense of desolation, dread, -and terror, the audience heard the wild moaning and shrill whistle of -the gale, and at moments, as the tempest rose to a climax of fury, could -see the fine-powdered snow driven in tiny sprays and eddies through -every crevice of the walls and the very fabric of the cabin quiver and -rock beneath the impact of terrific blasts of wind,--long-shrieking down -the mountain sides before they struck,--while in every fitful pause was -audible the sharp click-click-click of freezing snow driving on wall and -window. - -The means by which this effect of storm was produced could easily be -specified and described; in themselves they are as simple as those -employed by Belasco to make the almost equally impressive tempest in -“Under Two Flags”: but it is a capital mistake to take the public behind -the scenes of the Theatre and thus uncover the very heart of the -players’ mystery and destroy illusion. In this instance it is enough to -say, as revealing Belasco’s liberality, thoroughness, and care in -placing his plays before the public, that operation of the necessary -mechanical contrivances required a force of thirty-two trained -artisans,--a sort of mechanical orchestra, directed by a centrally -placed conductor who was visible from the special station of every -worker. And it will, perhaps, be usefully suggestive to misguided -exponents of literal “spontaneity” in Acting to mention that the -perfectly harmonious _effect_ of this remarkable imitation of a storm -necessitated that at every performance exactly the same thing should be -done on the stage at, to the second, exactly the prearranged instant. - -A pleasing device utilized by Belasco in the investiture of this -melodrama was a variant of the long familiar panorama which, moving from -bottom to top of the stage, instead of across it from one side to the -other, showed, first, a beautiful and romantic view of Cloudy Mountain -and of the _Girl’s_ cabin, perched, like an eyrie, high upon a canyon’s -side; next, a winding mountain path leading down to a settlement and -ending outside her saloon, the Polka: then, in a fleeting instant of -darkness, the scene was changed to the interior of that saloon, where -the action of the play begins. In this production, also, Belasco -banished the usual orchestra and substituted for it a band of homely -instruments,--the concertina, the banjo, and “the bones” of the old-time -minstrels,--which discoursed such old, once familiar but now -long-forgotten, airs as “Coal Oil Tommy,” “Campdown Races,” “Rosalie, -the Prairie Flower,” “Pop Goes the Weasel,” and “Old Dog Tray.” - - - - -THE PARTING OF BLANCHE BATES AND BELASCO.--“THE FIGHTING HOPE” AND -“NOBODY’S WIDOW.” - - -“The Girl of the Golden West” proved to be as successful as its author -had expected: also, greatly to the disadvantage of the public, it proved -to be the last important production in which, down to the present day -(1917), Blanche Bates has appeared,--although she continued to act under -the management of Belasco for about seven years. Three of those years -were devoted to “The Girl,” which was presented throughout the country. -Then, September 7, 1908, at the Belasco Theatre, Washington, Miss Bates -was brought out in a new play by Mr. William J. Hurlbut, entitled “The -Fighting Hope,” which was acted in New York, September 22, at the -Stuyvesant Theatre. It held the stage there until January 16, 1909; was -transferred to the Belasco Theatre, January 18, and remained visible -there until April 10. This was the cast: - -_Burton Temple_ Charles Richman. -_Marshfield Craven_ John W. Cope. -_Robert Granger_ Howell Hansel. -_Anna_ Blanche Bates. -_Mrs. Mason_ Loretta Wells. - -“The Fighting Hope” served as a professional vehicle for Miss Bates -during two seasons. On October 24, 1910, at the Euclid Avenue Opera -House, Cleveland, Ohio, Belasco presented her in “Nobody’s Widow,” by -Mr. Avery Hopwood: that play was first acted in New York, November 14, -that year, at the Hudson Theatre, with the following cast: - -_Roxana Clayton_ Blanche Bates. -_Betty Jackson_ Adelaide Prince. -_Countess Manuela Valencia_ Edith Campbell. -_Fanny Owens_ Dorothy Shoemaker. -_Duke of Moreland_ Bruce McRae. -_Ned Stephens_ Rex McDougall. -_Baron Reuter_ Henry Schumann-Heink. -_Peter_ Westhrop Saunders. - -Both those plays, though they enjoyed profitable careers, were, in fact, -stop-gaps: they had never been produced but that “the strong necessity -of the times enforced”: “Blanche wanted to appear in ‘drawing-room’ -drama,” Belasco has said to me; “I was hard pressed and I took what I -could get.” Both those plays owed their profitable careers entirely to -Belasco,--to his unremitting and unacknowledged diligence in the labor -of revising them and making them feasible for stage use and to the -perfection of detail with which he invested their production and caused -them to be acted. A whimsical remark which he once made to me, in -conversation about another play, applies with force to both these -ventures: “I have,” he said, “first and last, paid many authors handsome -royalties for the privilege of working like a slave on their plays, -without credit and generally without thanks, and making them into -popular successes. Each time I have solemnly sworn I’ll never do it -again--yet, somehow, I do! But I live in hope that some day somebody -will bring me a _finished play_ that only needs production.” - -“The Fighting Hope,” even as rectified and notwithstanding its measure -of popular success, was but a flimsy fabric,--crude in construction and -improbable in plot, though at times theatrically effective. In it is -displayed an experience of a loyal wife, _Anna Granger_, who clings to -“the fighting hope” of vindicating her husband and rescuing him from -the consequences of crime. That husband, a peculiarly contemptible -scoundrel, has been detected in a forgery; has been tried, convicted, -and imprisoned. His wife, believing him to be innocent and the victim of -_Burton Temple_, president of a fiduciary institution, obtains -employment in the service of that person and becomes his confidential -secretary. In that capacity, after discovering and shamefully destroying -a letter which establishes the guilt of her husband, she discovers, -also, that she is beloved by _Temple_ and that a reciprocal sentiment is -developing in her own bosom. And then, having confessed her identity, -her wrong conduct, and her regard, she is relieved from a distressing -dilemma by the convenient taking off of her husband,--who, having -escaped from the State Prison at Sing Sing, is overtaken, shot, and -killed by officers of the law who pursue him. In the hands of any other -manager than Belasco, instead of enduring for two years, this piece--if -it had ever been produced at all--would have been relegated to the -regions of tall timber and high grass within a fortnight. - -“Nobody’s Widow” is an ephemeral farce, the central idea of which is -denial of an established relationship in circumstances which might cause -absurd perplexities and ridiculous consequences,--such, in general -character, as ensue when _Charles Courtly_, in “London Assurance,” on -being introduced to his father, _Sir Harcourt_, blandly greets him as a -new acquaintance. The chief female character, _Roxana_, acted by Miss -Bates, has, in Europe, met and married a “_Mr. Clayton_,” who, actually, -is an English nobleman, the _Duke of Moreland_; but having, on their -wedding-day, found him in the embrace of a former mistress, _Roxana_ has -repudiated and left him,--privately instituting proceedings for divorce, -and presently apprising her friends in America that her husband, of whom -they have heard, but only by his assumed name of _Clayton_, is dead, and -that she, accordingly, is a widow. Later she visits some of those -friends at Palm Beach, Florida, and there she is, by chance, confronted -by her husband, then a visitor to the same hostess, but bearing his -right name. _Roxana’s_ husband endeavors to reinstate himself in her -affections, but, persistently and with alternate pleasantry and sarcasm, -he is treated by her as an accidental acquaintance. _Roxana_ assures him -that, as “_Mr. Clayton_” he is “dead”; that she has never seen him -before; that to her he is, as the _Duke of Moreland_, nobody; that she -is nobody’s widow. That attitude she maintains until apprised of her -divorce, when she becomes conscious of a sudden access of tenderness for -him; - -[Illustration: - -Photograph by Mishkin Studio. Belasco’s Collection. - -TO DAVID BELASCO - -A souvenir of the production of the opera, “The Girl of the Golden -West,” by Giacomo Puccini - -G. Gatti-Casazza David Belasco A. Toscanini Giacomo Puccini -] - -and, eventually,--though not until after various trips and stumbles on -the track of reconciliation,--she first allows herself to be again -married to him, and then allows herself to be convinced of his honest -intentions and the sincerity of his love. A farce is well enough in its -way: but to record industry of such a manager as Belasco and such an -actress as Blanche Bates in such stuff as “Nobody’s Widow” is only to -record wasted opportunity and disappointed expectation. In conversation -with me Belasco has once or twice intimated some thought of proposing -the resumption of Miss Bates’ management: it might be greatly to the -public gain if that actress should return to his direction; but, while I -earnestly hope it may come about, I do not believe it ever will: - - “The Bird of Time has but a little way - To flutter--and the Bird is on the Wing.” - - - - -A GREAT NIGHT.--BELASCO AT THE METROPOLITAN.--A GENEROUS ACKNOWLEDGMENT. - - -During the season of 1906-’07 Belasco’s friend the Italian musical -composer Puccini, who desired to write an opera on a characteristically -American subject, made a visit to our country for the purpose of -selecting one. While in New York, in January, 1907, he attended -performances by Miss Frances Starr in “The Rose of the Rancho” and by -Miss Bates in “The Girl,”--at the Academy of Music. After considerable -cogitation his choice fell upon the latter, and while travelling to his -home in Italy he wrote the following letter to Belasco: - - (_Giacomo Puccini to David Belasco._) - -Hôtel de Londres, Paris [France], -March 7, 1907. - -“Dear Mr. Belasco:-- - - “I was exceedingly sorry to have left New York without seeing you - once more. I have been thinking so much of your play, ‘The Girl of - the Golden West,’ and I cannot help thinking that with certain - modifications it might easily be adapted for the operatic stage. - Would you be good enough to send me a copy of the play, to Torre - del Lago, Pisa, Italia? I could then have it translated, study it - more carefully, and write to you my further impressions. - - “I cannot express to you all the admiration I feel for your great - talent, and how much impressed I was at the drama I saw at your - theatre. - - “With kindest regards, and hoping to hear from you soon, - -“Yours sincerely, -“GIACOMO PUCCINI.” - - - -Puccini’s wish was immediately complied with, and upon the basis of -Belasco’s melodrama he wrote his opera of “La Fanciulla del -West,”--which was sung, in Italian, “for the first time on any stage,” -December 10, 1910, at the Metropolitan Opera House, New York: the -libretto was “arranged” by - -[Illustration: - -IN REMEMBRANCE - -PUCCINI’S OPERA “THE GIRL OF THE GOLDEN WEST” - -Giacomo Puccini Arturo Toscanini -(P. by Dupont) (P. by Dupont) - -Belasco -(P. by Abbe) - -G. Gatti-Casazza Otto H. Kahn -(P. by Dupont) (P. by Pach) - -Emmy Destinn -(P. by White) - -Pasquale Amato Enrico Caruso -(P. by White) (P. by White) -] - -Signori G. Zangarini and C. Civinni: it is, substantially, a -translation, until the last act, when a scene is introduced showing the -imminent lynching of _Johnson_ by “the boys” in a convenient grove of -redwood trees and his rescue by the _Girl_. This scene, as I understand, -was originally planned by Belasco for use in his play but was by him -discarded. “La Fanciulla del West” was sung for the first time by an -extraordinary cast, which should be recorded. This is it: - -_Minnie_ Emmy Destinn. -_Dick Johnson_, (_Ramirez_, the road-agent) Enrico Caruso. -_Jack Rance_ Pasquale Amato. -_Nick_, Bartender at the “Polka” Albert Reiss. -_Ashby_, Wells-Fargo Agent Adamo Didur. -_Sonora_ } { Dinh Gilly. -_Trin_ } { Angelo Bada. -_Sid_ } { Giulio Rossi. -_Bello_ } Miners { Vincenzo Reschiglian. -_Harry_ } { Pietro Audisio. -_Joe_ } { Glenn Hall. -_Happy_ } { Antonio Pini-Corsi. -_Larkens_ } { Bernard Bégué. -_Billy_, an Indian Georges Bourgeois. -_Wowkle_, his Squaw Marie Mattfeld. -_Jake Wallace_, a Minstrel Andrea de Segurola. -_José Castro_ Edoardo Missiano. -_The Pony Express Rider_ Lamberto Belleri. - -_Men of the Camp and Boys of the Ridge._ - -CONDUCTOR ARTURO TOSCANINI. - -Belasco felt profound interest in the production of his friend’s opera -and directed many of the rehearsals, intent, as he has declared, “to -make the artists act as well as sing.” That, doubtless, was a laudable -ambition,--but, practically, it is, in the very nature of things, -impossible of fulfilment, whether by Belasco or another. Opera singers -may be, indeed, frequently are, dramatic in temperament: they are not -and can not simultaneously be excellent as actors and as singers. -Sometimes a comparatively poor singer becomes, in opera, a tolerably -good actor,--but that is the limit of achievement in this direction. -True _impersonation_, as made known on the dramatic stage,--in, for -example, Forrest’s _Othello_, Davenport’s _Macbeth_, Jefferson’s _Rip -Van Winkle_, Barrett’s _Cassius_, Irving’s _Mephistopheles_,--never has -been and never can be displayed on the operatic stage. - -Talking with me about the first performance of this opera, Belasco said: -“It was a great night for me, and I took unbounded pleasure in it and -felt much honored when I found myself taking curtain calls with the -author, Toscanini, Gatti-Casazza, Caruso, Miss Destinn, and the rest. -Puccini, as always, was simple and frankly demonstrative in his delight. -The singers were all wild with enthusiasm--I was never so much be-kissed -in my life!--but I think I was, perhaps, most interested in that -wonderful man Arturo Toscanini. He seemed to me one of those -self-contained fellows--calm on the surface but burning white-hot -inside. To me it was thrilling to watch him conduct, and he did so at -that first performance without a score, as though the work were a -classic long familiar to him and held in memory.” - -Belasco’s labor on the production of “La Fanciulla” was wholly one of -love, as he declined to accept any payment for all his arduous work at -rehearsals. In the programme of the first performance appeared a notice -saying: “The Metropolitan Opera Company desires to make public -acknowledgment of its indebtedness, and to express its cordial thanks, -to Mr. David Belasco for his most valuable and kind assistance in the -stage production of ‘The Girl of the Golden West.’” And among his most -cherished possessions is a sumptuous album containing signed portraits -of all the principal singers who participated in the opera, as well as -of Puccini, Toscanini, and Gatti-Casazza, together with an exquisitely -illuminated copy of the programme on vellum and an appreciative -inscription, also illuminated on vellum. This gracious token was taken -to Belasco’s studio and delivered to him by a committee, representing -the opera company, composed of Messrs. Otto Kahn, Henry Rogers -Winthrop, Robert Goelet, and John Brown. - - - - -BELASCO AND THE MESSRS. SHUBERT. - - -An incident of Belasco’s career in management which can conveniently be -recorded here is his alliance with the Messrs. Shubert. That alliance -was arranged in 1904-’05, when Belasco was in active conflict with the -Theatrical Syndicate, by the late S. S. Shubert, of whom and of their -business association he writes: “I found him an earnest young man, with -the power to make friends and possessed of an irrepressible enthusiasm.” -Shubert, with two brothers, began theatre management (or, rather, -correctly speaking, theatre control) in Syracuse, New York, where they -leased the Bastable Theatre. They subsequently obtained control of the -Herald Square Theatre in New York, and then, directly or indirectly, of -many other theatres in various cities of the country, especially in the -smaller places which are known as “the one-night stands.” “You have -attractions and a reputation,” urged Shubert, addressing Belasco, “but -no theatres out of New York: we have theatres but lack attractions and -reputation. Join us, and all our out-of-town houses shall be at your -disposal.” The arrangement - -[Illustration: THE OPERA OF “THE GIRL OF THE GOLDEN WEST”-- - -A Souvenir, to Belasco] - -thus proposed was made and it had mutual advantages, but it was more -valuable to the Shubert Brothers than to Belasco. Possessed of contracts -to “book” the latter’s “attractions” the Shuberts were strengthened in -their relations with theatre managers not dominated by the Trust who -desired to have those attractions presented in their houses,--and thus -they were, in turn, strengthened in dealings with managers of other -“attractions.” The Belasco-Shubert alliance lasted for about four years. -The time came when Mr. Lee Shubert (who had become the head of the -Shubert Company) condescendingly intimated in public that he did not -believe that anything could be accomplished by the methods of opposition -to theatrical despotism which were long employed by Belasco and by the -shrewd, indefatigable, vindictive H. G. Fiske and his intrepid, -brilliant, accomplished wife; nevertheless, if it had not been for their -opposition, the subjugation of the American Theatre to injurious -monopoly would, in all human probability, have been so complete that Mr. -Lee Shubert and his associates would never have found an opening through -which to break. - -S. S. Shubert died, May 12, 1905, in consequence of injuries sustained -in a train wreck on the Pennsylvania Railroad, near Lochiel, -Pennsylvania, on the 11th. Belasco considers his death “a hard blow” -and is “sure he would have occupied a great place in the history of the -American Theatre. He had keen business instincts, a lovable nature, and -was the soul of honor.” He would have required to possess a more -extensive equipment to entitle him to the eminence Belasco believes he -would have attained. I had no personal acquaintance with Mr. Shubert: he -never _did_ anything of notable importance as a theatrical manager, -properly so called. His brother, Mr. Lee Shubert, through the shifts and -chances of fortune, at one time almost held the destiny of our Theatre -in his hand,--but he is merely a commercial exploiter of the Stage and -consequently made nothing of his opportunity. - -Belasco was to have accompanied S. S. Shubert on the journey which -proved his last and, had he done so, might have perished with him. “I -have had three such ‘close calls,’” he has said to me: “Once, when I was -a lad, I gave up an excursion trip on the Sacramento River to please my -mother,--and the excursion boat was blown up soon after she left the -dock. The second was when, at the last minute, I cancelled a trip to -Cincinnati, with Charles Frohman. He took a secretary with him, the -train was wrecked, and the secretary, sitting beside him where I would -have been, was killed. The third was the trip with ‘Sam’ Shubert. We -were to have gone to Pittsburgh together, on business connected with the -Duquesne Theatre there, which, with the Shuberts, I took over and which -was renamed the Belasco. If I had gone I am sure that I should have been -killed in the wreck.” It is probable that he would have been: the train -on which Shubert travelled to his death “side-swiped” a freight train, -loaded with dynamite: many lives were lost. - - - - -THE ADVENT OF FRANCES STARR.--BELASCO’S “THE ROSE OF THE RANCHO.” - - -Frances Starr was born at Albany, New York, June 6, 1880, and made her -first appearance on the stage as _Lucy Dorrison_, in Robertson’s “Home,” -with a stock company, in that city, under the management of the late -Frederic Bond. During the next six years she gained experience in -various stock companies,--at the Murray Hill Theatre, New York; in San -Francisco, in Boston, and at Proctor’s 125th Street Theatre, New -York,--and, February 12, 1906, she appeared, in association with Charles -Richman, as _Nell Colfax_, in “Gallops,”--a weak echo of Boucicault’s -horse-racing plays of “The Flying Scud” and “The Jilt.” Belasco first -saw her when she was acting at the Murray Hill, and his attention was -again called to her by his brother Frederick, who, in 1905, wrote to him -from San Francisco, praising her in high terms. Writing about Miss -Starr, Belasco has given this account of her employment by -him--certainly the most fortunate event of her life: - - “When I first saw her play I watched her performance with the - closest attention. Her entrance was greeted by a spontaneous - outburst of applause. She was just a young girl then, a sweet-faced - girl, delicately formed, with a beautiful forehead and fine, - intelligent eyes. I was most favorably impressed by her - performance, but at the time I had no part for her.... Her - opportunity came during the second season of ‘The Music Master.’ - Miss Minnie Dupree was to leave the company before the close of the - season and I needed some one to take her place. I remembered Miss - Starr and, with my friend and stage manager, William Dean, I went - to the Garrick to see her in ‘Gallops.’...” In that play “the hero - staked his all on a horse race, and the future happiness of the - young lovers hung in the balance as the race took place. The - heroine and a coaching party were near the track, and Miss Starr - stood on the steps of the coach, facing the audience. As the race - was being described Miss Starr’s facial expression was so - remarkable that she held the audience for several minutes. The - various expressions of hope, despair, and joy came and went - according to the movements of the horse. The tumult of applause was - a tribute not to the play nor to the scene, but to the perfection - of Miss Starr’s art. And as an exhibition of pantomime I have seen - nothing to surpass it.... I decided that I must have her under my - management, and I gave instructions to Mr. Dean to send for her to - ask her to sign a contract as soon as possible. Just before the - final curtain fell the young actress looked at me, and as our eyes - met I fancied I read in them the question: ‘Have I pleased you?’ On - the way back to my theatre I was haunted by the pathetic appeal so - silently thrown across the footlights, and I determined to do what - I could to save one little girl the sleepless night I felt sure was - in store for her. ‘Dean,’ I said, ‘don’t wait until morning. - Telephone Miss Starr to-night and say I wish to see her to-morrow.’ - Mr. Dean advised me to wait. He thought it would be poor judgment - on my part to show any eagerness; that Miss Starr would be sure to - take advantage of it and raise her salary, but I insisted and he - telephoned to her. As I expected, she was in her room, anxious, - nervous, and wondering if my visit to the theatre would mean an - engagement for her. Later, she told me of her relief and happiness - when the telephone call came. It did not save her from a sleepless - night after all, but her wakefulness was the result of joyous - anticipation rather than anxiety. The appointment was made for - 10.30 in the morning. When I arrived at 9, Mr. Dean came to me, - smiling broadly. ‘Miss Starr is in my office,’ he said; ‘she has - been waiting since 8 o’clock.’ I found her even more attractive - than I had imagined. Her hair was soft and light, her eyes deep - blue, varying into gray, and the changing expressions of her - earnest face were delightful. She was pale and tearful. ‘It has - always been my wish to work for you,’ she said. I learned that her - manager at the Garrick Theatre intended to ‘star’ her in a play, - but she expressed a willingness to come with me if only in a ‘bit’ - five lines long. I offered her the leading part of _Helen_ in ‘The - Music Master,’ and she was delighted. I told her to go to Mr. Dean - and make business arrangements. ‘I don’t care what salary I get,’ - she exclaimed. ‘The only agreement I want is that you don’t change - your mind.’ I insisted, however, that a contract be signed, and - when Mr. Dean made it out she wanted to put her name to it at once, - but I advised her to take it home and read it over. She took it - away with her, but afterwards confessed that she stopped in a - telegraph office on the way to her hotel and signed it!...” - -The first play in which Belasco presented Miss Starr as a leading -performer, heading an important theatrical company--less than six months -after he had seen her in “Gallops”--was “The Rose of the Rancho.” This -piece is based on an earlier one, by Richard Walton Tully, called -“Juanita,” which had been produced in Los Angeles with the excellent -actor John H. Gilmour in the principal male part. Mr. Tully’s play was -verbose, diffuse, and coarse in texture. Belasco, after once rejecting -it, being in urgent need of a vehicle for Miss Starr, read it again and -agreed to “accept it, provided I might have the privilege of rewriting -it.” This “privilege” Belasco has exercised in many instances--to his -loss and the immense advantage of various inconsequential and ingrateful -amateurs of dramatic authorship. His stipulation was acceded to by Mr. -Tully, and Belasco, working as usual under the stress of haste and the -distraction of many projects, revised, curtailed, amended, and -reconstructed “Juanita,” which, in its final form as “The Rose - -[Illustration: FRANCES STARR - - Inscription: - -“_To him who made me what I am and inspired what I hope to be,--with -ever living love and gratitude._” - - Photograph by Strauss Payton. - - Belasco’s Collection. -] - -of the Rancho,” gained abundant success. It was first acted, under that -name, at the Majestic Theatre, Boston, November 12, 1906, and was -brought out in New York, at the Belasco Theatre, November 27: it held -the stage there until June 29, 1907. - -There is, in this play, a glance at a disgraceful episode in American -history,--the technically legal, but outrageously unjust and brutally -tyrannical, seizure of the estates of Spaniards in California, after the -Mexican War; but the purpose was not so much to relumine a remote and -half-forgotten rascality as to display the incidents of a romantic love -story associated with the nefarious proceedings of that distressful and -turbulent time and place. That purpose Belasco accomplished in pictorial -settings of uncommon beauty. The scenery of Southern California is -inexpressibly charming, because it combines tranquil loveliness with -awful grandeur and is everywhere invested with poetic mystery. The -stupendous and austere mountains, the boundless, lonely plains, the -balmy orange groves, the graceful palm trees, the fragrant magnolias, -the abundance of wild flowers, the glorious blue skies and the pure, -sweet air,--these and many other beauties unite to make that region a -paradise. It is in Southern California that the _Rose of the Rancho_ -blooms, and Belasco, who knows and loves that country well, made his -stage a garden of luxury and a dream of splendor to convey that -charm--presenting a series of pictures which have never been excelled -and seldom equalled. The investiture of this play, indeed, blending old -Spanish architecture with a semi-tropical wealth of natural beauty, was -literally magnificent and considerably excelled the worth of the play -itself. This is a synopsis[2] of that fabric,--from which it will be -seen that the theme is, to some extent, the same as that treated in -Helen Hunt Jackson’s prolix and tedious novel of “Ramona”: - -The scene is laid amid the sleepy, picturesque Spanish missions of -Southern California. The plot deals with the great tragedy that -underlies California history--the taking of the Spanish inhabitants’ -homes by land-jumping Americans. _The Rose of the Rancho_ is _Juanita_, -the youngest daughter of the _Castro_ family. Through pride and -indolence the _Castros_ have neglected to make their property secure to -them by filing an entry with the American land agent, and things have -come to a serious pass with them. One of the most notorious land-jumpers -in the state, _Kinkaid_, of Beaver, Neb., has come to San Juan, with his -outfit, to take the whole valley. At the same time another American has -appeared on the scene,--_Mr. Kearney_, of Washington,--a government -agent sent to investigate the land disputes. - -Previous to the rising of the curtain upon the beautiful mission garden -the latter has met and fallen in love with the fascinating _Juanita_. -Because of enmity toward all gringoes she refuses to treat him civilly, -but she meets him by accident every day, unknown to her mother, who -arranges (according to the custom) that _Juanita_ shall marry a young -Spanish spark, from Monterey--_Don Luis de la Torre_. The girl’s father -was an American, and there begins a struggle between her loyalty to her -mother, her Spanish relatives and friends, on the one side, and the -young American who comes with the offer of his love and aid, on the -other. _Juanita_, given her first kiss, lets the blood of her father -direct her actions. She gives the data necessary for a registration to -_Kearney_, who has no authority to interfere with _Kinkaid_, but who -sends his friend, _Lieutenant Larkin_, to Monterey to make the entry for -the _Castros_. _Kearney_ remains behind to delay _Kinkaid_ as long as he -can. _Larkin_ agrees to bring back the state militia for _Kearney’s_ -protection. Meanwhile, the mother has learned that her daughter has -tossed a geranium to a gringo (signifying, “I love you”), and _Juanita_ -is locked in her room. - -The Second Act takes place in the patio-court of the old _Castro_ ranch -house. In spite of the danger that threatens, the mother is giving the -engagement party she has planned. _Juanita’s_ friends are present. There -are Spanish dances and the throwing of cascarones, and _Don Luis_ -appears to claim his bride. _Juanita_ is defiant, and when they are -about to betroth her she declares herself to be a gringo and the -promised wife of a gringo. For this her mother disowns her, and is about -to turn her out of the house, when _Kinkaid_ and his men attack it and -break in, and _Juanita_ is thunderstruck to find the man she has trusted -among them. The crowd of riffraff insult the women, who are protected by -_Kearney_. He, however, must pretend that he is upon _Kinkaid’s_ side. -_Juanita_ appeals to him, and is rebuffed. _Kinkaid_ agrees to wait -until dawn before taking possession--thereby giving _Kearney_ the time -desired. The latter gets away from the land-jumper and finds _Juanita_ -to explain. She lashes him with her tongue for his betrayal of her -people, and when he tries to make her listen she strikes him. Nothing -daunted, he forces her to listen to his explanation. She tells him that -she thinks he is a liar, but--she will wait till morning to see if the -militia comes. - -The Third Act takes place upon the roof of the ranch house. Dawn is -coming, and no help has arrived. _Kearney_ makes _Kinkaid_ a prisoner as -a hostage to protect the women. Unfortunately, _Don Luis_, jealous of -the American lover of _Juanita_, in an effort to compel him to fight a -duel, lets _Kinkaid_ go. The latter joins his men and an attack is -imminent. The old Franciscan, _Father Antonio_, assembles “his children” -in prayer for delivery, the sunrise hymn of the Californians. This -delivery comes in the shape of the long-awaited militia from Monterey. -The rancho is saved, but the mother will not see her daughter go to an -American. She forces her daughter to choose, and this she does--in favor -of the gringo. - - * * * * * - -That is a simple, almost trite, story; but Belasco contrived to tell it -in _action_ more than in words, and his telling of it proceeds from one -sensation to another with cumulative effect. Divested of all outward -flourishes, it is seen to be the portrayal of a conflict between virtue, -animated by love, and villany, impelled by cupidity and brutal license. -The vulgarian would seize the estate of the old Spanish family. The -hero, who loves its young mistress, would save it for her; and in order -to accomplish that object he is compelled to pretend fraternity with -her oppressor,--for which reason she temporarily mistrusts him; but his -purpose is accomplished, his fidelity is proved, and his love is -rewarded. In all this, happily, there is no examination of the remote -causes of the universal passion; no philosophic essay on masculine -strength as opposed to feminine weakness; no treatise on elective -affinities. The play, in short, is an old-fashioned melodrama in a -new-fashioned dress; one of those plays that the spectator observes with -an interested desire to ascertain how it will turn out. No new type of -character is presented, nor is a special attempt made to variegate the -old types. _Kearney_, of Washington, is the handsome, gallant, -expeditious young cavalier who has loved and rescued the endangered -maiden in a hundred plays of the past. _Kinkaid_, of Beaver, is the same -old blackguard and bully who seems victorious for a moment, but is -always finally discomfited, in the chronic story of the Far West. _Don -Luis_ is the debonair but disappointed suitor, from whom the _Bride of -Netherby_ always rides away. _Father Antonio_ is the good and gentle -priest who cheers the drooping spirit and bestows ecclesiastical -benediction. The only persons who savor of exceptional quality are -_Señora Kenton_ and her daughter _Juanita_, _the Rose_,--the one a stern -and formidable woman, vital with Spanish hatred of the invading -American; the other, a passionate, capricious, wilful girl, who can be -sweet and tender, but who is customarily piquant, independent, and -resolute in her own course: characters strongly reminiscent of the -matron and the heroine in “Ramona.” But, all the same, the old tale of -strength protecting weakness, stratagem defeating duplicity, and love -triumphant over hate, pleased, as it always has pleased, and as it -always will continue to please--“till all the seas run dry.” Although, -intrinsically, not exceptional as a work of dramatic art, “The Rose of -the Rancho” has positive and abundant felicity of theatrical merit, -imparted by the skilful hand of Belasco, and the production of it was -worthy of his brightest fame. This was the original cast of it: - -_Kearney_, of Washington Charles Richman. -_Don Luis de la Torre_ A. Hamilton Revelle. -_Padre Antonio_ Frank Losee. -_Lieutenant Larkin_ William Elliott. -_Kinkaid_ John W. Cope. -_Rigsby_ Wayne Arey. -_Sunol_ J. Harry Benrimo. -_Tomaso_ Frank Westerton. -_Ortega_ Norbert Cills. -_Goya_ Candido Yllera. -_Pico_ Fermin Ruiz. -_Fra Mateo_ Frank de Felice. -_A Gardener_ Richard S. Conover. -_Salvador_ Gilmore Scott. -_Pascual_ Salvatore Zito. -_Benito_ Vincent de Pascale. -_Estudilla_ Julio Grau. -_Yorba_ Francesco Recchio. -_Cadet_ Regino Lopez. -_El Tecolero_ Virgilio Arriaza. -_Bruno_ C. A. Burnett. -_Manuel_ Leonardo Piza Lopez. -_Señora Dona Petrona Castro_ Marta Melean. -_Señora Kenton_ Grace Gayler Clark. -_Juanita_, called _La Rosa del Rancho_ Frances Starr. -_Trinidad_ Jane Cowl. -_Beatriz_ Catherine Tower. -_Carlota_ Atalanta Nicolaides. -_Guadalupe_ Maria Davis. -_Señora Alcantara_ Regina Weil. -_Agrada_ Louise Coleman. - -_Kinkaid’s Ranchmen_, _Caballeros_, _Vaqueros_, _Musicos_, -_Servants_, _Etc._ - -_Señoritas_, _Dueñas_, _the Child of the Dance_, _Etc._ - -Miss Starr, in her performance of _Juanita_, manifested impetuosity of -temperament combined with charm of personality, and by her arch behavior -as a coquette, together with the vigor and sparkle of her demeanor as a -wounded, doubting, resentful, and angry young woman, gained and merited -general admiration.--A significant thought as to expedition - -[Illustration: - -Photograph by Byron. Belasco’s Collection. - -FRANCES STARR AS _JAUNITA_, IN “THE ROSE OF THE RANCHO”] and indolence -in the fibre of contrasted races is conveyed in two casual remarks in -this play: “Civilization,” says the “land-jumper,” _Kinkaid_, with -blatant vulgarity of manner, when announcing his purpose of legalized -robbery, “must progress”; and when it is found that certain muskets -which have been collected for use in defending the _Castro_ ranch are -useless because of lack of powder, the Spanish cavalier is heard to -murmur: “I meant to have got that powder _to-morrow_.” Charles Richman, -as the intrepid _Kearney_, and John W. Cope, as the sinister _Kinkaid_, -gave performances of sterling merit, because true to life and -symmetrical and fluent in expression,--the one presenting, in a notably -earnest spirit, a sonsy, healthful, interesting, thoroughly good fellow: -the other assuming, in a painfully natural way, the obnoxious -characteristics,--including a repulsive personal appearance,--commonly, -and correctly, ascribed to the Western breed of ruffian. - -Belasco has, in drama, made use of the element of natural -accessories,--meaning peculiarities of climate, cloud, sunshine, rain, -storm, calm, the sound of the sea, the ripple of leaves in the wind, the -swirl of dust, the gentle falling of flower petals, the incessant -variations of light according to place and time, whether morning or -evening, noonday or midnight, and so following,--with an unerring skill -akin to that of Wilkie Collins in the writing of fiction. In “The Rose -of the Rancho” he took almost unparalleled pains to render his effects -perfect. Writing of this work, he has recorded: - - “To get the strong sunlight of my beloved California and the - wonderful shades and tones of sunset, night, and dawn as they come - out there I had my electrician, Louis Hartman, carry our - experiments to the point of making our own colors for our lamps, as - we could find none on the market that would give me the desired - result. At the present time we mix all our own colors for the - lights used in my productions, but in those days this had not been - done. I took _twenty-five electricians_ with me to Boston, for the - opening of ‘The Rose’: usually, two or three are enough with any - company....” - - - - -A NEW PROJECT:--THE SECOND BELASCO THEATRE. - - -Although Belasco held the Belasco Theatre under a lease with an option -of renewal, he was at all times during the early years of his theatre -management conscious of a certain weakness in his position: an -unforeseen disaster--a fire, for instance,--might leave him with many -theatrical enterprises and no metropolitan theatre to present them in. -“Besides,” he writes to me: “not only was I always confronted by the -fact that the lease of my Forty-second Street house might not be -renewed, but also it was natural that I should desire to have a theatre -_all my own_, in the making of which I could carry out, fully, my ideas -of stage construction, lighting, and seating.” The result of this desire -and of his wary vigilance to maintain managerial freedom is the second -Belasco Theatre (which originally was named David Belasco’s Stuyvesant -Theatre), which was built by Meyer R. Bimberg (18--- 1908), on designs -made by Belasco and under his personal superintendence. The cornerstone -of that theatre was laid on December 5, 1906. David Warfield came from -Philadelphia, where he was acting, to participate; Miss Bates came from -Boston; Miss Starr was at the time filling her first engagement in New -York in “The Rose of the Rancho.” Belasco, those players, his business -associates, and a numerous company of friends gathered round the site of -the new theatre. Miss Starr deposited in a niche beneath the bed of the -cornerstone a copper casket containing various records and programmes of -Belasco’s productions, photographs of himself and of the chief players -then appearing under his direction, and a miscellaneous assortment of -souvenirs, cards, and “good luck pieces” contributed by various friends. -Miss Bates then spread the mortar upon which the stone was to be laid -and uttered this touching sentiment as she did so: “Here’s hoping that -Mr. Belasco will stick to all of us, and we and all his friends will -stick to Mr. Belasco, as this mortar will eternally stick to this -stone.” - -The cornerstone was then swung into place, settled, and declared to be -“well and truly laid,” whereupon Belasco’s daughters, Reina and Augusta, -each broke a bottle of champagne against it, saying, in unison, “David -Belasco’s Stuyvesant Theatre.” The dramatist Bronson Howard (who had -risen from a sick-bed to attend this ceremony) then spoke, saying: - - “My dear Public and Friends: This is one of the greatest pleasures - of my whole life--to be here to-day to dedicate the theatre that - David Belasco is building. He has always given of his best in the - past and you know what he is doing now. This theatre and the plays - that it will house will live in the Future even as Wallack’s, - Daly’s, and Palmer’s, of the Past, live now in the Present. Here, - where we stand to-day, will stand the future Temple of Dramatic Art - in America. David Belasco has played a great part in the - advancement of the drama in this country and he will play a greater - one. He has never disappointed us and he never will. His heart and - soul will be in every brick of this theatre and in every production - he makes on its stage. - - “Belasco and I have been friends and co-workers for many years. We - first met when the gods were favoring me most,--when, long, long - ago, he came, a young man out of the West, with black hair and - eager face, to begin his career here. I was fortunate enough to put - into his hands, in his first position as stage manager, at the - Madison Square Theatre, the manuscript of my play ‘Young Mrs. - Winthrop.’ I want to tell you an anecdote connected with that. I - expected, when I gave it to him, that I should be obliged to do a - lot of work on it; but after he had had it a few days he came to me - and told me of many beautiful things in my play that I did not know - were there! I decided, then, to keep away and did not see the play - until the dress rehearsal. I found I had done well to leave it all - to him. [Turning toward Mr. Belasco and stretching out his hand to - him.] Come here, David! I am proud to clasp your hand, to utter a - word of thanks for all you have done for us, for the workers in the - Theatre; to congratulate you and say ‘God bless you and give you - success!’” - -Writing of this occasion and of his new theatre, Belasco says: - - “With all my associates gathered round me I felt like the _Vicar of - Wakefield_ when he got out of gaol and once more assembled his - family round his hearth! - - “How quickly a theatre grows old-fashioned! Every summer I make - improvements in this house and have already spent enough money to - build another theatre. At the present time of writing I have just - installed a new lighting system, the result of years of - experimenting by Louis Hartman, my valued old friend and - electrician, who is to be found in the theatre from morning until - night, and whose only pleasure is in his work. I think we have - revolutionized stage lights, and I have no doubt that our - innovations will find their way to foreign countries.... As my - whole life is passed in my theatre, I have a studio there of - several rooms devoted to my work and collections. In the latter I - take great pride.... - - “I have picked up much interesting furniture for my workroom, but, - despite the joy I take in these things, I write with greatest - comfort on a little sewing-table covered with green baize,--a relic - of my attic days.... I really know of no other manager whose - delight in his playhouse is greater than mine.... Here I spend my - life and here I shall, I hope, end my days.” - -The second Belasco Theatre (originally called David Belasco’s Stuyvesant -Theatre, by which name it was known until the fall of 1910) stands on -the north side of West Forty-fourth Street, between Broadway and Sixth -Avenue, on lots Nos. 111 to 121, inclusive. The site has a front of 105 -feet and a depth of 100 feet. The building is of red brick and white -stone, simple and graceful, in the style of architecture denominated as -Colonial. It was, originally, three stories high, with a rectangular, -tower-like eminence at the southwest corner. The entrance from the -street is into a small lobby, at the right of which are large swinging -doors opening into a clear space which extends, behind the orchestra -seats, parallel with Forty-fourth Street, from side to side of the -auditorium. In this playhouse, - -[Illustration: - -Photograph by Byron. Author’s Collection. - -BELASCO IN HIS WORKSHOP - - INSCRIPTION ON BACK: - - “Genius _doesn’t burn_ this morning, dear friend!--D. B.” -] - -as in the first Belasco Theatre, there is a handsome screen of carved -wood and crystal glass at the rear of the orchestra, which protects the -audience from drafts of air. The orchestra and balcony chairs are of -heavy wood, upholstered in rich, dark brown leather, the back of each -chair being embossed with the emblematic bee. The decoration of the -interior is opulent and dark in tone,--deep browns, blues, and greens -with dull amber and orange being the prevailing colors. There is a large -painting above the proscenium opening and on either side are several -mural paintings, of various sizes, with here and there a rich tapestry -hanging. The groups and figures in these paintings are -symbolical,--Music, Grief, Tranquillity, Allurement, Blind Love, Poetry, -and the like being depicted. The ceiling is raftered into twenty-two -panels, which are set with rich-colored stained glass and illumined from -above. Each panel contains two shields, with heraldic mantling,--among -the coats-of-arms displayed being those of Shakespeare, Goethe, -Schiller, Racine, Molière, Goldsmith, Sheridan, and Tennyson. The -seating capacity of the theatre is now (1917) about 1,000 persons,--430 -on the orchestra floor, 320 in the balcony, and 240 in the gallery. -There are no supporting pillars in the auditorium, the balcony and -gallery being constructed on cantilevers, so that an unobstructed view -of the stage is afforded from every part of it. - -The stage was carefully designed with the purpose of facilitating in -every possible way the setting and shifting of scenery. It is eighty -feet wide and twenty-seven feet from the curtain-line to the back-wall. -The proscenium opening is thirty-two feet wide and thirty feet high. The -“gridiron” is seventy-six feet above the stage; the fly galleries, of -which there are two, one on each side of the stage and thirty feet above -it, have forty-five feet of clear space between them. In recent years an -adjustable apron, five feet wide, has been constructed in front of the -curtain-line, covering the musicians’ pit. The stage can be opened at -any desired spot, and the centre of it is an elevator-trap, ten feet -from front to back and twenty feet long. Upon this trap the -paraphernalia of an entire scene can be lowered to, or raised from, the -level of a cellar floor, thirty feet below the stage. - -The original cost of this theatre, including the land upon which it -stands, was more than $750,000, and various alterations and improvements -made in it down to the present time (1917) have increased the total -investment to nearly $1,000,000. In the summer of 1909 a one-story and -mezzanine addition was built upon the roof of the Stuyvesant, in which -Belasco has made his studio,--a strange, romantic place in which he has -assembled priceless objects of art and antiquarianism. That studio (an -adequate description of which would necessitate weeks of examination and -would, alone, fill a large volume, and which, here, can be given only -passing notice) is entered by a narrow, low, heavy-latticed door from -the business offices of the Belasco Company. The first room is a small, -low-roofed one, in itself somewhat suggestive of an old cathedral crypt. -Along the walls are ranged shelved cases containing a wondrous -collection of specimens of precious glass, the most recently made piece -of which is more than eighty years old. A sort of alcove opens from this -room, at the right side, which is stored with scores of relics -associated with that arch-villain the great Napoleon,--a collection -which includes a lock of his hair, cut from his head after death, and in -which Belasco takes special pride and joy. Beyond the entrance room is a -larger one; beyond that are low, dim passages; a library with stairs to -a gallery; a dining-room; an odd little bedroom, exquisitely furnished -in Japanese style,--with a miniature Japanese garden built outside its -window,--and luxurious facilities for bathing. These passages, rooms, -and stairs,--ceilinged with multi-colored banners, carpeted with soft, -rich rugs, and almost everywhere lined with shelf on shelf of -books,--are somewhat maze-like to a stranger, and in them is gathered a -vast, confusing medley of collectors’ treasures: here, a sinister, -black-steel armor; there, a stand of French halberds; beneath that old -table, an unmatchable set of rapiers; upon this one, nearly twoscore -different styles of dagger; yonder, a huge carved wooden chest, -blackened with age and stuffed with antique velours; against it, a great -two-handed sword,--“such a blade as old Charles Martel might have -wielded, when he drove the Saracen from France”; across that opening, an -antique wooden window-lattice, with heavy shutters, taken from an -English house built more than 700 years ago; beside it, a chair once -used by England’s King Henry the Eighth; against this wall, a stone -mantel brought from Italy, with a hearth made of tiles stolen by slaves -from the Alhambra. In the walls are many odd nooks and hidden cupboards, -which open by the release of secret springs,--in which, when illumined -by small, concealed lamps, are revealed collections of jewelled -rosaries; or of crucifixes wrought in ivory, ebony, and iron; or of -specimens of the potter’s art; or of trinkets once worn or owned by -members of the gentle Borgia Family. The stranger, wandering through -this reclusive domain,--into which few strangers ever are permitted to -penetrate,--opening low Gothic doors, will blunder into angular hutches -or long, low tunnels filled with shelves and cases of rare pamphlets and -old books; will pause with awe before a superb window of purple stained -glass; or gaze with wonder on a massive globe suspended in a well over -which a translucent canopy is so arranged that it takes and intensifies -all the changing colors of the covering heavens; or will come with -startled delight upon a grot in which a small fountain of crystal water -flings its spray over a little pool half-filled with violets, sweetpeas, -and full-blown roses. - -Belasco, unlike many other collectors, has an intimate personal -knowledge of every article in his collection; can recall at once where, -when, and how each was acquired; and, notwithstanding the number and -seeming confusion of the different pieces, knows exactly where each one -is placed and instantly perceives and vituperatively denounces any -disarrangement of them such as occasionally is caused by members of that -pestiferous sisterhood which plies the duster and the brush without -sense of the sacredness of an antiquarian’s sweet disorder,--a -sisterhood which has stirred up consternation and wrath since long -before _Mr. Oldbuck’s_ time. His writing is done there among his -treasured collections, now in one corner, now in another, upon a small, -battered, baize-covered cutting-table, such as ladies use for sewing, -which he carries about from place to place as the fancy suits him. And -there, also, his principal recreation is found when, wearied by labor or -oppressed by care, he turns to contemplation and enjoyment of the -heaped-up beauty which he has gathered about him. - - - - -IN THE MATTER OF STAGE LIGHTING. - - -A much needed addition to the technical literature of the Theatre is a -comprehensive, authoritative, and just account of the origin and -development of modern stage mechanism and of the art of stage lighting. -The pioneer achievements of Edwin Booth, at Booth’s Theatre (opened, -February, 1869), and of James Steele Mackaye and Augustin Daly are, as a -rule, blandly ignored in writing on those subjects, and the movement for -“Stage Reform” which began in Austria in 1879-’80 is taken as the -starting-point. If ever such an account is written, laborious -experiments and fine achievements by David Belasco, especially in the -latter field, will, of necessity, occupy a conspicuous place in it. His -active practical interest in the problems of stage lighting began as -early as 1876 and it has not abated. The first attempt in America to -use electric light for stage illumination,--at least, the first attempt -of which I have found a record,--was made at the California Theatre, San -Francisco, February 21 to 28, 1879. Belasco was there at that time and -carefully observed the experiment, which was not notably successful.[3] -From 1879 to 1902 he closely studied all methods of lighting and -experimented much: since 1902, when he opened his first theatre and -obtained satisfactory facilities for the work, his experimentation in -that field has been incessant. The lighting system at the Stuyvesant -Theatre was designed by Belasco in collaboration with his chief -electrician, Mr. Louis Hartman, and was installed under their -supervision. When that theatre was opened, the lamps of the footlights -on the stage, and also those in each of the overhead “border light -strips,” were arranged in seven sections, each section connected upon -separate resistance, in order that any desired part of the stage or any -figure or group of figures might be illumined or shadowed as desired. -There were five sets of the border lights, with 270 lamps in each; there -were eighty-eight connection pockets in the fly galleries and upon the -stage through which large or small “bunch lights” could be connected as -required; the switchboard (one of the largest, if not the largest, then -in use in an American theatre) was equipped with seventy-five dimmers, -in order that the lights should be under perfect control. Since the -opening, in 1907, the lighting system has repeatedly been altered and -improved. The most radical change is one made about two years ago -[1917], whereby footlights are entirely dispensed with. The objection to -footlights is, of course, an upward thrown shadow: this, however, can be -satisfactorily dealt with, and, in my judgment, it is seldom if ever -advantageous wholly to discard them. Belasco, however, thinks otherwise: -his productions are the only ones made without footlights, which I have -seen, in which the absence of those lights is adequately compensated. In -his present theatre there is a contrivance, placed in the front of the -first balcony, which, while the curtain is down, appears to be an -ornamental glass panel about six feet long. When the curtain is raised, -however, shutters in the front of that panel are opened by an electrical -device operated at the switchboard on the stage, and a singular bright -light, which is transmitted without casting perceptible rays, is -diffused upon the stage, bringing the - -[Illustration: - -Photograph by White. Belasco’s Collection. - -SWITCHBOARD OF THE SECOND BELASCO THEATRE, NEW YORK] - -actors into clear vision.--It is not practicable to pursue this subject -further in this place; but readers will, perhaps, realize the importance -Belasco attaches to the art of lighting as an adjunct to acting and the -care he lavishes upon it when they are informed that the experimental -workshop in his theatre is operated all the year round and that in many -instances the expense of his _light rehearsals alone_ has exceeded the -total of all other costs of production. Perhaps the most perfect example -of stage lighting ever exhibited was provided in Belasco’s presentment -of “The Return of Peter Grimm,”--and that was the result of nine and a -half months of persistent experimentation. Dilating on this subject, -Belasco has said with justified wrath: - - “I think that we may fairly and without vanity claim to have - revolutionized stage lighting. I confess that I have at times felt - some annoyance when I have been informed by young writers in the - press,--who were not born until long after I had made great - improvement in lighting,--that in dispensing with footlights I have - ‘imitated’ Mr. Granville Barker, Mr. Max Reinhardt, and various - other so-called ‘innovators.’ Such statements are nonsensical. My - first regular production without ‘foots’ was made in 1879,[4] when - I staged Morse’s ‘Passion Play’ in San Francisco. And I did without - them in several other productions, at the Madison| Square Theatre, - in ‘The Darling of the Gods,’ and in ‘Adrea.’ When I produced - ‘Marie-Odile’ there was a lot of newspaper talk on this subject, - but the talkers were such poor observers that they didn’t know I - had been using the _same system of lighting_ I used in - ‘Marie-Odile’ for more than three months before, in ‘The Phantam - Rival’! A little of Mr. Barker’s work as a producer has been seen - in this country and he has had success in England. He seems to be a - very talented man and I always admire ability and so I admire him - and am glad to see him succeed. But without unkindness I must say - that I have no need to ‘borrow’ from Mr. Barker; and as he must - know that I never have done so I wonder a little that he has not - rebuked these writers who would push him up by pulling me down. - Many of the appliances we use in my theatre are invented and made - in my own shop; many others are made outside, to specifications we - provide. My new system is, I believe, a great step toward the - perfection of stage illumination. By means of it footlights, in my - opinion, are made unnecessary for any play, and they are no longer - a part of the illumination of my stage. All the light comes from - above, as in nature; but in order to accomplish this I built an - entirely new proscenium arch. A great iron hood, following the - lines of the stage, hangs behind the proscenium. The hood contains - lights of varying power, and by means of reflectors, invented and - manufactured in my own shop, the illumination is diffused without - casting shadows. The glare of the footlights is a thing of the past - so far as I am concerned. My stage was also reconstructed so as to - extend out into the auditorium over the orchestra pit. These - changes bring the audience into more intimate touch with the scene - on the stage.” - - - - -OPENING OF BELASCO’S STUYVESANT THEATRE:--“A GRAND ARMY MAN.” - - -Belasco opened his Stuyvesant Theatre, October 16, 1907, with a play -entitled “A Grand Army Man,” written by himself in collaboration with -Miss Pauline Phelps and Miss Marion Short,--that is, rewritten and made -practical by Belasco, working on the basis of an amateur essay in -dramatic authorship provided by those ladies. That play was first acted -on any stage at the Hyperion Theatre, New Haven, Connecticut, September -23, the same year. It presents neither surprising ingenuity of -construction nor uncommon felicity of style, but it tells a plain story -in a plain way. The chord that is struck in it is that of romantic, -almost paternal, altogether manly and beautiful affection. As a work of -dramatic art it appertains to the class of comedies represented by such -plays as “Grandfather Whitehead,” “The Porter’s Knot,” and “The Chimney -Corner,”--plays in which the theme involves unselfish love and the -sentiments and emotions that cling to the idea of Home. In that respect -it reverts to a style of drama once, fortunately, dominant--at a time -when the American Stage was illumined and adorned by such actors as -Henry Placide, John Gilbert, John Nickinson, Charles W. Couldock, -William Warren, and Mark Smith. The authors of it provided Warfield -with a vehicle of dramatic expression that exactly conformed to the bent -of his mind. The plot is simple, but by reason of being natural and -being fraught with true, as opposed to false, emotion, its simplicity -nowhere declines into insipid commonplace. The chief character, _Wes’ -Bigelow_, is a veteran of the Grand Army of the Republic. He has never -married. In youth he has loved a girl, but has not won her, and she has -become the wife of one of his comrades. Years have passed, and the -American Civil War has occurred. That comrade has been slain in battle. -The widow has died: but she has left a child, that comrade’s boy, and -_Bigelow_ has adopted and reared him. The substance of the play is his -experience with the fortunes of that ward. - -It happens sometimes that a man whom a girl has rejected, and who -remains unmarried because of his absorbing love for her, will fix his -affection on her child,--she having married a more favored suitor and -produced a family,--and will love that child as if it were his own. That -happens to _Bigelow_. The son of his loved and lost idol is the light of -his eyes and the joy of his heart. There is no labor that he will not do -and no sacrifice that he will not make for the lad, of whom he ardently -prophesies success and honor. The boy, _Robert_, has been intrusted -with money, the property of the Grand Army veterans, and, instead of -placing it in the bank, as directed to do, he has used it in -speculation, and lost it. When the knowledge of that fault comes to the -veteran he is, at first, stunned by it; then enraged; and then broken by -the conflict between the sense of shame and the struggle of affection. -He tries to thrash the boy with a horse-whip, but in that manifestation -of wrath he fails: his cherished pet cannot have done wrong; has only -erred through accident; can surely be redeemed; must, of course, make -amends,--and all will be well. The case comes to trial, before a judge -who, privately, is hostile to _Bigelow_, and measures are taken to -insure conviction. The veteran offers to replace the money that has been -taken by his ward,--supposing that the complaint will then be dismissed. -That money he has obtained by sale of his personal effects, and also by -means of a mortgage imposed on his farm. The old soldier makes an -impassioned, pathetic appeal to the court, but the hostile magistrate -cannot be appeased. _Robert_ is convicted and is sent to prison for one -year. A little time passes, and _Robert’s_ sweetheart, the daughter of -that malicious judge, leaves her father’s abode and seeks refuge with -_Bigelow_ and the kind old woman who keeps house for him. _Robert_ is -pardoned, at the intercession of the veteran’s military comrades, and he -comes back, to his guardian and his love, on New Year’s Day. - -Nothing could be more simple than that unpretentious idyl of Home. It is -in situations of simplicity, however, that an actor is subjected to the -most severe tests of his inherent power, his fibre of character, his -knowledge of the human heart, his store of experience, his resources of -feeling, and his artistic faculty of expression. Warfield endured that -test, allowing the torrent of feeling to precipitate itself without -apparent restraint, and, at the same time, controlling and guiding it. -Such artistic growth he had evinced in his impersonation of the _Music -Master_, and he evinced it even more effectively in his assumption of -the _Grand Army Man_,--going to Nature for his impulse and obeying a -right instinct of Art in his direction of it. In the portrayal of the -noble, sweet-tempered, yet fiery old soldier he aimed especially at -self-effacement, at abnegation of every motive or trait of selfishness. -On finding that his boy loves the daughter of his enemy, and is by her -beloved, the veteran is, almost at once, disposed to placate that enemy -and favor those young lovers. There is, to be sure, a little reluctance, -a little struggle in his mind; but that is soon over. The actor denoted -that struggle and that surrender in a lovely spirit. In the tempestuous -scene of _Bigelow’s_ horrified consternation, the agonized conflict -between anger and love, when the misconduct of the boy is exposed and -confessed, and the old man, after trying to beat him as a felon, clasps -him to his heart as only the victim of an unfortunate, venial error, the -anguish and the passionate affection of a strong, even splendid, nature -were expressed with cogent force. The appeal spoken in the -courtroom,--an outburst of honest, simple, rugged eloquence, all the -more fervid and poignant because unskilled and fettered,--had the -authentic note of heartfelt emotion. In circumstances those situations, -which are the pivotal points of the play, recall certain supreme effects -in “Olivia” and “The Heart of Mid-Lothian,” but Warfield’s histrionic -treatment of those situations was fresh and his achievement in them -displayed him as an actor to whom the realm of pathos is widely open and -who can move with a sure step in the labyrinth of the domestic -emotions,--one of the most perplexing fields with which dramatic art is -concerned. All observers know how easy it is, in treatment of themes of -the fireside, the family, the home, to lapse into tameness. An actor -must possess an ardent and beautiful spirit, and must be greatly in -earnest, who can sustain such themes and invest them with the glow of -passionate vitality. Some of the best of the managers and actors of an -earlier, and as I believe in many ways a more fortunate, generation -might well have been proud of placing before the public such a play and -such an impersonation as Belasco and Warfield provided in “A Grand Army -Man,”--a play and an impersonation instinct with fidelity to common life -and yet far removed from commonplace. Warfield, as a player, possesses -in a marked degree the charm ascribed to John Bannistere (one of the -greatest serio-comic actors in theatrical annals), that he wins you -immediately by seeming to care nothing about you. His identification -with the character of _Bigelow_ was absolute and he never, for even a -moment, lapsed out of it. It had been long since such complete -absorption, such living inside of a fancied identity, had been seen on -the stage. The blending of humor and pathos was exceedingly fine, and it -touched the heart even while it brought a smile to the lips.--“A Grand -Army Man,” together with “The Music Master,” was acted at the Stuyvesant -Theatre until May 2, 1908, when Warfield’s season closed. On the opening -night Belasco, called upon the stage by a brilliant and enthusiastic -audience, made a brief speech, saying: - -[Illustration: DAVID WARFIELD AS _WES’ BIGELOW_, IN “A GRAND ARMY MAN” - -Photograph by Byron. Belasco’s Collection. -] - - “I am very grateful, ladies and gentlemen, that you have given me - this opportunity to speak a few words of welcome to you--of welcome - warm as heart can make it, to each and every one of you, the - friends who have been kind enough to honor me by coming to this - little house-warming to-night in our new, and, I hope, our - permanent, home. It is a privilege to come before you; to see you - here; to see and recognize, as I do, so many of the faces of those - who have given me their support ever since I came here from that - dear, far-off city of the West where I was born. It gives me such - great happiness, ladies and gentlemen, to see you here; to know, as - I do know by your generous applause, that you like the play we have - produced for you and that you still love, as I am sure you do, that - splendid actor and loyal and dear friend of yours and mine, Mr. - David Warfield, who is playing here so beautifully to-night. Ladies - and gentlemen, I hardly am able to express myself to you. In one of - the great plays in which I myself used to act, many, many years - ago--and which, before I die, I hope to have the privilege of - placing before you, here, in New York--there is a speech that has - kept coming back into my mind all this evening, as I have listened - to your applause and tried to think what I could say to you: - - “‘You have bereft me of all words, - Only my blood speaks to you in my veins.’ - - “But I think that you must know what I wish to express, that you - must understand without any words what it means to me to have you - here to-night, and to know that all the lies and all the perjuries - that have been printed and spoken against us cannot shake your - approval and support. We need it! Remember, we are only a handful, - fighting against a mighty Trust: but, ladies and gentlemen, this - little theatre flies the flag of independence, and as long as we - have your approval and support and sympathy nobody can dictate to - us and nobody can ‘put us out of business.’ And I am sure that we - shall have you with us just as long as we deserve it, and we shall - strive to deserve it and to serve you and the beautiful Art we all - love just as long as we live. I thank you, again and again, for all - of us,--for Miss Phelps and Miss Short, and for Mr. Warfield and - for my company and all my associates as well as for myself,--and - again and again I bid you heartily welcome to this little new - theatre.” - -This is the original cast of “A Grand Army Man”: - -_Wes’ Bigelow_ } { David Warfield. -_Judge Andrews_ } { Howard Hall. -_Captain Bestor_ } { Reuben Fax. -_Jim Bishop_ } { George Woodward. -_Cory Kilbert_ } Of the { James Lackaye. -_Let’ Pettingill_ } G. A. R. { Stephen Maley. -_Comrade Potter_ } { Tony Bevan. -_Comrade Tucker_ } { Thomas Gilbert. -_Comrade Tate_ } { Henry F. Stone. -_Robert_, _Wes’ Bigelow’s_ adopted son William Elliot. -_Rogers Wellman_ Taylor Holmes. -_Hickman_ John V. Daly. -_The Drummer-Boy of the Rappahannock_ John Morris.[5] -_Hallie_ Antoinette Perry. -_Letitia_ Marie Bates. -_Mrs. Bestor_ Amy Stone. -_Alida Bestor_ Veda McEvers. -_Mrs. Pettingill_ Jane Cowl. -_Mrs. Kilbert_ Louise Coleman. - - - - -A DEFEATED PLAN: “THE PASSING OF THE THIRD FLOOR BACK.” - - -Belasco had planned to open his new theatre with a play by the eccentric -Jerome Klapka Jerome, entitled “The Passing of the Third Floor Back.” In -his “Story” he gives the following account of his plan and purposes and -of the way,--surely most unjust,--in which they were defeated. The -actual reason for Mr. Jerome’s “misunderstanding” undoubtedly was that -he preferred to have Forbes-Robertson, instead of Warfield, act the -principal part in his “idle fancy,” as he designated his monotonous but -amazingly popular fabric of insipid colloquy: - - “I was about to make a new version of ‘The Lone Pine,’ which I - wrote for Denman Thompson many years ago, when Mr. Jerome K. Jerome - came to see me. He and I had travelled from London on the same - ship, and I found him a most interesting companion. He was the - author of the charming little Christmas story, ‘The Passing of the - Third Floor Back,’ and suggested turning it into a play for - Warfield. I was delighted. The contract was signed and a payment - made in advance. ‘I shall sail for home at once,’ said Mr. Jerome, - ‘to go into the country, for I shall need the trees and flowers and - birds about me as I work. I am going to write it with David - Warfield in mind. He shall be the _Stranger_ and I shall dip my pen - into my heart as well as into the ink.’ Mr. Jerome suggested that - the action of the entire play take place in one scene. ‘But I wish - the actors could face the audience as though a wall of the room - were between them and the auditorium,’ he said. ‘You want the - fireplace in front of the footlights,’ I suggested. A sketch of the - scene was made then and there. - - “Our contract stated that the play was to be completed in time for - the opening of the present Belasco Theatre, which was being built. - ‘I’ll have your play finished,’ said Mr. Jerome; ‘I’ll bring it - over myself.’ With my mind at rest, I turned to other matters. It - was not long before Mr. Jerome wrote for an extension of time. I - readily agreed to this and shortly after Mr. Jerome wrote again to - ask for another postponement. The play depended largely upon the - mood in which it was written and moods are not to be summoned at - will; so once more I agreed to a delay. Mr. Jerome sent me a model - of the scene and costume sketches by Percy Anderson. They bore Mr. - Jerome’s ‘O. K.,’ and I cheerfully paid a fee of $500 for them. I - still have the sketches in my possession. The time for the opening - of the new theatre was drawing near and I engaged the company. Mr. - Warfield was eager to have the script, that he might begin to study - the part. Then came bad news from England. Mr. Jerome could not - finish the play in time. I saw that I could not depend upon it for - the opening of my new theatre and must find something else. I once - heard Mr. Warfield recite James Whitcomb Riley’s ‘The Old Man and - Jim,’ and I knew that a character like the _Old Man’s_ would be - delightful in his hands. I had in my possession a manuscript, - written by Pauline Phelps and Marion Short. It contained the very - idea for the character I wanted, so I made arrangements with the - ladies and rewrote parts of the play. By the time my work was done - and I had engaged a company I received a cable from Mr. Jerome: - ‘The manuscript is finished. Am bringing it to you.’ I had been - obliged to disband the company selected for ‘The Passing of the - Third Floor Back,’ and preparations for ‘A Grand Army Man’ were - completed. I doubted if the other play could possibly be made ready - for production in so short a period. When Mr. Jerome arrived, he - read his piece to Mr. Warfield, Mr. Roeder and me, and we found the - idea more and more to our liking. I felt, however, that the play - should be held over until the following season. Before I could - reach a decision Mr. Jerome left unexpectedly for London. It was my - moral, to say nothing of legal, right to postpone the production, - as it was no fault of mine that the script had not been delivered - sooner. I told Miss Marbury, Mr. Jerome’s representative in this - country, to cable to him to that effect. He showed some surprise in - his reply. But in a long communication I explained my dilemma. In - response to this he sent a very satisfactory answer, and I was - about to write another letter to him, enclosing an additional - advance on the contract--so anxious was I to have the piece--when - Miss Marbury abruptly inquired what steps I intended to take in the - matter. She insisted upon another large payment, which displeased - me, since I had so willingly complied with every request Mr. Jerome - had made, and I hastily scribbled an impatient note. To my - astonishment, I received a telegram from her saying: ‘The play is - sold to Forbes-Robertson.’ Three years after, when Mr. Jerome asked - me to read a new piece, we spoke of ‘The Passing of the Third Floor - Back.’ I explained the matter, and he said it was all the result - of a mistake. I was of course very sorry the mistake had occurred. - This mistake was most fortunate for Sir Johnson Forbes-Robertson, - who might have missed the greatest success of his career. The piece - could not add to his fame, but it certainly added to his fortune.” - - - - -“THE WARRENS OF VIRGINIA.” - - -Belasco opened the season of 1907-’08, at the Belasco Theatre, August -31, with a revival of “The Rose of the Rancho,” which he continued to -present there until November 9. On November 11 Miss Bates appeared at -that theatre, where she acted for three weeks, in “The Girl of the -Golden West.” On December 3 he there brought out, for the first time in -New York, a play called “The Warrens of Virginia,” written by William C. -De Mille, son of his old friend and early collaborator, Henry C. De -Mille, and retouched by himself. It had been acted at the Lyric Theatre, -Philadelphia, on November 18. In that play the interest is concentrated -on the character of a general in the service of the Southern -Confederacy, toward the close of the American Civil War, and on the -conduct of his daughter, in a well-contrived emergency, involving the -conflict,--perennial as a dramatic expedient,--between love and duty. -The story is interesting, and it illustrates, in a manner that is both -pictorial and pathetic, the contrasts of circumstances and the -vicissitudes of domestic experience that, necessarily, were incident to -the harrowing condition of fraternal strife then prevalent in this -country. The play, however, is not in any sense either political or -sectional. It has no didactic drift. It does not discuss the war. It -does not advocate either union or disunion. It tells a story, and, -necessarily therefore, it portrays characters. The predominant element -in it is picture, but it contains much incident, of a kind more notable -for utility than novelty, and some of its situations are fraught with -the dramatic element of suspense. Its special charm is a sweet and -gentle domestic atmosphere. - -The action is supposed to pass during the twenty-four hours immediately -preceding the surrender of the Confederate army, at Appomattox, April 9, -1865, and to close five years later. Act First occurs in a woodland -glade, near to the abode of the _Warrens_ of Virginia. Acts Second and -Third proceed in a room in that dwelling. Act Fourth, and last, is -placed in a rose garden adjacent to the _Warren_ home. _General Warren_, -a Confederate commander, is ill, broken by care and privation, and he -has been ordered from the field, for rest. _General Griffin_, a Union -commander, has acceded to the request of _General Lee_ that _Warren_ -should be passed through the Union lines to his home. _Warren’s_ -daughter, _Agatha_, trying to reach the Confederate forces, with such -little relief as the _Warren_ family could supply, has been stopped by -_Lieutenant Burton_, a Union officer,--known to her before the outbreak -of the war,--who loves her, and who is by her beloved, although she has -repulsed him. _Lieutenant Burton_, in turning _Agatha_ back to her home, -begs the privilege of visiting her, if he can obtain leave of absence, -but his request is denied. _General Warren_, however, on the way to his -dwelling, meets with _Burton_ and consents to the proposed visit. A -supply train is expected by the Confederates, and its arrival is vital -to them, while the stoppage of it is equally essential to the forces of -the Union. Stratagem is planned. A bogus despatch is prepared, ordering -the interception of the train at a certain point, and it is desired that -this despatch be captured by the Confederate commander, so that he will -be deceived by it and will send the train another way. The Union -commander utilizes _Lieutenant Burton’s_ wish to visit his sweetheart, -and compels him to carry the despatch,--having previously ascertained -that a movement of the Confederates is intended which will insure -_Burton’s_ capture at _General Warren’s_ home. Various reasons constrain -_Burton_ to carry the despatch,--although his expectation is that he -will be shot as a spy. When the scene shifts to the _Warren_ home -_Agatha_ and _Burton_ meet and they plight their faith as lovers. -_Burton_ is captured by the Confederates, but _Agatha_ has obtained the -despatch and has concealed it in her shoe. Her purpose is to shield her -lover; but _General Warren_, surmising that she knows where the document -is concealed, appeals to her in such a way that she breaks down and -surrenders it. The _General_ is deceived. The supply train is despatched -in a wrong direction and is captured by the Union forces. The conduct of -_Burton_ thereupon is stigmatized as grossly dishonorable; _Agatha_ -renounces him; and, making no defence, he is likely to be shot. The -surrender of the Confederate army terminates the war, and thus -_Burton’s_ life is saved. After the lapse of five years he once more -repairs to the _Warren_ home and renews his suit for the hand of -_Agatha_. At first his prayer is denied,--notwithstanding the girl still -loves him. The talk of the lovers is heard by _General Warren_, who -appears all the while to have been asleep, and presently the father -recalls the departing lover, and, for his daughter’s sake, consents to a -reconciliation and a marriage: and thus a pretty picture of happy love -and peace is made to close an ordeal of trouble and grief. It seems a -pity that some device could not have been found to make the young -soldier carry the despatch without being aware of the treachery that was -intended. He is forced to act in a dishonorable manner, and he forfeits -all sympathy in the action of the play. - -There is no limit to the pathos of conflicting emotions that can be -pictured, incident to war, and especially to a civil war. Some of that -pathos is indicated at moments in this drama. The little children, -concocting a letter to their soldier brother; the agonized lover, who -while waiting for the moment in which the trick to which he has lent -himself will be accomplished, is fondly treated by the girl whom he -loves, and toward whom he feels that he has been deceitful; the worn, -ill, suffering Confederate general, gleeful in his supposed triumph, -waiting for the safe arrival of the supplies that will relieve his -wretched troops, and sitting with his wife by his side and their two -young children at their knees; the blind, almost insane fury of that -deceived, resentful old man when he learns of the capture of those -supplies--those incidents and others like to them are exceedingly -effective. There is excess of dialogue and there is too much attention -to unimportant detail delaying the action. The incident of the father’s -kneeling to his daughter is copied from Wills’s splendid play of -“Charles I”--in - -[Illustration: - -Photograph by Otto Sarony. Belasco’s Collection. - -CHARLOTTE WALKER AS _AGATHA WARREN_, IN “THE WARRENS OF VIRGINIA”] - -which the betrayed _King_, in a similar situation, begs _Lord Murray_ to -bring his forces to the rescue of the royal arms. The opening -incident--the meeting of the Union and the Confederate soldier--is -reminiscent of the opening of Boucicault’s “Belle Lamar.” The acting -was, in several instances, superb. Frank Keenan was, in appearance, true -to the indicated ideal of _General Warren_ and his performance was -instinct with the truth of Nature, shown with the delicate exaggeration -of proficient art. Power, dignity, authority, and blended humor and -pathos were its attributes, and it was especially admirable for its -repose. The finest moment in it was that of the outbreak when _Warren_ -is apprised of the loss of the supply train and cannot believe that his -son has obeyed orders. Miss Emma Dunn, who acted _Mrs. Warren_, gave a -touching and interesting, because carefully considered, well-planned, -and smoothly and fully executed, impersonation of an affectionate wife -and mother,--the result of close study informed by exact observation and -the intelligence and feeling native to the nature of the actress. Miss -Charlotte Walker as _Agatha Warren_ was extremely handsome and winning, -and, in the lighter moments of the play, acted with charming effect. The -stage dresses and pictures were, in every detail, historically correct -and characteristic of the period to which the play relates; in fact, -the production was a memorable example of taste and excellence in the -provision of harmonious and helpful stage environment.--“The Warrens of -Virginia” was acted at the Belasco Theatre until May 2, 1908; on May 4 -it was transferred to the Stuyvesant Theatre, where it was presented -until the 16th, when that house was closed for the season. This was the -cast: - -_General Warren_ Frank Keenan. -_Ruth Warren_ Emma Dunn. -_Agatha_ Charlotte Walker. -_Arthur_ Cecil de Mille. -_Bob_ Richard Story. -_Betty_ Mary Pickford. -_Miss Molly Hatton_ Blanche Yerka. -_Gen. Griffin_ } Of _Gen._ { William McVay. -_Gen. Harding_ } { DeWitt Jennings. -_Gen. Carr_ } _Grant’s_ Staff { E. Allen Martin. -_Lieutenant Burton_ C. D. Waldron. -_Blake_ Raymond L. Bond. -_Corporal DePeyster_ Stanhope Wheatcroft. -_Zack Biggs_ Frederick Watson. -_Billy Peavy_ Willard Robertson. -_Tom Dabney_ Ralph Kellerd. -_Sapho_ Mrs. Chas. G. Craig. - -Of the Mary Pickford who appeared in this cast as _Betty Warren_--and -who gave an agreeable performance--Belasco affords this reminiscence, -which it is specially pleasant to quote here because instances of -appreciation and gratitude among actors of the present day are not -frequent: - - “In ‘The Warrens of Virginia’ two children, a boy and a girl, had - very important parts. I could not find a little girl to suit me, - when one day my stage manager asked me if I would see a child named - Mary Pickford. Little Mary was then a vision of girlish - beauty--with long golden-brown curls. She said she had been hanging - about my stage door for a week, wanted the part and was in fact at - that very moment ready for it. I gave it to her at once, and the - next day she came to rehearsal letter-perfect. In the course of - time she became the ‘Queen of the Movies.’ After a few years I sent - for her to ask her to play in ‘A Good Little Devil.’ She was then - earning $500 a week, but she told me I might name my own price, as - she knew I could not afford to pay that sum. She said she was - willing to lose financially that she might gain artistically. I - regret that she is giving her time to the moving-pictures houses, - for she is a genius in her line.” - - - - -“THE EASIEST WAY.” - - -Mr. Eugene Walter’s play called “The Easiest Way” is one of the most -obnoxious specimens of theatrical trash that have been obtruded on the -modern Stage. It depicts a segment of experience in the life of a -shallow, weak, and vain prostitute, who makes a feeble attempt to reform -but who fails to do so. The significant impartment of that play--in so -far as it possesses any significant impartment--is an intimation that -“the easiest way” in which a woman can obtain and hold a position on the -stage and live in luxury off it is by the sale of her chastity; but that -“the easiest way” will, at last, prove to be the hardest, ending in -misery and a broken heart. The ethical platitude is supposed to -constitute a “moral lesson,” and this disgusting play was proclaimed as -instructive and admonitory in its purpose. The assumption of a right and -duty to “teach good moral lessons” in the Theatre by causing the public -mind to dwell with tolerant familiarity on wholly commonplace and sordid -proceedings and experiences of blackguards, rakes, pimps, and harlots, -as such, is as stupid as it is impudent, but it has been made by some of -the most eminent men and women of the Stage. Lester Wallack produced -Boucicault’s tainted drama of “Forbidden Fruit,” and trailed the banner -of the noble Wallack tradition in the gutter by doing so; Richard -Mansfield, to the end of his life, retained in his repertory the -feculent play of “A Parisian Romance” (produced by A. M. Palmer); Mme. -Modjeska introduced in our Theatre Mr. Sudermann’s radically pernicious -“Heimat” (“Magda”); William and Madge Kendal exploited the “Tanqueray” -scandal; that great manager and actor John Hare (one of the loveliest -artists that ever graced the Stage) sullied his fair fame by presenting, -and attempting to defend, “The Gay Lord Quex”; Belasco brought out “The -Easiest Way”--and so it goes. Dispute as to the propriety of presenting -such plays is unending. It is not, however, essential to continue that -dispute (of which I have long been sick almost to death) in this place: -my views on the whole subject of the drama of demirepdom have been -explicitly stated in the chapter of this work relating to the play of -“Zaza.” When “The Easiest Way” was first made known in New York I wrote -and published these words of comment: - -It is melancholy and deplorable that he should have lent his great -reputation to the support of the vicious play which now disgraces his -Stuyvesant Theatre.... No lover of Dramatic Art, no admirer of David -Belasco, can feel anything but regret that he should give the authority -of his great managerial reputation,--the greatest since Augustin Daly’s -death,--and the benefit of his genius and his rich professional -resources to the exposition of a drama that cannot do good.... We do not -want to see in the Theatre the vileness that should be shunned; we want -to see the beauty that should be emulated and loved! - -These words expressed my conviction then--and they express my conviction -now. And I am encouraged to believe that my old friend (whose -productions of “Zaza” and “The Easiest Way” I opposed by every means in -my power) has come to my way of thinking on this subject because in a -recently published newspaper article I find him declaring: “Art is not -confined to the gutter and the dregs of life. Rather, real art has more -to do with the beautiful. Perverted and degenerate ideas are the easiest -to treat of in literature, the drama, and the stage.” - -“The Easiest Way” was produced with vigilant attention to detail. -Nothing was forgotten: the rooms shown were reproductions of fact,--from -the rickety wardrobe, with doors that will not close and disordered -sheets of music and other truck piled on top of it, in the -boarding-house chamber, to the picturesque, discreetly arranged disorder -of the opulent apartments, the signs of a drunken orgy, and the artfully -disclosed and disordered bed. All that stage management could do to -create and deepen the impression of reality was done, and the result was -a deformity magnificently framed to look like nature,--another example -of a thing done perfectly that ought not to have been done at all and -one from which I gladly turn away. This was the cast of “The Easiest -Way”: - -_John Madison_ Edward H. Robins. -_Willard Brockton_ Joseph Kilgour. -_Jim Weston_ William Sampson. -_Laura Murdock_ Frances Starr. -_Elfie St. Clair_ Laura Nelson Hall. -_Annie_ Emma Dunn. - - - - -“WESTWARD, HO!”--THE SYNDICATE SURRENDERS.--INCIDENTS OF 1909. - - -Belasco, accompanied by several friends, left New York on February 7, -1909, for San Francisco, where he arrived on the 12th and where he -remained for nearly a month. He had been apprized that the health of his -father was failing and that, in the course of nature, his death was -likely to occur soon. His expedition was prompted by filial affection -and it was undertaken with a heavy heart. His visit, however, greatly -cheered and benefited his aged parent, and the sojourn in his native -city was made a time of festival and happiness. On February 24 a dinner -was given at the Bismarck Café by surviving pupils of the Lincoln -Grammar School, of the classes from 1865 to 1871, at which Belasco was -the principal guest; and on the 27th a supper was given in his honor at -the Bohemian Club. He has written for me this account of his visit: - - “...The only really sad time was when at last I had to say - ‘Good-bye’ and come away: that was a sorrow. But I would not have - missed the visit back home for all the world! The happiness of - seeing my old father and the pleasure my coming gave him are - priceless memories to me, and I like to think my visit helped him - to hold on: he lived nearly two years longer. I would have gone - back the next year, but I was warned against the agitation our - parting would bring to both of us.... I was so hospitably received - on every hand that I entirely forgot my enterprises in New York and - I felt like a boy again, without a worry. Although it was less than - three years after the earthquake-fire, prosperity was in evidence - everywhere; the spirit of the people was simply wonderful, and it - sent me home encouraged and inspired to attempt greater things. I - am proud that I was born in San Francisco, and I cannot say too - much for the hospitality and overwhelmingly friendly reception - accorded me.... The night at the Lincoln School Dinner was - wonderful. There were about seventy of the ‘boys’ there, and dear - old Professor Bernhard Marks, who had been the principal and who - was nearly eighty, presided and called the roll, just as he used to - do when we were all lads. Sometimes a silence followed a name; many - times there came the answer ‘Dead,’ and now and then somebody - responded ‘Present.’ I cried! Then the principal put us through our - paces again, at the old lessons, and dealt out cuts on the hand - with very little of the old-time vigor. After that there were - speeches, and so many lovely things were said about me that I was - too embarrassed to reply properly: I remember that I began by - saying it was the happiest night of my life--and then stood there - with tears running down my cheeks! But I managed to say a few words - that pleased them, and then there were many calls for me to recite - ‘The Madman’ and at last I got up to do it. I started in with - restraint, to - -[Illustration: - - Photograph in Belasco’s Collection. - -DAVID BELASCO AND HIS FATHER, HUMPHREY ABRAHAM BELASCO, IN SAN -FRANCISCO, FEBRUARY, 1909--THEIR LAST MEETING] - - give it properly, as I would now, but the ‘old boys’ wouldn’t have - it. They began to catcall and cry ‘Nix! Nix!’ ‘The old way! the - _old_ way!’ and they made me get up on one of the tables and begin - all over again and give it in the good old way, raving and - shrieking and tearing my hair, as I used to do when a boy, when the - audiences used to say I’d break a blood-vessel if I kept on! So I - went through with it, though it was pretty hard work, and they were - so delighted they made me give ‘The Vagabonds’ for an _encore_, but - I ‘stuck’ dead, halfway through that, and couldn’t go on to save my - soul, so they let me off.... - - “I didn’t know the names of all those who came, but by and by I - would recognize a glance of an eye or the turn of a head and recall - that I knew that fellow when he was a boy. They were so much - altered--one of the greatest scamps of the school was a staid, - respected banker, and another was a portly physician of the highest - standing, and so on. It was all very interesting to me--and at - times very pathetic and touching.... - - “My night at the Bohemian rather overwhelmed me--when I looked - about and saw many of the leading men of San Francisco and - remembered the days when I couldn’t even get into that club! They - gave a play in my honor, by Dr. Shiels, and there were many - charming speeches and I made my acknowledgments as well as I could, - and then they gave me a cartoon, painted by Neuhaus. It shows me - kneeling at the shrine of The Owl [the symbol of the Bohemian - Club], presenting my offering, ‘The Rose of the Rancho,’ to their - patron bird of Bohemia.” - -I have endeavored to obtain reports of the speeches at these festivals -but have been unable to do so. At the Lincoln Grammar School Dinner the -speakers were Professor Marks, Charles A. Miller, Joseph Greenberg, -James I. Taylor, Charles F. Gall, and J. J. McBride, all of San -Francisco, and Arthur L. Levinsky, of Stockton. Among the speakers at -the Bohemian Club supper were Dr. J. Wilson Shiels, Joseph D. Redding, -Charles J. Fields, Willis Polk, Waldemar Young, and Mackenzie -Gordon.--Belasco left San Francisco for New York on March 2 and arrived -there on the 7th. - -In the spring of 1909, soon after he returned from his visit to San -Francisco, the Theatrical Syndicate practically surrendered in its fight -to exclude Belasco from the theatres which it dominated. The reason for -this surrender was, of course, purely selfish. The Belasco theatrical -productions were not only the best that were being made in America but, -also, they were among the most profitable. He had long been firmly -established in public favor: he was managing two splendid theatres in -New York: he controlled, directly or indirectly, others in other cities: -each season he had grown more influential: it was a manifest -impossibility to crush him: many janitorial managers of theatres in -different parts of the country were bitterly dissatisfied because his -popular and remunerative productions were not “booked” in their -theatres: the obvious course of commercial expediency was to terminate a -losing conflict and utilize and prosper by the leading theatrical -manager in America: to the Syndicate, as to _Petruchio_ in _Grumio’s_ -description of him, “nothing comes amiss so money comes withal,” and the -greatest wonder is not that it forgave Belasco the heinous crime of -working for his own advantage but that, at heavy financial loss, it so -long debarred him from the “first-class territory.” The upshot of the -various considerations indicated was an understanding between the -parties in opposition (namely, the booking agency of the Messrs. Klaw & -Erlanger, representing the Syndicate, on the one side, and Mr. and Mrs. -Harrison Grey Fiske and Belasco, on the other), whereby,--as set forth -in a statement issued by Fiske,--it was arranged that “Klaw & Erlanger -and Fiske and Belasco will hereafter, _whenever mutually agreeable_, -play attractions in each other’s theatres.” Since that understanding was -reached, April 29, 1909, they have, as far as I know, done so. - -I am far from regarding _any_ association between Belasco and the -Theatrical Syndicate as being either for his best interest or for that -of the American Stage. Belasco, however, thinks differently, and in a -recent conversation with me he summed up his feeling about the Syndicate -in these words: “In the conferences initiated by our lawyer Mr. Gerber -[David Gerber was attorney for Belasco as well as for Klaw & Erlanger] -it was found that we could enter upon business relations for the -betterment of the American Stage without any sacrifice of principle or -integrity, and I think our arrangement has been beneficial for the -Stage. I am older than I used to be; I have no ill-feeling; our -relations are very friendly, and _I_ am satisfied to ‘let the dead past -bury its dead.’” That is very well--but, as it happens, all that was -truly urged by Fiske and Belasco (among others) in opposition to the -Theatrical Syndicate _before_ the business understanding above recorded -remained equally true _after_ it; newspaper files and many legal -instruments are accessible and anybody can consult them who wishes to do -so; the public record cannot be evaded. I am thoroughly familiar with -the annals of the Syndicate and I do not agree with Belasco in his -present friendly and favorable attitude. On the contrary, I am satisfied -that the influence of the Syndicate upon matters of dramatic art must, -in the nature of things, remain vulgar and degrading, and in matters of -business oppressive and sordid, to the end of the chapter. Public -opinion, however, and that of the newspaper press has long been -indifferent on this subject, and I am now convinced that it is only by -the passing away of the men who compose the Syndicate (in whom, -happily, “nature’s copy’s not eterne”) and the accession to theatrical -management of men of higher character and ideals and finer intellect -that the American Theatre will be measurably redeemed from its impaired -estate. - -Belasco’s course, meanwhile, in dealing with the Syndicate has been -incorrectly described as “a surrender” on his part and he has been much -misrepresented therein. From the first of difference and dispute he -maintained his right to _independence_ in the conduct of his managerial -business. In various conversations with me, many years before the -arrangement with his opponents was reached, he declared, in substance, -half-a-score of times or more: “I have no wish to try to interfere with -these people [meaning the Syndicate] in _their_ business. What _I_ am -fighting for is _my_ right to book _my_ productions with whatever -managers want to book them, for _my_ best advantage.” - -A newspaper intimation that Belasco, while booking through the Syndicate -agency, would “fear to offend the Trust” brought from him (1909) the -following specific disclaimer of subserviency: - - “Please deny for me, emphatically, the statement that I ‘hesitate - to give offence to the Theatrical Trust.’ My position regarding the - Theatrical Trust is too well known, I hope, for anyone to believe - that!” - -Mr. Lee Shubert, who controlled theatres competing with Syndicate houses -in which Belasco productions were presented for a long time after the -Syndicate agreed to book for him, made the following comment on the -understanding: - - “So far as myself and my associates are concerned we cannot - disapprove of a development which shows advancement of the policy - of the ‘open door,’ for which we have fought. It is gratifying to - us to note that the tendency toward a general letting down of the - bars, which were up so long and so unjustly against independent - producers, is so emphatically in evidence in the change of attitude - both on the part of Erlanger and Belasco and Fiske. We have - produced and procured our own attractions, and will continue to do - so with such measure of success as may be ours. _I have contended - always that the time would come when the bars must be let down and - successful producers welcomed wherever they were willing to play - their attractions...._ We are independents, and Messrs. Belasco and - Fiske are independents. Whatever steps they may take in an - independent way we cannot with consistency disapprove. It is really - of little moment to the public, which cares little about whose - attractions it may pay to see and in what theatre it may see them - so long as the attractions are worth the money.” - -One immediate result of the Fiske-Belasco arrangement with the Syndicate -was the settlement out of court of the lawsuits over “The Auctioneer,” -implicating Klaw & Erlanger, Belasco, and Joseph Brooks, and the -withdrawal of the appeal by Belasco, in that matter, which had been -filed April 13, 1906. - -A painful incident of this year (1909) was a bitter attack on Belasco -made by his former friend and professional associate Mrs. Leslie Carter. -That singular woman, having appeared in John Luther Long’s absurd play -of “Kassa” and made a failure, was pleased to ascribe that regrettable -result not to a bad play and a tiresome performance but to the malign -influence of Belasco! A long and silly “statement” was issued in her -behalf to the effect that there was a plan on foot to interfere with -“her career” in that play, and it was intimated that Belasco was the -instigator of this alleged nefarious scheme. Later Mrs. Carter gave out -another screed, which was circulated throughout the press of the -country, reflecting in the most gross and unwarranted way upon the man -who had made her theatrical career possible, and in which she declared: -“If I were going to die and could save my life by playing again for -David Belasco, I would not do it!” As nothing could ever have induced -him to resume the management of Mrs. Carter this declaration was a -trifle superfluous. Belasco’s only comment on this matter was explicit: -“It is,” he said, “absolutely false that I have sought, or desired, in -any way, to injure Mrs. Carter. It is monstrous that such a thing -should be said against me, and monstrous that anybody should dare to ask -me if it is true.” - -During the summer of 1909 Belasco proposed to his old friend Lotta that -she return to the stage under his management (she had retired from it -about 1890) and make a farewell tour of the country. “I urged her all I -could,” Belasco writes, “because I knew I could make her reappearance -and tour a sensational success and that the public would be delighted to -see the little Lotta of other days. At first I wouldn’t take ‘No’ for an -answer, and for a while Miss Lotta was inclined to accept my proposal. -But, finally, she declined, saying: ‘I’ve seen so many people make the -same mistake, when they’ve grown old and outlived their public, of -coming back to appear in the parts that were written for them in their -youth. “Other days, other ways.” It is better to let my old friends -remember me as they saw me many years ago. I shall never act again.’” -That was a wise decision. No doubt there would have been much friendly -interest in a formal farewell by Lotta; but the elfin charm of her youth -was gone and the venture would have inspired sadness: “Yesterday’s smile -and yesterday’s frown can never come over again!” - - - - -THE SEASON OF 1909-’10: “IS MATRIMONY A FAILURE?”--“THE LILY”--AND “JUST -A WIFE.” - - -Belasco produced three new plays in the season of 1909-’10,--“Is -Matrimony a Failure?”, “The Lily,” and “Just a Wife.” “Is Matrimony a -Failure?” is a clever farce, adapted by Leo Ditrichstein from a German -original, “Die Thür ins Freie,” by Oscar Blumenthal and Gustav -Kadelberg. It relates to the ancient, evergreen subject of conjugal -friction,--which, in this instance, seems intolerable but proves -indispensable,--and it implicates ten married couples and one pair of -prospective connubialists. The scene is a pleasant country town in New -York. A coterie of husbands has grown restive under what is deemed to be -an excessive exercise, by their wives, of matrimonial authority. A -lawyer named _Paul Barton_ visits the town to settle the estate of an -old Justice of the Peace, recently deceased, ascertains that the wedding -ceremonies of the various couples implicated were performed by that -official’s clerk, in the absence of his employer, and declares them to -be illegal. The husbands decline to validate their marriages unless -their wives agree to permit them greater freedom than they have enjoyed, -and, leaving their homes, establish themselves at a neighboring -inn,--where they soon find that, however irksome may have seemed the -dominion of their wives, it is immensely preferable to the total lack of -their society. More particular rehearsal of the complications, -cross-purposes, and conflicts woven about this posture of circumstance -would be superfluous: they were not less comic and amusing because the -legal quirk upon which the original play was based is inapplicable under -the law of the State of New York. The farce was exquisitely set and -admirably played,--especially by that excellent light-comedian and -lovable man, the late Frank Worthing,--and it enjoyed acceptance -bounteous and remunerative. “Is Matrimony a Failure?” was first acted at -Atlantic City, New Jersey, August 29, 1909, and, in New York, at the -Belasco Theatre, on the 23d of that month,--with the following cast: - - -THE HUSBANDS. - -_Skelton Perry_ Frank Worthing. -_Hugh Wheeler_ W. J. Ferguson. -_Frank Bolt_ James Bradbury. -_Albert Rand_ Edward Langford. -_Jasper Stark_ John F. Webber. -_David Meek_ F. Newton Lindo. -_Dr. Hoyt_ Robert Rogers. -_George Wilson_ Marshall Stuart. -_Lem Borden_ Gilmore Scott. -_Herman Ringler_ Frank Manning. - -[Illustration: - -Photograph by White. Belasco’s Collection. - -NANCE O’NEILL AS _ODETTE DE MAIGNY_ AND JULIA DEAN (THE YOUNGER) AS -_CHRISTIANE DE MAIGNY_, IN “THE LILY”] - - -THE WIVES. - -_Fanny Perry_ Jane Cowl. -_Kate Wheeler_ Louise Mackintosh. -_Madge Bolt_ Anne Sutherland. -_Alice Rand_ Louise Woods. -_Annie Stark_ Lou Ripley. -_Lucy Meek_ Gretta Vandell. -_Helen Hoyt_ Blanche Yurka. -_Julia Wilson_ Helen Braun. -_Natalie Borden_ Julia Reinhardt. -_Sadie Ringler_ Josie Morris Sullivan. - -_Paul Barton_ William Morris. -_Lulu Wheeler_ Jane Grey. -_Carrie_ Helen Ferguson. - -“Jane Cowl,” said Belasco, “had been with me for several years, -understudying many parts in different plays, acting ‘bits,’ and working -hard. I felt that she had earned her chance, and I gave it to her in -‘Matrimony.’ Her performance was splendid and she has been successful -ever since.” - -“The Lily” is a play in four acts, adapted by Belasco from a French -original, “Le Lys,” by MM. Pierre Wolff and Gaston Leroux. It was -produced for the first time, December 6, 1909, at the Belasco Theatre, -Washington, and was first acted in New York, at the Stuyvesant, December -23. The story of this play is one of domestic tyranny, possible in -France but impossible in America, and one which, accordingly, inspired -only tepid interest in the American public,--although the treatment and -presentation of it were in a high degree theatrically effective. This is -the substance of that story: The _Comte de Maigny_, a profligate -Frenchman who is also a father and a widower, tyrannizes over his -children. The eldest of those children, _Odette_, is “the lily,”--a -woman of thirty-five who, in girlhood, has been parted by her father -from the man she wished to marry and who has become a mere domestic -convenience, dwelling in lonely celibacy as her father’s housekeeper and -lavishing her affection upon her sister, who is ten years younger. That -sister, _Christiane_, is destined by their father for the same barren -existence, but she meets a strolling artist, who wins her love and with -whom, because he cannot wed her,--being already married to an -uncongenial woman who will not divorce him,--she enters into an illicit -relation. _De Maigny_ has contrived to arrange a loveless marriage -between his son and the young daughter of a man of great wealth,--being -intent thus to obtain money for libidinous self-indulgence. The relation -of _Christiane_ and her artist becoming known to that person, he breaks -off the marriage of his daughter with _Christiane’s_ brother, not -explicitly stating his reason but with ambiguous givings out which -intimate it. The chief scenes of the play then follow. The infuriated -licentiate badgers his unfortunate daughter, who, at first, lies to -protect herself, until, at last, he elicits from her a rebellious, -exultant declaration of the truth. Then, in the fury of his disappointed -cupidity, he is about to beat her, when the long-suppressed, -meek-seeming but actually passionate _Odette_, opening her valves under -an immense and rising pressure of emotional steam, intervenes, -denouncing the conventions of society in general and the iniquities of -_de Maigny_ in particular, certifying to the propriety of her sister’s -conduct in the wretched circumstances existing, and declaring her -purpose to protect that sister in her natural desire for “love and -happiness.” _Christiane_ then departs with her lover and the expectation -of deferred matrimony, and her disgruntled parent, practically ejected -from his home, goes off to Paris, whining that a waiter will probably -close his eyes in death,--a pious kindness which the spectator hopes may -be performed at an early date. - -The play, of course, was devised for the sake of the sudden, blistering -outburst by the elderly spinster--which in representation is undeniably -effective--and, in the French original, for the sake of emitting some -specious special pleading in extenuation and justification of illicit -conduct. As to the doctrine which _Odette_ declares in this play and -which _Christiane_ and her unhappily married swain exemplify,--the -doctrine, namely, that when two persons who love each other are held -asunder by cruel chance of social circumstance they are warranted in -setting aside convention in order to come together,--its utter fallacy -is too obvious for detection. Practical application of it, however, has -often provided variously dramatic results: pathetic exposition of some -of its possible consequences, to helpless, innocent persons, is made in -Collins’ great novel of “No Name.” Belasco, in presenting his modified -version of “Le Lys,” sought to evade the ethical issue, but he added one -more to his long list of plays perfectly environed and admirably acted. -Miss Nance O’Neil, who appeared in it as _Odette_, has been designated -as a “tragic actress” (which she is not) and has been extravagantly -extolled. She possesses rough natural ability, animal strength, vocal -capacity, some sensibility and considerable power of forceful -simulation. Most of her performances have been monotonous: in this one, -in which, practically, she had only one scene and in which, furthermore, -she had the advice and assistance of a consummate stage manager, she was -interesting and impressive,--uttering the verbal explosion - -[Illustration: - -Photograph by the Misses Selby. Author’s Collection. - -BELASCO, ABOUT 1911] - -of voluble vehemence addressed to _de Maigny_ with fine abandon, -passionate intensity, and powerful effect.--The cast of “The Lily” is -appended: - -_Comte de Maigny_ Charles Cartwright. -_Vicomte Maximilien de Maigny_ Alfred Hickman. -_Huzar_ Bruce McRae. -_Georges Arnaud_ Wm. J. Kelly. -_Bernard_ Leo Ditrichstein. -_Emile Plock_ Dodson Mitchell. -_Joseph_ Marshall Stuart. -_Jean_ Douglas Patterson. -_Michel_ Robert Robson. -_Odette_ } _De Maigny’s_ daughters { Nance O’Neil. -_Christiane_ } { Julia Dean. -_Lucie Plock_ Florence Nash. -_Suzanne_ Ethel Grey Terry. -_Alice_ Aileen Flaven. - -“Just a Wife” was written by Mr. E. Walter and was first acted at the -Colonial Theatre, Cleveland, Ohio, January 17, 1910, and at the Belasco -Theatre, New York, on the 31st of that month. As a playwright that -writer has exhibited a persistent, morbid preoccupation with the subject -of illicit sexual relations which suggests the possible utility of -vigorous open-air exercise, the cold sitz-bath and potassium bromide. In -this play a libertine named _John Emerson_, who has consorted with a -widow named _Lathrop_ until their relation has become a public scandal, -by way of “keeping up appearances” marries an impecunious vestal from -South Carolina, named _Mary Ashby_. As he immediately installs _Mrs. -Emerson_ in a luxurious rural habitation somewhere on Long Island and -practically deserts her, this expedient would hardly seem to be of much -social service. However, after neglecting his wife for about six years, -_Emerson_ grows weary of his mistress, quarrels with her and runs away -from her to visit his wife. The mistress, much incensed, follows him, -and a sort of three-cornered debate,--protracted, sophistical, and -indelicate,--on the sexual relation is held at _Mrs. Emerson’s_ country -residence, in the course of which that lady manifests a sweet temper and -admirable self-control. After it is over, _Mrs. Lathrop_ (to whom it has -been intimated that in men the ruling passion is sex impulse and that -she is growing somewhat elderly) goes away in a peaceful and much -chastened mood. _Mrs. Emerson_ then snubs her neglectful spouse and -signifies that he may not hope to possess her as his wife until he has -recognized the supremacy of Love, which it is implied he will soon do. -It is all very edifying, of course,--especially as the author of it, -apparently, knows as much about love, as distinguished from carnal -concupiscence, as a tomcat on the tiles does. This was the cast: - -_John Emerson_ Edmund Breese. -_Bobby Ashby_ Ernest Glendinning. -_Maxcy Steuer_ “Bobby” North. -_Wellesley_ Frederick Burton. -_Mary Ashby Emerson_ Charlotte Walker. -_Eleanor Lathrop_ Amelia Gardner. - - - - -A CHANGE OF NAMES.--THE FARCE OF “THE CONCERT.” - - -Belasco’s management of the theatre in West Forty-second Street which -was the first to bear his name extended over a period of twelve years. -In the spring of 1910 he began to feel dubious as to whether he -would,--perhaps as to whether he could,--renew his lease at the end of -its term, two years later. He therefore determined to restore to that -house its former name of the Republic, and thereafter to designate the -Stuyvesant as the Belasco Theatre. That change, accordingly, was made, -in July, 1910; and on August 22 the Republic Theatre was reopened under -that name with a performance of a play made by Mr. Winchell Smith, on -the basis of a clever and amusing story by Mr. George Randolph Chester, -called “Bobby Burnitt”: that play was produced by Cohan & Harris. On -October 10 the second Belasco Theatre was opened with a performance of -“The Concert,” adapted by Leo Ditrichstein from a German original by -Herman Bahr: it had been acted, for the first time, at the Nixon -Theatre, Pittsburgh, September 19. - -The theme of “The Concert” is an old one,--Woman’s infatuation relative -to the Musical Performer. The intention is to satirize that foolish -state of the female mind, and also to expose and ridicule a despicable -combination of febrile sensuousness, splenetic temper, and insensate -egotism, often, and unjustly, designated “the artistic temperament.” -That intention is accomplished in a manner certainly ludicrous, though -heavy-handed and cynical: it is characteristic that the Stage of the -Present, reflecting some aspects of life in the Present, while from time -to time it exhibits much that is clever, brilliant, hard, satirical, -exhibits little--whether of writing or of acting--that is amiable, -playful, engaging, pleasant, and therefore potent to make the spirit -gentle and happy. The chief postulate of “The Concert” and the -manipulation of it are strongly reminiscent of “Delicate Ground” and -“Divorçons.” The musician, _Gabor Arany_, having lied to his wife as to -a purposed excursion from his home, which he says is undertaken for the -purpose of “giving a concert,”--goes to a secluded retreat in the -mountains of New York with one of his pupils, the wife of another man, -intending an amorous intrigue with her. The other man, in - -[Illustration: - -Photograph by White. Belasco’s Collection. - -LEO DITRICHSTEIN AS _GABOR ARANY_ AND JANET BEECHER AS _HELEN_, _MRS. -ARANY_, IN “THE CONCERT”] - -company with the wife of the musician, pursues those fugitives, and, -when the two couples are confronted, the insulted husband, after the -manner of _Citizen Sangfroid_, blandly proposes that the complication of -domestic affairs shall be solved and adjusted by an exchange of wives, -sequent on the attainment of divorce. The silly woman who admires the -musician is rescued by exposure of his selfishness and her folly, the -musician is baffled and rebuked, and domestic peace is supposed to be -restored. - -Mr. Ditrichstein called his adaptation of Mr. Bahr’s play “a comedy.” -The terms applied to plays, by way of classification, are somewhat -indefinite at the best, but as to _Comedy_,--the general understanding -is that it should be a dramatic composition which, in delineating -character and manners, while piquant by virtue of delicate exaggeration -and amusing by virtue of clever equivoke, moves within the limits of -reason and probability. “The Concert” begins with farce and proceeds -with violent absurdity. The persons implicated would not, in real life, -act in a manner even approximate to that which is prescribed for them. -The note that is struck, considered at its best, is that of burlesque. -The play, in as far as it is a play,--the clash of character and the -exposition of conduct,--begins in the Second Act. Sixteen persons are -implicated in the action of the piece, but only seven of them are seen -after the first curtain has fallen. The tone of the Second and Third -acts, except at moments, is radically and extravagantly farcical. But -toward the end an opportunity occurs, and it is duly improved,--perhaps -in jest, perhaps in earnest,--of saying the magnanimous words that are -usually attributed to philosophical lovers: “If you love a woman, and -that woman happens to be your wife, you wish her to be _happy_, and if -you discover that she thinks she can be happier with another man than -she is with you your wish is that she should join him, if she can be -sure of her feelings”; and so forth. At the close of this piece the wife -of the genius affectionately assures him that she has all along -understood his conduct, but is willing to pardon him if he will be -faithful in future, and, by way of emphasizing her docile, charitable, -and eminently tolerant spirit, she produces bottles of hair-dye and -proceeds to rejuvenate his fading locks.--The scenic setting, the stage -management, and the acting by which this farce were commended to public -approbation were so appropriate, so resourceful and deft, so careful, -zealous, spirited, and effective, that it gained immense popularity. -This was the original cast of “The Concert”: - -_Gabor Arany_ Leo Ditrichstein. -_Dr. Dallas_ William Morris. -_McGinnis_ John W. Cope. -_Helen Arany_ Janet Beecher. -_Flora Dallas_ Jane Grey. -_Eva Wharton_ Alice Leal Pollock. -_Mrs. McGinnis_ Belle Theodore. -_Miss Merk_ Catherine Proctor. -_Fanny Martin_ Edith Cartwright. -_Claire Flower_ Margaret Bloodgood. -_Natalie Moncrieff_ Adelaide Barrett. -_Edith Gordon_ Cora Witherspoon. -_Georgine Roland_ Elsie Glynn. -_Laura Sage_ Edna Griffin. -_Mrs. Lennon-Roch_ Kathryn Tyndall. -_Mrs. Chatfield_ Mary Johnson. - - - - -LOSS AND GRIEF.--“NO MAN BEARS SORROW BETTER.” - - -“Thanks for your kind sympathy, dear William Winter,” Belasco wrote to -me, in July, 1911. “I have thought of you so often in my grief. I should -be glad to come over to your island to see you, but I am not able.... I -am trying to be resigned; and, though the pain is great, I must be. -Nothing can ever be the same again, and it is all very, very hard. Yet I -must go on, and I shall. There is nothing but our work....” He had, -within less than two months of each other, lost his father and his -dearly loved daughter Augusta,--Mrs. William Elliott. His father was -stricken on April 6th, and he died on the 11th, at his home, No. 1704 -Sutter Street, San Francisco. Belasco, however, was at that time in -almost distracted attendance on his daughter, at Asheville, North -Carolina, and could not leave her when he received news of his father’s -illness; nor was he able to attend his funeral. Humphrey Abraham Belasco -was buried beside his wife in Hills of Eternity Cemetery, San Mateo, -California, April 12th. - -The death of Belasco’s daughter,--“my little guardian,” as he has called -her in talk with me,--was a bereavement more than usually bitter. She -was a creature of extraordinary goodness and beauty, of exquisite -sensibility, gentle and lovely in nature, childlike in disposition, the -pitiful friend of all sorrowing and suffering persons, the special -comrade and comfort of her father, and her death came within less than -five months after her marriage--to the actor William Elliott. When -Belasco was informed of his child’s attachment to Elliott (whom she had -met when he was a member of the company supporting Miss Starr in “The -Rose of the Rancho”) he, at first, opposed their marriage,--“Not,” as he -has told me, “that I had any personal objection to ‘Billy,’--who is a -dear fellow - -[Illustration: - - “_Oft in the still night_ - _Ere Slumber’s chain has bound me_ - _Fond Memory brings the light_ - _Of Other Days around me._” - - From an original made for, and loaned by, Mrs. David Belasco. -] - -and whom I always liked,--but because I had hoped she would choose a -husband out of the theatrical profession, one who could live all his -life with her,--which the inevitable travelling of theatrical life makes -practically impossible. But when I saw that my little girl was pining -for him, that a great love had come to her and that she could never be -happy without him, I brushed all my own hopes and wishes away and urged -their immediate marriage. I thought to keep her always near her mother -and me, so as a wedding gift I had an apartment fitted up for them in -the Marie Antoinette, where we live, and we were all going to be -together and happy: but it was not to be.” - -William Elliott and Augusta Belasco were wedded, at the home of her -parents, January 27, 1911: as they were about to start on their -honeymoon, the bride, while bidding good-bye to her father, was stricken -with sudden illness and collapsed. At first it was believed that her -illness was merely a transient disorder, which would soon yield to -treatment. For a few weeks her condition fluctuated, but seemed, on the -whole, to improve: then, at the end of March, she began rapidly to -decline, and Belasco was informed that she was afflicted with an acute -form of tuberculosis, which must soon cause her death. That was an issue -which her father could not and would not accept without a bitter -struggle. “I had seen so many desperate cases of consumption saved, for -years,” he said, “that I _could not believe_ my little girl, who had -always seemed so strong and well, who was so young and lovely, on the -threshold of her new life, with everything to live for, must die. I -gathered her up, overnight, and fled with her to Asheville.” There -Belasco leased Witchwood, a fine residence,--the home of the late -Colonel Charles W. Woolsey,--and installed his daughter in it. Her fatal -malady could not, however, be stayed, though every expedient was tried -that love could prompt or wealth employ, and she grew rapidly worse. On -May 1, in a forlorn hope that the climate of Colorado might prove -beneficial, Belasco chartered a special train and removed her to -Broadmoor, a beautiful place in the environs of Colorado -Springs,--where, on the afternoon of June 5, after great suffering borne -with patience and fortitude, she died. Her body was taken to New York; -funeral services were held there, at the Temple Ahawath Chesed, on June -9, and late on that day she was laid in her grave in Ahawath Chesed -Cemetery, at Linden Hills, Long Island. - - “My little Augusta,” writes Belasco in a note made for me, “was the - gentlest creature I have ever known and the kindest. No one but - myself will ever know how many poor girls and young men have had - places _made_ for them in my companies because she came and asked - it, with her dear little arms about my neck. And she had good - judgment, too; I never have regretted employing any of the people - she interceded for. She was just a child to the very end. She had - caught some of my foolish little superstitions, and when she died - she was surrounded with pretty little painted butterflies that she - had pinned about her to help her to get well--‘and I know they - will,’ she told the doctor, ‘because my father believes in them and - says so!’ Each of my girls was my ‘favorite’ child, but the younger - was my special companion, who always took care of me. Though she - might have been up till all hours the night before, she never - missed getting up to see that I had my breakfast properly, and I - never got home too late for her to come pattering to my room to see - me safely tucked into bed. I think that, in her heart, the poor - child must have had some premonition that she was going to die - soon, because she was so fascinated by my play of ‘Peter Grimm.’ I - had no thought, when I was writing it, that she was to be taken - away from me; but I had long wanted to write something that might - show death in a beautiful way; something that would touch on - immortality as a vivid reality, just a flash beyond this life, and - so help to inspire hope. I used to talk to my little girl about it, - and she was the first to read my play when it was finished. I gave - it to her one evening and waited for her verdict far into the - night, and her approval meant much to me. She attended all the - rehearsals, and one night she told me that after seeing ‘Peter - Grimm’ no one should be afraid to die. It was the last play she - ever saw,--and it is my comfort to believe that its message entered - her soul.” - -Belasco’s elder daughter, Reina Victoria, was married to the theatrical -manager Morris Gest, of New York, at Sherry’s, in that city, on June 1, -1909. - - - - -A DRAMA OF SPIRITUALISM. - -(Fragmentary Notes, Not Revised.) - - -The extreme dissatisfaction of the _Ghost_, who, on returning from the -spirit world to this mundane sphere, ascertains that his, or her, -earthly sweetheart or husband has formed a nuptial alliance with -somebody else has been noticed by various poetical writers in deeply -affecting verse, dramatic, descriptive, and pathetic,... - -Belasco’s play “The Return of Peter Grimm” deals with the mysterious and -certainly important subject of Spiritualism,--a subject which deserves -all the thoughtful, studious inquiry which has, in recent years, been -bestowed on it by many persons of exceptional intellectual capacity and -power. It is, nevertheless, a subject which is generally treated with -pitying contempt or scornful antagonism, especially by those -persons,--the vast majority of humanity,--who are most comprehensively -ignorant of its history and its apparent phenomena. It was, accordingly, -a bold choice which selected that subject for exposition in a drama of -prosaic, contemporaneous - -[Illustration: AUGUSTA BELASCO, MRS. WILLIAM ELLIOTT - - Original made for, and loaned by, Mrs. David Belasco. -] - -setting, and it is a significant testimony at once to Belasco’s -managerial perspicacity and to his skill as a writer and a stage manager -that his play of “Grimm” achieved unusual success.... - -In the days of my youth, when I was a student at the Dane Law School of -Harvard College, it was my good fortune to gain the friendship of the -erudite lawyer Theophilus Parsons, who was a preceptor there, and to -listen to much interesting and instructive discourse by him on many -subjects--among them, the Swedenborgian faith, to which he was an -absolute and happy adherent. “Death,” he remarked, in expounding to me -the tenets of that faith, “is no more than walking from one room into -another.” The same thought (which has, of course, been cherished by many -persons) seems to have been predominant in the mind of Belasco when he -was writing “The Return of Peter Grimm.”... - - - - -BELASCO’S “THE RETURN OF PETER GRIMM.” - - -In drama, whether prose or verse, the device has frequently been used of -bringing back to our material world the spirits of persons who have -passed out of mortal life, and causing them to pervade the scenes with -which they were associated in the body. That device is employed in -Belasco’s “The Return of Peter Grimm,” in which David Warfield made his -first and, thus far, his only approach to the realm of Imagination -[since this passage was written Warfield has appeared, 1915-’16, as _Van -Der Decken_, in a drama by Belasco on the subject of “The Flying -Dutchman.”--J. W.]. _Peter Grimm_, a prosperous, self-willed, kind, good -old man, who in the government of his family and the arrangement of his -worldly affairs has made serious errors,--the most deplorable of them -being the separation of his ward, a docile, affectionate girl named -_Kathrien_, from a youth who loves her and whom she loves, and her -betrothal to his nephew, _Frederik Grimm_, a hypocrite and a -scoundrel,--is suddenly stricken dead, of heart disease, and, after a -little time his spirit returns to the place which was his earthly home, -intent on retrieving those errors, discomfiting the rascal by whom he -has been deceived, and making his foster-child happy. Warfield, -personating _Peter Grimm_, first presented him as a mortal, afterward as -a spirit. The character,--honest, sturdy, opinionated, worldly-wise, -somewhat rough and imperious, yet intrinsically genial,--was correctly -assumed and expressed, but the actor’s denotement of spiritual being was -neither - -[Illustration: REINA BELASCO. MRS. MORRIS GEST - - Photograph by White. Belasco Collection. -] - -imaginative nor sympathetic, and it did not create even the slightest -illusion. - -The purpose of the dramatist seems to have been to intimate a notion, -comfortable to the general mind, that spiritual existence of beings once -mundane is merely a continuation of their everyday condition in this -world. In the absence of knowledge on the subject that assumption is as -tenable as any other. Persons who are commonplace in what we call Time -may reasonably be held to remain commonplace in what we call Eternity. -No one knows. The Book of Destiny has not been opened. But the -rationality of assumption which makes of “that undiscovered country” -only a prolongation of this earthly scene at once dissipates, especially -for dramatic purpose and effect, all atmosphere of _spirituality_, all -glamour of the ideal, which happily might be superinduced by imaginative -treatment of a mysterious subject. However prosaic the quality of a -disembodied spirit may remain, it seems reasonable to assume that there -must be some essential difference between the material body and the -spiritual body, and the person undertaking to represent a spirit could -succeed, if at all, in denoting that difference not by stage tricks but -only by mental power and affluence of emotion, by weird strangeness of -individuality, by exquisite sensibility, by magnetism, and by the -artistic skill to liberate those forces and so elicit and control the -sympathy of his auditors. Warfield’s personation of _Grimm_ gave not the -faintest intimation of spirituality, and there was not one gleam of -imagination in his presentment of the spirit. - -Few actors have ever succeeded in conveying to an audience any really -convincing, absorbing sense of _spiritual presence_. The dramatist of -“Peter Grimm” probably did not intend that any such sense should be -conveyed. Warfield, apparently, did not attempt to convey it, and if, as -appears true, it was the actor’s purpose to present _Grimm_ as -essentially the same person after death as before, then his personation, -undoubtedly, was the rounded result of a definite plan, and was, as -such, entirely successful. - -The part of _Peter Grimm_ has been described as one of great difficulty. -It is, on the contrary, very easy. Its requirement is sincerity. -_Grimm_, as a spirit, clothed as in mortal life, must move among persons -who were his friends, unseen by them, unheard when he speaks, eagerly -desirous to influence their conduct, but practically helpless to do so, -except at moments when accession of extreme sensibility on the part of -one or another of them provides occasion, until, at last, force of -circumstances and the impelling guidance of the dead man achieve his -purpose. Acted in the spirit precisely as in the flesh, as a good old -man, the part makes no draft upon the resources of mind or feeling or -upon the faculty of expression that any good actor might not easily -satisfy. The situations wherein _Grimm_, ostensibly, is ignored by the -other persons on the stage in fact revolve around him and are dependent -on his presence; he engages the sympathy of the audience practically to -the exclusion of all the other characters, and the almost universal -interest--whether assenting or dissenting--in anything relating directly -to the theme of spiritual survival after death, together with the -novelty of a ghost displayed in the environment of every-day, centres -observation on _Grimm_ and his personator. - -Warfield’s performance, notwithstanding the prosaic atmosphere of it, -was interesting, and his excursion into the realm of the occult was, at -least, calculated to stimulate thought on a serious subject. In this, as -in many other matters, the degree of approval gained by the play and its -performance will ever be variably accordant to taste. To some persons, -no doubt, the ideal of a newly dead child being borne away on his -spirit-uncle’s shoulders, singing about “Uncle Rat has gone to town to -buy his niece a wedding gown,” and musically inquiring, “What shall the -wedding breakfast be? Hard-boiled eggs and a cup of tea?” will be -delightful. Others, equally without doubt, will fail to find it -impressive. - -“The Return of Peter Grimm” was acted for the first time, January 2, -1911, at the Hollis Street Theatre, Boston; and for the first time in -New York, October 18, the same year, at the present Belasco Theatre. -This was the original cast of that play: - -_Peter Grimm_ David Warfield. -_Frederik Grimm_ John Sainpolis. -_James Hartman_ Thomas Meighan. -_Andrew MacPherson_ Joseph Brennan. -_Rev. Henry Batholommey_ William Boag. -_Colonel Tom Lawton_ John F. Webber. -_Willem_ Percy Helton. -_Kathrien_ Janet Dunbar. -_Mrs. Batholommey_ Marie Bates. -_Marta_ Marie Reichardt. -_The Clown_ Tony Bevan. - - - - -CONCERNING THE EUNUCHS OF CRITICASTERISM. - - -The gentle Goldsmith, commenting on a meanness in human nature which -causes little minds to envy and disparage the achievements of large -ones, remarked that “There are a set of men called - -[Illustration: - -Photograph by White. Belasco’s Collection. - -DAVID WARFIELD AS _PETER GRIMM_, IN “THE RETURN OF PETER GRIMM”] - -answerers of books, who take upon themselves to watch the republic of -letters and distribute reputation by the sheet: they somewhat resemble -the eunuchs in a seraglio, who are incapable of giving pleasure -themselves and hinder those that would.” Such emasculated perverters of -the function of criticism,--scribblers bloated with envy engendered by -conscious intellectual impotence,--flourish more or less in all periods; -they are peculiarly prosperous in this one, and their envious malice is -employed with at least as much industry in the “answering” and defaming -of dramatists and actors as in the “answering” of books. Before Belasco -had produced “Peter Grimm” in New York and almost in the hour of his -personal bereavement, a representative specimen of that wretched -brotherhood, itching to detract from the achievement of an author whom -he could not hope ever to approach, published the false statement that -Belasco was only _part_ author of that play. Among the papers loaned to -me by Belasco is a copy of the following letter, which I print here -because the misrepresentation alluded to has been several times iterated -and the refutation of it should be placed on record: - - -(_Belasco to a Quidnunc._) - -“Belasco Theatre, New York, -“July 22, 1911. - - “In your article in the current ‘--------’ there is a misstatement - which I should be much obliged to you if you would rectify, as it - places both Mr. Cecil De Mille and myself in a false light. - - “Your article states that Mr. Cecil De Mille is my ‘_collaborator_’ - in Mr. Warfield’s new play, ‘The Return of Peter Grimm.’ I am not - aware whether you saw the play when it was presented in Boston, - Chicago and Pittsburg last season. If you did so, however, you must - remember that on the play bill I gave full credit to Mr. De Mille - _for an idea_--WHICH I PURCHASED FROM HIM AND PAID VERY HANDSOMELY - FOR. As for the play--in its construction, its dialogue, its plot - and its characterizations--the play is _mine_ and MINE ONLY. - - “Mr. De Mille, I know well, will be the first person to verify this - statement of mine, and in view of the fact that my play has not yet - been presented in New York--and may possibly prove a failure - there--I think it is only fair that _I_ should be held exclusively - responsible for _my own work_....” - - - - -“THE WOMAN”--AND MR. ABRAHAM GOLDKNOPF. - - -Belasco devoted most of the summer of 1911 to work on William C. De -Mille’s play entitled “The Woman,” which he produced for the first time -in New York, September 19, that year, at the Republic Theatre: a trial -production of that play had been effected, April 17 preceding, at the -New National Theatre, Washington, D. C. It is a highly effective -melodrama, of the “contemporaneous interest” type, and it implicates -twelve persons, nine of whom are germane to its action. It is neat in -construction; it skilfully utilizes the invaluable element of suspense, -and interest in its progress is cumulative to the dramatic climax. This, -in brief, is its story: - -A corrupt politician, the _Honorable “Jim” Blake_, a member of the -national legislature, is scheming to get a specious bill enacted into -law, whereby over-capitalization of railroad corporations and wholesale -swindling of the public can be perpetrated in the guise of legality. -Another member of the legislature, the _Honorable Matthew Standish_, -perceptive of the latent iniquity of that measure and of the predatory -intent of _Blake_, has so vigorously opposed the enactment of it and so -bitterly assailed its sponsors that _Blake_ and his associates fear to -force its passage. They determine, therefore, to divert attention of the -people from the opposition of _Standish_ to their corrupt measure and -purposed malfeasance by blasting his personal reputation with social -scandal. In their effort to do this they ascertain that several years -previous the _Honorable Matthew_, inflexible before Plutus, has -succumbed before Venus--has, in short, registered at an hotel with a -woman not his wife. The name of that woman is not known to their -informant, and it is the despicable task of _Blake_ and his adherents to -ascertain her identity in order to ruin his public career by convicting -him of private misconduct. That task they attempt to perform by -endeavoring to extort from a young woman, _Wanda Kelly_, the operator in -charge of a telephone exchange desk, a telephone number in New York -which _Standish_, in Washington, has called for, immediately after being -apprised of the dastardly purpose of _Blake_ and his associates. The -identity of the concealed and errant she as _Blake’s_ daughter, the wife -of one of his chief supporters, the _Honorable Mark Robertson_, is -deftly discovered to the audience by the device of a second telephone -message to her, by her husband, immediately after the close of the -warning of impending disclosure by _Standish_. The sympathetic _Miss -Kelly_ resolutely persists in her protective secrecy as to _The Woman_ -at the other end of the wire, and the climax is then attained when -_Standish_ refuses to be driven from his public duty by the threatened -assault on his private character and when _Mrs. Robertson_, having in an -agony of dread listened to the unsuccessful coaxing and badgering of -_Miss Kelly_, with sudden and desperate courage terminates the anxious -situation by avowal of her delinquency, thus providing her corrupt -parent and spouse with considerably more information than they desire -to publish as to the amatory weaknesses of the obdurate _Standish_. This -was the cast with which that play was first presented in New York: - -_The Hon. Jim Blake_ John W. Cope. -_Tom Blake_ Harold Vosburgh. -_The Hon. Mark Robertson_ Edwin Holt. -_Grace, Mrs. Robertson_ Jane Peyton. -_The Hon. Matthew Standish_ Cuyler Hastings. -_Ralph Van Dyke_ Carleton Macy. -_The Hon. Silas Gregg_ Stephen Fitzpatrick. -_The Hon. Tim Neligan_ William Holden. -_A Guest_ Langdon West. -_A Page_ George Van Blake. -_A Waiter_ José Rossi. -_Wanda Kelly_ Mary Nash. - -The exceptional success of Belasco’s production of “The Woman” prompted -a genius thitherto unknown to fame, a certain inspired and amiable -barber of New York, Mr. Abraham Goldknopf, to assert that it was stolen -from a sublime drama indited by himself in the intervals of tonsorial -exercise and entitled “Tainted Philanthropy.” Belasco, in defending -himself against this preposterous claim, resorted to a unique and costly -though conclusive expedient. But before describing the trial of Mr. -Goldknopf’s allegations, it is convenient here to examine with some -particularity the general subject of - - - - -BELASCO AND PLAGIARISM. - - - - -“FOLLY LOVES THE MARTYRDOM OF FAME.” - - -No person rises to eminence without exciting antagonism and incurring -detraction. Malice is quick to perceive any possibility, however -trivial, of tarnishing a distinguished character, and hatred is -ingenious in devising specious means of disparagement. The slightest -appearance of weakness in any talented person favorably conspicuous in -the public eye is eagerly seized as a ground of condemnation. Every -close student of biography must have observed, relative to almost every -eminent person commemorated, that there is always some one particular -form of reproach which, by diligent, persistent iteration, is made to -adhere to that person’s name, so that at last the one is seldom -mentioned without association with the other. Eminent actors of the Past -have been particularly singled out for defamation in this way. Barton -Booth, for example, scholar and poet as well as actor, is stigmatized, -on no competent authority, as a gross voluptuary; Garrick, because he -was prudent, especially while he was poor, is styled an avaricious -niggard; Kemble, an opium sot; Edwin Booth, a drunkard, which is a -specially contemptible slander. Henry Irving was one of the greatest of -actors, but, because he happened to be a person of many peculiarities, -perfectly natural to him, we are forever hearing that he had “affected -mannerisms”--which is distinctly untrue. Every department of biography -furnishes examples of this form of aspersion. In the case of Belasco the -customary disparagement takes the shape of an iterated charge of -_Plagiarism_. In this work an examination of that charge is essential. - - “It is an old trick of Detraction,” says Moore, in his “Life of - Sheridan,” “and one of which it never tires, to father the works of - eminent writers upon others; or, at least, while it kindly leaves - an author the credit for his worst performances, to find some one - in the background to ease him of the fame of his best.... Indeed, - if mankind were to be influenced by those _Qui tam_ critics... - Aristotle must refund to one Ocellus Lucanus, Virgil must make a - _cessio bonorum_ in favor of Pisander, the Metamorphoses of Ovid - must be credited to the account of Parthenius of Nicæa, and - Sheridan... must surrender the glory of having written ‘The School - for Scandal’ to a certain anonymous young lady who died of a - consumption in Thames Street.... Sheridan had, in addition to the - resources of his own wit, a quick apprehension of what suited his - purpose in the wit of others, and a power of enriching whatever he - adopted from them with such new graces as gave him a sort of claim - of paternity over it and made it all his own. ‘_C’est mon_ - _bien_,’ said Molière, when accused of borrowing, ‘_et je le - reprens partout où je le trouve_.’” - - - - -THE “TRICK” AS APPLIED. - - -“Plagiarism,” says The Dictionary, is “the act of appropriating _the -ideas_ or the language of another and passing them for one’s [_sic!_] -own; literary theft.” It would not be very difficult, testing Belasco’s -plays by that definition, and excluding all other considerations, to -invest the charge of plagiarism against him, in some instances, with -validity. The last part of “Hearts of Oak” is borrowed from Leslie’s -“The Mariner’s Compass”; “La Belle Russe” is based on situations taken -from “Forget Me Not” and “The New Magdalen”; the thrilling situation in -the Third Act of “The Girl I Left Behind Me” is based on a similar -situation in Boucicault’s “Jessie Brown; or, the Relief of Lucknow”; the -agonizing situation in the Third Act of “The Darling of the Gods,” in -which a military despot extorts information from a woman by forcing her -to gaze on her lover subjected to torture, is derived (and bettered) -from Sardou’s “La Tosca.” Other instances of similarity could be -specified. It would, however, be a manifest injustice to stigmatize -Belasco, _and only Belasco_, as a plagiarist on the - -[Illustration: - -Photograph by Count Jean de Strelecki. Belasco’s Collection. - -“THE STUDENT”--DAVID BELASCO] - -ground of his indebtedness to plays earlier than his. He has done only -what all other dramatists have done since the beginning of the craft; -that is, he has based _some_ of his plays on dramatic expedients and -situations that have long been considered to be common property. - - - - -AN ANCIENT USAGE. - - -Several of Shakespeare’s plays were based by him on plays of earlier -date, by other authors. Dryden borrowed freely from Spanish plays and -sometimes from Corneille and Molière,--a fact which caused Scott to -remark (Preface to “The Assignation”) that “originality consists in the -mode of treating a subject more than in the subject itself.” English -dramatists, from Wycherly onward, have freely borrowed from Molière. -Fielding, there is reason to believe, derived an occasional hint from -the great Frenchman, as also from Thomas Murphy. Goldsmith was a little -indebted to Wycherly. Hoadley borrowed from Farquhar; Steele from -Bickerstaff; Colman from Murphy; Sheridan from both Wycherly and -Congreve, and perhaps from his mother’s play of “The Discovery” and her -novel of “Sydney Biddulph”; Boucicault from many French sources and some -English ones. I would not be understood as approving or defending that -practice in dramatic authorship: on the contrary, in the whole course -of my long service as a dramatic critic and historian I have condemned -it. These words, written by me many years ago, relative to Boucicault, -indicate my view of _the practice_: - - Dramatic authorship, indeed, seems to have been regarded by - him,--and by many other playwriters,--as a species by itself, - exempt from obligation to moral law. The bard who should “convey” - Milton’s “Lycidas” or Wordsworth’s great “Ode,” and, after making a - few changes in the text and introducing a few new lines, publish it - as a composition “original” with himself, would be deemed and - designated a literary thief. The dramatist, taking his plots from - any convenient source and rehashing incidents and speeches selected - from old plays, can publish the fabric thus constructed as an - “original drama,” and, so far from being discredited, can obtain - reputation and profit by that proceeding. [“Old Friends,” by W. W.: - 1909.] - -If the large majority of dramatic authors,--Sophocles, Shakespeare, -Racine, Molière, Sheridan, and the rest, down to the present day,--be -convicted of plagiarism on the ground that they have rehashed old -material, that charge will stand against Belasco. But the dramatist who, -with manifest truth, pleads, as Belasco can plead (and as I understand -that he does plead), “a well-known, universal, recognized custom” -cannot, justly, be singled out and stigmatized for plagiarism,--any more -than a respectable Turk, resident in Constantinople, with four wives, -can be singled out and stigmatized for bigamy. I no more approve the -custom of what I call “playwrighting” than I approve or advocate -polygamy,--but I speak for justice. Moreover, it is essential to be -remembered that the number of basic situations, in fiction as in fact, -is limited, and consideration of _the method_ of combining and treating -them must vitally affect the question of “originality.” To make an -avowed adaptation of the work of another, or, with credit, to base a -passage on suggestion derived from an incident in the work of another is -not plagiarism. - -The fair investigator of the charge of plagiarism against Belasco will -find that it is twofold: it accuses him of appropriation from the works -of other writers precedent to him, and of appropriation from other -writers contemporary with him to whose writings he has had, or, as -alleged, may have had, access. - - - - -CHARLES READE ON PLAGIARISM. - - -In considering the first part of the accusation I would recommend all -inquirers to read the masterly exposition of the subject of Plagiarism -made by Charles Reade (himself one of the successful writers frequently, -in his day, accused of the offence), which is printed, in his collected -Works, as an appendix to his capital story of “The Wandering Heir,”--a -story first made public in dramatic form. That exposition is too long to -be quoted here in full, but the appended extract from it, which deals -with what Reade calls “the mere intellectual detraction” involved in the -charge that he had stolen “The Wandering Heir” from Dean Swift’s “The -Journal of a Modern Lady,” is illuminative: - - “It [‘the mere intellectual detraction’] is founded on two - things--1. The sham-sample swindle, which I have defined. 2. On a - pardonable blunder. - - “The blunder is one into which many criticasters of my day have - fallen; but a critic knows there is a vital distinction between - taking ideas from a _homogeneous_ source and from a _heterogeneous_ - source, and that only the first mentioned of these two acts is - plagiarism; the latter is more like jewel-setting. Call it what you - will, it is not plagiarism. - - “I will take the fraud and the blunder in order and illustrate them - by a few examples, out of thousands. - - “By the identical process Pseudonymuncle has used to entrap your - readers into believing ‘The Wandering Heir’ a mere plagiarism from - Swift, one could juggle those who read quotations, not books, into - believing:-- - - “1. That the Old Testament is _full_ of indelicacy. - - “2. That the miracles of Jesus Christ are none of them the miracles - of a God, or even of a benevolent man--giving water intoxicating - qualities, when the guests had drunk enough, goodness knows; - cursing a fig-tree; driving pigs to a watery grave. This is how - Voltaire works the sham-sample swindle, and gulls Frenchmen that - let him read the Bible for them. - - “3. That Virgil never wrote a line he did not take from Lucretius - or somebody else. - - “4. That Milton the poet is _all_ Homer, Euripides, and an Italian - play called ‘Adam in Paradise.’ - - “5. That Molière is _all_ Plautus and Cyrano de Bergerac, ‘en prend - _tout_ son bien où il le trouve.’ - - “6. That the same Molière _never_ writes grammatical French. - - “7. That Shakespeare is _all_ Plautus, Horace, Holinshed, - Belleforest, and others. - - “8. That Corneille had not an idea he did not steal from Spain. - - “9. That Scott has not an original incident in all his works. - - “10. That five Italian operas are _all_ English and Irish music. - - “11. That the overture to ‘Guillaume Tell’ is _all_ composed by - Swiss shepherds. - - “12. That ‘Robinson Crusoe’ is a mere theft from Woodes, Rogers, - and Dampier. - - “Not one of these is a greater lie, and few of them are as great - lies, as to call ‘The Wandering Heir’ a plagiarism from Swift. - - “Now for the blunder. That will be best corrected by putting - examples of jewel-setting and examples of plagiarism cheek by jowl. - - “Corneille’s ‘Horace,’ a tragedy founded on a _heterogeneous_ - work,--viz., an historical narrative by Livy,--is not a plagiarism. - His ‘Cid,’ taken from a Spanish play, is plagiarism. Shakespeare’s - ‘Comedy of Errors’ and Molière’s ‘Avare’ are plagiarisms, both from - Plautus. Shakespeare’s ‘Macbeth,’ taken from a _heterogeneous_ - work, a chronicle, is no plagiarism, though he uses a much larger - slice of Holinshed’s dialogue than I have taken from Swift, and - follows his original more closely. The same applies to his - ‘Coriolanus.’ This tragedy is not a plagiarism; for Plutarch’s Life - of Coriolanus is a _heterogeneous_ work, and the art with which the - great master uses and versifies _Volumnia’s_ speech, as he got it - from North’s translation of Plutarch, is jewel-setting, not - plagiarism. By the same rule, ‘Robinson Crusoe,’ though Defoe - sticks close to Woodes, Rogers, and Dampier in many particulars of - incident and reflection, is not a plagiarism, being romance founded - on books of fact. The distinction holds good as to single incidents - or short and telling speeches. Scott’s works are literally crammed - with diamonds of incident and rubies of dialogue culled from - _heterogeneous_ works, histories, chronicles, ballads, and oral - traditions. But this is not plagiarism; it is jewel-setting. - Byron’s famous line-- - - ‘The graves of those who cannot die,’ - - is a plagiarism from another poet, Crabbe; but _Wolsey’s_ famous - distich in Shakespeare’s ‘Henry the Eighth’ is not a plagiarism - from Wolsey; it is an historical jewel set in a _heterogeneous_ - work, and set as none but a great inventor ever yet set a - fact-jewel....” - - - - -“FOR THE DEFENDANT.” - - -Examination of Belasco’s plays will reveal that they are, for the -greater part, founded on what Reade designates “_heterogeneous -works_,”--that is, while he has in some instances borrowed or utilized -material long generally regarded as common property, he has gone, far -more, to history and record,--and that his plays contain more original -writing than ninety per cent. of the plays which are customarily acted -on the English-speaking Stage. - -Turning from the question of what Belasco may or may not have derived -from elder dramatists, we come to a field in which it is easy to move -with definite, assured steps. The first accusation against him of -plagiarism from a contemporary, as far as I have been able to ascertain, -was made by Albert M. Palmer, on information and belief, in regard to -the play of “The Millionaire’s Daughter,” first produced at the Baldwin -Theatre, San Francisco, May 19, 1879. Palmer had been given to -understand that Belasco, in this play, had infringed Bronson Howard’s -play of “The Banker’s Daughter,” first produced at the Union Square -Theatre, November 30, 1878, and which Maguire had endeavored to secure -for Baldwin’s. He sent his attorney, W. Barnes, to see Belasco’s play of -“The Millionaire’s Daughter,” accompanied by assistants, who took down -as much as possible of the dialogue. After the performance Belasco said -to Maguire: “It is not necessary for Mr. Barnes to try to take down my -dialogue: he has _seen_ the play: tell him he can have a copy of the -manuscript, if he wishes.” Barnes advised Palmer that there was _no -plagiarism_ by Belasco, and there the matter ended. - -The second accusation was that of Howard P. Taylor, alleging that -Belasco took material portions of “May Blossom” from “Caprice”: Taylor -would not bring that charge into court, though Belasco invited him to do -so; and Harrison Grey Fiske, the editor of “The Dramatic Mirror,” the -publication in which the false accusation had been repeatedly made, -publicly declared it to be unwarranted. - -Beyond these, I have been furnished by my friend Judge A. G. -Dittenhoefer (acting with Belasco’s permission) with a list showing that -six distinct, formal charges of plagiarism have been made against -Belasco and redress sought by legal action for injury thus alleged to -have been done by him. The plays as to which these charges have been -made are (1) “The Wife”; (2) “Du Barry”; (3) “Sweet Kitty Bellairs”; (4) -“The Woman”; (5) “The Case of Becky”; (6) “The Boomerang.” - -In the first of these cases suit was instituted, in 1888, by Fannie -Aymar Matthews, against David Belasco and Henry C. De Mille, praying for -an - -[Illustration: DAVID BELASCO - - Photograph by the Misses Selby. Author’s Collection. -] - -injunction to restrain the further presentation of their play of “The -Wife,” on the ground that it was a plagiarism of her play entitled -“Washington Life.” The action was tried before the Hon. Miles Beach, -Justice of the Supreme Court of New York. Judge Beach decided in favor -of Belasco and De Mille, finding that there was no infringement, _no -plagiarism_. - -The second case was an action brought by the French writer M. Richepin, -January 25, 1902, in which he demanded an accounting for the receipts -from representation of Belasco’s play of “Du Barry,” on the ground that -it was, in fact, a play written by the Plaintiff. M. Richepin would not -bring this case to trial, and it was finally discontinued, in January, -1908. - -In the third case Grace B. Hughes (otherwise known as Mary Montagu) -began an action, in the Circuit Court of the United States for the -Southern District of New York, February 3, 1904, against Belasco, -Maurice Campbell, and Henrietta Crosman. The action was brought to -restrain further representation of Belasco’s play of “Sweet Kitty -Bellairs,” on the ground that it was, in fact, an infringement of the -Plaintiff’s play of “Sweet Jasmine.” Motion for an injunction was argued -before Judge Lacombe, on March 18, 1904, and on March 26 it was denied, -Judge Lacombe holding that there was _no plagiarism_. The case was never -brought to trial, and it was stricken from the calendar, on March 3, -1913. - -The fourth case (which is dealt with in detail, page 336, _et seq._) was -the action brought against Belasco and William C. De Mille by Abraham -Goldknopf, in February, 1912, in the United States District Court for -the Southern District of New York, praying for an injunction to restrain -the further representation of their play of “The Woman” on the ground -that it was, in fact, an infringement of Goldknopf’s play of “Tainted -Philanthropy.” Judge Holt, before whom the case was tried, held that -there was no infringement by Belasco and De Mille, _no plagiarism_, and -on March 3, 1913, final judgment was entered dismissing the Plaintiff’s -complaint, upon the merits. - -In June, 1912, the fifth action against Belasco was brought by Amelia -Bachman and George L. McKay, seeking to restrain him from further -presentation of “The Case of Becky,” on the ground that it was, in fact, -a plagiarism of their play entitled “Etelle.” Trial of this action was -begun May 13, 1913, before Judge Julius M. Mayer, of the United States -District Court, and was concluded the next day. On July 9, 1913, Judge -Mayer rendered his decision, holding that there was _no plagiarism_ by -Belasco, and dismissed the Plaintiffs’ complaint, upon the merits. - -The sixth case was an action begun on January 14, 1916, by Lila Longson, -to restrain Belasco, Winchell Smith, and Victor Mapes from further -presentation of their play of “The Boomerang,” upon the ground that it -was an infringement of her play of “The Choice.” The case was tried in -the District Court of the United States for the Southern District of New -York, on September 19-21, and, at the close of the trial, Judge W. B. -Sheppard held that there was no infringement and dismissed the -complaint. Final judgment, dismissing the complaint upon the merits, was -entered September 25, 1916. - -In all these cases only one judgment in favor of Belasco was -appealed,--that by Judge Mayer, in the action by Amelia Bachman and -George L. McKay, _in re_ “The Case of Becky.” Their appeal was taken to -the United States Circuit Court of Appeals for the Second Circuit and -was argued April 6, 1914. On May 12, following, the Circuit Court of -Appeals handed down its decision in favor of Belasco, affirming Judge -Mayer’s decision dismissing the complaint. The opinion of the Court was -written by Judge E. Henry Lacombe, and can be found in 224 Fed. Rep., -page 817. - -The significance of this summary of _facts_ is obvious. Belasco has -been, and is, freely accused of literary theft,--but on each and every -occasion when accusation has been made and investigated in Court he has -defeated his defamers and been completely vindicated. - - - - -CONCERNING BENEFITS--REMEMBERED AND FORGOT. - - -While Belasco, in common with the generality of dramatic authors, has -certainly profited by the example and sometimes by the labor of others -(a fact which he does not seek to conceal or deny, but which, on the -contrary, he has freely and fairly recognized and admitted), there is a -_per contra_ aspect of his relation to other play-writers which none of -his detractors,--and, for that matter, as far as I am aware, none of his -admirers and advocates except myself,--ever mentions,--namely, the -immense and direct advantage and profit derived by other play-writers -_from him_. Nor is that indebtedness confined to makers of plays: as -theatre manager, stage manager, mechanician, success for others if not -always for himself has walked with him, and for scores of persons -connected with the Theatre (many of them void of appreciation) his has -been the touch of a Midas, turning dross to gold and, incidentally, -establishing them in reputation. Among the makers of plays who, first -and last, have greatly profited by his sagacity, skill, and labor are -James A. Herne, Peter Robertson, Bronson Howard (who always handsomely -acknowledged the obligation), William Young, H. H. Boyesen, Henry C. De -Mille, A. C. Gunter, Clay M. Greene, P. M. Potter, Franklyn Fyles, -Charles Simon, Pierre Berton, Charles Klein, Lee Arthur, John Luther -Long, Richard Walton Tully, Miss Pauline Phelps, Miss Marion Short, -William C. De Mille, William J. Hurlbut, Eugene Walter, Avery Hopwood, -Edward J. Locke, Miss Alice Bradley, George Scarborough, and Winchell -Smith.[6] In all the mass of letters addressed to Belasco and examined -by me in preparing this Memoir I have found fitting acknowledgment of -benefits conferred by only two of those persons, aside from -Howard,--Franklyn Fyles and Mr. Scarborough. The latter wrote: - - -(_George Scarborough to David Belasco._) - -“150 Madison Avenue, Tompkinsville, -“Staten Island, February 28, 1916. - -“My dear Governor:-- - - “Just a brief line before the drop falls on poor little ‘Wetona’ - [“The Heart of Wetona”] to-morrow night: - - “It has been a great honor to sit at your feet the past few - months--to go to school to you. An infinite pleasure, also, to have - seen you work and known you. - - “If the play gets over, the great measure of the success will be - yours. If it fails, the fault will be with the material which came - to you. - - “Whatever the issue is, I want now to thank you for your many - personal courtesies, for your enthusiasm and your friendship. - Hereafter, when some would-be author ‘hits the ceiling’ at some - change you suggest in his ’script, please have him get me on the - telephone and I will cheerfully tell him how many kinds of a d---- - fool he is not to know a master touch and not to appreciate the - Master’s interest. - - “May you be preserved to the Theatre for a long, long time. - -“Affectionately, -“_George Scarborough._” - - - -The scope and variety of his labor as an author are impressively -signified in the following partial list of his writings: - - - - -THE DRAMATIC WORKS OF DAVID BELASCO. - - (Note.--The dates given in the following table refer to the years - in which the plays specified _were written_,--and, therefore, in - some instances, they differ from the dates given in Chronology, and - elsewhere, which refer to _presentation_ of the plays.) - - -JUVENILE EFFORTS. - - “Adam and Eve in the Garden of Eden.” - - “Aladdin and the Wonderful Lamp.” - - Angel in Hell,” “An - - Barmaid’s Revenge; or, The Fatal Corkscrew,” “The (burlesque). - - Bohemian Girl,” “The (with music). - - Bronze Statue,” “The. - - Butcher’s Revenge; or, The Seven Buckets of Blood,” “The - (burlesque). - - Death of Benedict Arnold,” “The. - - Dying Boy’s Last Christmas,” “The. - - “East Lynne” (burlesque). - - Hanging of Nathan Hale,” “The. - - “Jim Black; or, The Regulator’s Revenge” (_his first play_). - - Roll of the Drum,” “The (before 1869). - - Signing of the Declaration of Independence,” “The. - - “Spiritland.” - - Trovatore,” “Il (with music from the opera of that name). - - - - -WRITTEN BEFORE 1882-’83 (BELASCO’S NEW YORK CAREER BEGAN IN SEPTEMBER, -1882). - - - Ace of Spades,” “The (1877--or earlier). - - “American Born” (based on “British Born”: 1882). - - Assommoir,” “L’ (“Drink”: based on Zola’s novel: 1879). - - Belle Russe,” “La (1880-’81). - - “Bleak House” (from the novel--about July, 1875). - - “Capitola” (a version of “The Hidden Hand”: 187[6?]). - - “Cherry and Fair Star” (revision of the old spectacle so named: - 187--). - - “Chums” (1879--see “Hearts of Oak”). - - Christmas Night; or, The Convict’s Return,” “The (1877). - - Creole,” “The (based on Adolphe Belot’s story, “L’Article 47”: - 1879-’80). - - Cricket on the Hearth,” “The (from Dickens’ “Christmas Story”: - 1877-’78). - - Curse of Cain,” “The (with Peter Robertson: 1882). - - “David Copperfield” (from the novel--before 1878). - - Doll Master,” “The (1874-’75?). - - “Dombey & Son” (from the novel--before 1878). - - “Dora” (alteration of Charles Reade’s play: 1875). - - “Faust” (1877). - - Fast Family,” “A (adaptation of Sardou’s “La Famille Benoiton!”: - 1879). - - Haunted House,” “The (1877). - - “Hearts of Oak” (based on “The Mariner’s Compass,” originally - called “Chums”: with James A. Herne: 1879). - - Hidden Hand,” “The (from Mrs. Southworth’s book--at least three - different versions: before 1878). - - Lone Pine,” “The (187[5?]). - - Millionaire’s Daughter,” “The (1879). - - Moonlight Marriage,” “The (“The Marriage by Moonlight”: based on - Watts Phillips’ “Camilla’s Husband”: 1879). - - New Magdalen,” “The (from Collins’ novel--1874). - - “Nicholas Nickleby” (from the novel--before 1879). - -[Illustration: - -Photograph by Count Jean de Strelecki. Belasco’s Collection. - -DAVID BELASCO] - - - “Not Guilty” (alteration of Watts Phillips’ play of that name: - 1878). - - Octoroon,” “The (“retouched and altered” version of Boucicault’s - play: 1878). - - “Oliver Twist” (version of, from earlier play and the novel--before - 1878). - - “Olivia” (dramatization of “The Vicar of Wakefield”: 1878). - - “Our Mysterious Boarding House” (1877). - - “Paul Arniff” (based in part on “The Black Doctor”: 1880). - - Persecuted Traveller,” “The (1877). - - Prodigal’s Return,” “The (1877). - - Scottish Chiefs,” “The (from the novel--before 1878). - - Storm of Thoughts,” “A (1877). - - Stranglers of Paris,” “The (based on Adolphe Belot’s story of that - name: 1881: re-written, 1883). - - “Struck Blind” (from a story: 1875). - - “Sylvia’s Lovers” (1874-’75?). - - “Thaddeus of Warsaw” (from the novel--before 1878). - - “True to the Core” (alteration of T. P. Cooke’s “prize drama”: - 1880). - - “Uncle Tom’s Cabin” (at least two dramatizations of the - novel--before 1878). - - “Wine, Women and Cards” (1877). - - “Within an Inch of His Life” (based on Gaboriau’s story: 1879). - - - - -WRITTEN SUBSEQUENT TO 1882-’83. - - - Auctioneer,” “The (rewritten from a play made at his direction by - Charles Klein and Lee Arthur: 1901: again, 1913). - - “Caught in a Corner” (revision of a play by Clay M. Greene--and - others: 1887). - - Charity Ball,” “The (with Henry C. De Mille: 1889). - - Darling of the Gods,” “The (with John Luther Long: 1901-’02). - - “Du Barry” (1900-’01). - - Girl I Left Behind Me,” “The (with Franklin Fyles: 1892). - - Girl of the Golden West,” “The (1904). - - Governor’s Lady,” “The (with Alice Bradley--1911-’12). - - Grand Army Man,” “A (with Misses Pauline Phelps and Marion Short: - 1906-’07). - - Heart of Maryland,” “The (1890-’95). - - Highest Bidder,” “The (based on “Trade”--which never was acted--by - Morton and Reese: 1887). - - Kaffir Diamond,” “The (revision of play by E. J. Schwartz: 1888). - - Lily,” “The (adaptation from “Le Lys” by Pierre Wolff and Gaston - Leroux: 1908-’09). - - “Lord Chumley” (with Henry C. De Mille: 1888). - - “Madame Butterfly” (based on a story of the same name by John - Luther Long: 1900). - - Marquis,” “The (version of Sardou’s “Ferréol”: 1886). - - “May Blossom” (based in part on his own play of “Sylvia’s Lovers”: - 1882-’83). - - “Men and Women” (with Henry C. De Mille: 1890). - - “Miss Helyett” (rewritten from the French of Maxime Boucheron: - 1891). - - Music Master,” “The (altered and revised from play by Charles - Klein: 1903-’04). - - “Naughty Anthony” (1899-1900). - - “Pawn Ticket 210” (with Clay M. Greene--based on an idea in - Baring-Gould’s novel of “Court Royal”: 1887). - - Prince and the Pauper,” “The (revision of a play by Mrs. Abby Sage - Richardson, based on Mark Twain’s novel: 1889-’90). - - Return of Peter Grimm,” “The (1908-’10). - - Rose of the Rancho,” “The (based on “Juanita,” by Richard Walton - Tully: 1905-’06). - - Secret,” “The (adaptation from French of Henri Bernstein: 1913). - - “She” (revision of William A. Gillette’s dramatization of Haggard’s - novel--1887). - - “Sweet Kitty Bellairs” (based on the novel of “The Bath Comedy,” by - Agnes and Egerton Castle: 1902-’03). - - Ugly Duckling,” “The (revision of a play by P. M. Potter: 1890). - - “Under the Polar Star” (with Clay M. Greene: 18--: revised, 1896). - - “Under Two Flags” (revision of play by P. M. Potter, based on - Ouida’s novel: 1901). - - “Van Der Decken” (1913-’15). - - “Valerie” (alteration of Sardou’s “Fernande”: 1885-’86). - - Wall Street Bandit,” “A (revision of a play by A. C. Gunter: 1886). - - Wanderer,” “The (revision of Maurice V. Samuels’ adaptation of - Wilhelm Schmidtbonn’s “Der Verlorene Sohn”: 1916-’17) - - “Wife,” “The (with Henry C. De Mille: 1887). - - “Younger Son,” “The (adapted from a German play named “Schlimme - Saat”: 1893). - - “Zaza” (based on a French play of that name by Pierre Berton and - Charles Simon: 1898). - - - - -PLAYS AS YET UNACTED. - - - “Bubbles.” - - “Jennie.” - - “Jimsie, the Newsboy.” - - Opera Singer,” “The. - - “Repka Stroon.” - - - - -BELASCO AS A DRAMATIST:--A FRAGMENT. - - -Careful study of the plays of Belasco has convinced me that, much as he -has accomplished, he has not yet fully developed his powers or fully -expressed himself as a dramatist. There is ample evidence in his -writings that he abundantly possesses the natural faculty of dramatic -expression. That faculty is born--not made. The dramatic mind -comprehends a story not in narrative but in action, sees the characters -which are involved, each as a distinctive individual, perceives their -relations to one another, notes their movements and hears them speak. To -the dramatic mind the spectacle of human life is, essentially, one of -_movement_. But that spectacle is vast, tumultuous, bewildering, not to -be comprehended at once, perhaps not ever to be comprehended fully, and -certainly not to be comprehended without the reinforcement of large -experience and a profound, peaceful meditation. The reader of -Shakespeare feels that the fully developed intellect of that great -dramatist calmly brooded on the world: but there is no Shakespeare now, -and there has been no such thing as tranquillity in the world for many -long years. - -Belasco, when he began to write, was a poor boy, imperfectly educated, -in a disorderly environment, subject to all sorts of distractions and -impediments, and throughout the whole of his career he has struggled -onward under the sharp spur of necessity, without leisure or peace. In -scarcely one of his many dramas is it possible to discern an _unforced_ -dramatic impulse, spontaneously creative of an exposition of diversified -characters, acting and reacting upon circumstances, in dramatic -situations, and constituting an authentic picture of human nature and -life. In many of those dramas the _existence_ of that impulse is -perceptible, but almost invariably the growth of it is checked and the -sway of it is impeded by the necessity of haste, or of conformity to the -demand of some arbitrary occasion or of deference to the requirement of -some individual actor, or to weariness and dejection. Fine bits of -characterization appear; flashes of fancy frequently irradiate dialogue; -imagination imparts a splendid glow to striking situations,--as in “The -Darling of the Gods” and “The Girl I Left Behind Me,”--and pathos is -often elicited by simple means; but sometimes probability is wrested -from its rightful place, and extravagance of embellishment mingles with -verbosity to cause prolixity and embarrass movement. In a word, a sense -of _effort_, a strenuous urgency for the attainment of violent _effect_, -is largely perceptible in Belasco’s plays,--as, indeed, it is in nearly -the entire bulk of modern American Drama. How could it be otherwise? - - “Like children bathing on the shore, - Buried a wave beneath, - Another wave succeeds before - We have had time to breathe.” - -Belasco, a good son, affectionate and faithful, ever solicitous to -contribute to the support of his parents and their family, began labor -in childhood, and he has never ceased to labor. At an early age he -married, assuming the duties and incurring the responsibilities of a -husband and a father in harsh surroundings. In about twenty-five years, -working as factotum, secretary, teacher, agent, mechanical inventor, -actor, stage manager, theatre manager, and playwriter, and battling -against a powerful, unscrupulous, malignantly hostile commercial -antagonism, he raised himself from poverty-ridden obscurity to -independence, general public esteem, and international celebrity as a -theatrical leader. Throughout the ensuing fifteen years he increased his -eminence, becoming at last the representative theatrical manager of our -day [meaning, here, about 1902 to the present, 1917] in America. He has -adapted or rewritten more than 200-odd plays, has collaborated with -other writers in making twenty-odd new ones, and is himself the sole -author of about thirty more, most of which have been acted but several -of which have not. The wonder is not that his writings exhibit some -defects, but that, at their best, they contain so much truthful -portrayal of character, pictorial reflection of life, fine dramatic -situation, and compelling power to thrill the imagination and touch the -heart. The time, it seems to me, has not yet come for attempting a -comprehensive and final estimate of his faculty and achievement as a -dramatist. Whether as an author or a character, he presents a singular, -elusive, and perplexing study. The constitution of his mind, I have -often thought, shows a striking resemblance to that of the romantic and -copiously inventive old English novelist William Harrison Ainsworth. The -same prodigal vitality, the same intensity of interest, the same -audacious recklessness of probability, the same facility of graphic -characterization, the same exuberance of detail, and above all the same -wild romanticism peculiar to Ainsworth’s novels are perceptible in -Belasco’s plays. The imagination that conceived “Adrea” might well have -conceived “The Lancashire Witches” or the first book of “Jack Sheppard.” -But Belasco is not merely an imitator. He has pursued a course natural -to himself, and he has created much in Drama that is both original and -beautiful. If he had written nothing but “The Girl of the Golden West” -and “The Return of Peter Grimm” his name would live as that of one of -the best dramatists who have arisen in America. - - [Written May 18, 1917. Given to me by my father with instruction to - mark it, when setting it for him: - - ADD, AND REVISE. - - The last phase of his illness began on May 24, and he never saw - this passage after he wrote it as it stands.--J. W.] - - - - -THE GOLDKNOPF TRIAL--A UNIQUE DEMONSTRATION. - - -The trial of the Goldknopf action against Belasco, based on the pretence -that “The Woman” was plagiarized from “Tainted Philanthropy; or, The -Spirit of the Time,” was begun, July 31, 1912, with a hearing before -Commissioner Gilchrist, at - -[Illustration: - -DAVID BELASCO - - From a photograph by Arnold Genthe. - - Author’s Collection. -] - -the Federal building, New York, and it proceeded, the Hon. George C. -Holt, Justice, presiding, in the United States Circuit Court, on August -5. It was established by sworn testimony that Goldknopf’s “play” was -submitted by him to the Belasco Play Bureau in May, 1910, and that under -date of July 10 Mr. Henry Stillman, the play reader of that bureau, -wrote to Goldknopf a letter in which he said: - - “Mr. Belasco has gone away for the summer. I sent your play to him, - two or three days after reading it myself. He returned it to me - to-day. While he was interested in reading it, it is not quite - adapted to his present requirements. Will you please call for the - manuscript?” - -Mr. William C. De Mille testified that after the production of “The -Warrens of Virginia,” in January, 1908, he had suggested to Belasco that -if they could “throw up a good heart story against the general -background of political ‘graft’ it would make a good play”; that Belasco -had been favorably impressed by the suggestion, and that a contract had -been entered into between them, in that year, for the writing of such a -play,--several drafts of which, bearing different titles (“The Princess -of the Wire,” “The Machine,” “1035, Plaza,” etc.), were made before the -final one was put into rehearsal. It also was established that Mr. De -Mille had read his play to friends,--among them Professor John Erskine, -of Columbia University,--in 1908. - -Belasco corroborated Mr. De Mille; specified that he had instructed Mr. -Stillman “to be kind to aspiring dramatists,” which fact he surmised -“might account for the courteous tone of his note to” Goldknopf; -testified that he had never seen the manuscript of “Tainted -Philanthrophy” prior to July 31, 1912, and had _not even heard of it_ -until the suit was started. Then, becoming exasperated, he exclaimed: “I -am heartily sick of being sued by nurserymaids, waiters, and barbers -every time I bring out a new piece, and I should like very much to give -a performance of both these plays before your Honor, in the fall.” To -this startling proposal Judge Holt assented, remarking that he could -doubtless have the merits of the case better placed before him by -witnessing both the plays in representation than by merely reading -them,--adding: “But it will be very expensive for you to have the case -decided in this way, will it not?” To this inquiry Belasco replied: -“Yes, sir; it will cost me about $5,000, but I want to show these -unknown authors, once and for all, that they cannot come into the courts -and attack every successful production I make without submitting their -plays to a comparison that will dispose of their claims very quickly.” -On Belasco engaging himself to provide as good a cast for “Tainted -Philanthropy” as that with which he was presenting “The Woman,” his -proposal was accepted by counsel for Goldknopf. - -The comparative performances were given, November 26, at the Belasco -Theatre, in the presence of Judge Holt and invited audiences--Belasco -desiring that as many journalists and members of his own profession as -possible might see for themselves the shameful injustice to which he was -subjected by the charge of plagiarism. “The Woman,” which was then -filling an engagement at the Grand Opera House, New York, was acted -first, beginning at eleven o’clock in the morning. After an interval of -an hour “Tainted Philanthropy” was presented, “exactly as -written,”--manuscript copies of both plays having been submitted to the -court in order to make impossible any dispute on grounds of alleged -changes during representation. The Goldknopf fabrication proved to be -the veriest farrago of impalliable trash,--and, as it was performed with -absolute sincerity by conscientious and capable actors, it became -ludicrous in the extreme. On November 29, Judge Holt rendered his -decision, finding, necessarily, that there is _no plagiarism_ from -“Tainted Philanthropy” in “The Woman.” The chief parts in the former -were cast thus: - -_Mrs. Elizabeth Dalton_ Teresa Maxwell-Conover. -_Grace Dalton_ Helen Freeman. -_Theodore Thompson_ Milton Sills. -_Jack Bud_ Joseph Kilgour. -_John Watts_ Albert Bruning. -_Harold Dalton_ Eugene O’Brien. -_A Bellevue Doctor_ Harry C. Browne. -_Attendants_ { James Grove. - { Mark Powers. -_Servant_ Judith Snaith. - -The following letter on the subject of the Goldknopf accusations gave -Belasco much satisfaction: - - -(_The Society of American Dramatists and Composers to David Belasco._) - -“New York, November 27, 1912. - -“Dear Mr. Belasco:-- - - “At a special meeting of the Board of Directors of The Society of - American Dramatists, held immediately after witnessing the - performances of ‘The Woman’ and ‘Tainted Philanthropy,’ a - resolution was passed congratulating and thanking you for your - splendid work in behalf of the dramatists of America in having - called the attention of the public and the press to the efforts of - irresponsible writers and lawyers against authors and producers of - successful plays. We are of the opinion that these ‘strike’ suits, - having no basis or ground for legal action, are a great hardship - to the professional dramatist, and [that] the attention of the Bar - Association should be called to this particular suit as an - aggravated instance of sharp practice and unwarranted attack on the - dramatist’s name and pocket. - -“Yours most sincerely, -“CHARLES KLEIN, -“Secretary.” - - - -In his decision Judge Holt said: - - “This suit is to restrain the [alleged] infringement of a - copyright.... Both pieces have been presented by experienced and - skilful actors, with excellent scenery and stage appointments. I - have carefully read the manuscripts of each play and have seen the - representations of them.... In my opinion the proof _wholly fails_ - to establish the charge. There is _nothing_ to prove, _or to - suggest_, such a comparison of the two plays--that ‘The Woman’ was - copied from ‘Tainted Philanthropy,’ or that any part of the one was - taken from any part of the other. There is _nothing_ to indicate - that either the words, the ideas, or the plot of the defendant’s - play were suggested by complainant’s play. The two plays, in my - opinion, are wholly dissimilar, and I see _no ground whatever_ for - the charge that one infringed the copyright of the other in any - particular. There should be a decree for the defendants, dismissing - the bill on the merits, with costs.” - -Final judgment to that effect was entered March 3, 1913. Belasco’s -unique demonstration of the shameful injustice of the Goldknopf charge, -however, cost him $5,700. Writing on the subject of this suit and of -the performances offered in evidence in it, he has said: - - “A lawsuit charging plagiarism is an expensive affair, even though - the accused manager may win. Because of this, a compromise is - frequently effected. There are many unscrupulous people who make a - business of submitting impossible manuscripts in order to bring - suits when a successful play is produced. Others keep long lists of - registered titles, with the same idea in mind. Thousands of dollars - have been paid by American authors and producers to end these - blackmail suits, because they are more cheaply settled out of - court. I have never yielded to this swindle,--and I never will.... - My actors played ‘Tainted Philanthropy’ beautifully, and I gave it - a dignified setting. It was a case of ‘Look here, upon this - picture, and on this!’ The audience laughed at ‘Tainted - Philanthropy’ until the theatre echoed.... I think it was the first - instance in the history of American jurisprudence when a judge - adjourned court to go to the theatre for the day, as a matter of - legal duty.... - - “As a result of this wretched, contemptible suit, and others like - it, I discontinued my Play Bureau, which I had established several - years previously to encourage young American dramatic authors. I - have produced more plays by such authors than any two other - managers, and I wanted to help them further. My Bureau cost me from - $15,000 to $20,000 a year to maintain and never paid me a cent, - though sometimes as many as 100 plays were received through it in a - single day. When I realized that instead of helping young authors - it was merely helping blackmailers to attack me as a plagiarist, I - closed it up.” - - - - -A DRAMA OF PSYCHOLOGY.--“THE CASE OF BECKY.” - - -Belasco produced “The Case of Becky” for the first time, October 30, -1911, at the New National Theatre, Washington, D. C., but it was not -until October 1, 1912, that, at the Belasco Theatre, the piece was first -made known in the metropolis. It is a psychological “study,” in dramatic -form, based on a play by Edward Locke, entitled “After Many Years.” -Locke (who entered Belasco’s employment to study stage management and -who for a time acted a small part in “The Music Master”) read his play -to Belasco,--who, perceiving in it possibilities of novel and striking -dramatic effect, at once accepted it, with the understanding that it -should be rewritten under his supervision. That stipulation was agreed -to and partially fulfilled,--the rewriting being (as in a great many -other similar instances) done largely by Belasco. The members of the -company which eventually acted in the drama could conclusively testify -to this fact, since much of that labor was performed in their presence, -at rehearsals. - -The name finally bestowed upon this piece is “The Case of Becky.” It is -in three acts, requires only two scenic settings, implicates seven -persons, and is an ingenious and interesting play on a painful but -important subject,--namely, disease or disorder affecting human -personality. The chief characters in it are _Dr. Emerson_, an eminent -physician who employs hypnotism in psychiatry; _Professor Balzamo_, an -itinerant and unscrupulous hypnotist of extraordinary power, and a girl -named _Dorothy_. This girl is the victim of a dreadful metempsychosis -and is often mysteriously changed from her normal, lovable -personality,--in which she is sweet-tempered, affectionate, gentle, and -refined,--into a common, mischievous, vindictive hoyden who is -designated as _Becky_. _Dr. Emerson_ is laboring to reëstablish her -permanently in her normal consciousness by means of hypnotism,--an -object which, ultimately, he attains. It is incidentally revealed that -many years earlier _Balzamo_, exercising his hypnotic faculty, has -compelled _Emerson’s_ wife to leave her husband and travel with him, as -a subject for use in brutal and degrading exhibitions of hypnotism. -While in that helpless bondage the daughter, _Dorothy_, has been born -(her psychic disorder being attributable to the prenatal effect of abuse -of her mother) and the miserable woman has died. Chance has installed -_Dorothy_ as a patient in the home of her father, who, while ministering -to her in affliction, does not know her - -[Illustration: FRANCES STARR AS _BECKY_, IN “THE CASE OF BECKY” - -Photograph by White. Belasco’s Collection. -] - -as his child. _Balzamo_, learning the whereabouts of the girl and -desirous of recovering custody of her, in order to utilize her as a -subject, visits _Emerson_ and seeks to reëstablish his control over -_Dorothy_, begun when she was a little child. The _Doctor_ is led to -suspect the originative facts in “the case of _Becky_” which are unknown -to him; a conflict of wits and powers ensues between him and _Balzamo_; -the latter is, by a trick, subdued and thrown into hypnosis,--in which -state he is compelled to confess the truth and is then deprived of his -hypnotic power. - -Belasco, writing about this singular play--in which he presented Miss -Frances Starr for more than two years--has recorded: - - “I had begun work on the manuscript of my play for Miss Starr - called ‘Jennie’ when I received a letter from Mr. Locke about - ‘After Many Years.’... It was rewritten and renamed ‘The Case of - Becky,’ and in the writing of it we were guided by Dr. Morton - Prince’s ‘The Dissociation of a Personality.’ I felt that in a - hypnotic study of this kind I must not resort to the broad - theatricalism of ‘Trilby’ or ‘Dr. Jekyll and Mr. Hyde.’ I was - dealing with a dual personality, and I gave Miss Starr the arduous - task of slipping from innocence into viciousness, in the presence - of an audience, without resorting to any outward trickery. Those - hypnotic scenes were written while the company was rehearsing on - the stage.” - -It is interesting to note that the method prescribed for Miss Starr by -Belasco, in acting _Dorothy_ and _Becky_, is the same which Henry Irving -declared should be employed in acting _Jekyll_ and _Hyde_: Irving bought -the English dramatic rights to Stevenson’s story about that dual -character, intending to put his theory about impersonating it into -practice, but he never did so.--This was the cast of “The Case of -Becky”: - -_Dr. Emerson_ Albert Bruning. -_Dr. Peters_ Harry C. Browne. -_John Arnold_ Eugene O’Brien. -_Professor Balzamo_ Charles Dalton. -_Thomas_ John P. Brawn. -_Miss Pettingill_ Mary Lawton. -_Dorothy_ (“_Becky_”) Frances Starr. - -“I was as much surprised as I was delighted,” said Belasco, “by the -popular success of ‘The Case of Becky,’--which was entirely unexpected.” -His delight was considerably moderated by the prompt appearance of a -couple of discontented playwrighting amateurs, alleging plagiarism. -Their names were Amelia Bachman and George L. McKay; they asserted that -“The Case of Becky” was taken from a drama which they had written, -called “Etelle”; their suit was brought in June, 1912; it was tried, -May 13 and 14, 1913, before Judge Julius M. Mayer, in the United States -Circuit Court, and it was decided against them, “upon the merits,” on -July 9. That decision was appealed, the appeal was argued before the -United States Circuit Court of Appeals, April 6, 1914, and decision in -favor of Belasco was affirmed. In rendering the original decision Judge -Mayer said: - - “...The writing of the play by Mr. Locke was the natural outcome - of his interest in themes dealing with hypnotic influence and - multiple personality, and when he was attracted by ‘How One Girl - Lived Four Lives,’ by John Corbin, and [by] Dr. Prince’s book, he - was at work on ‘The Climax,’ a play in which hypnotism or mental - suggestion is the predominant feature. - - “I am also satisfied, beyond any doubt, that Mr. Belasco never saw, - read or heard of ‘Etelle’ prior to his acceptance of Locke’s play - and Miss Bachman testified that her play had its foundation in the - idea suggested by John Corbin’s article. That being so, and the - facts found by me being as stated, it follows that complainants - have no case. ‘The Case of Becky’ is, in substantial respects, - different from ‘Etelle.’... It is to be expected that two - playwrights, working independently from a common source, may - develop similarities in their plots, but ‘The Case of Becky’ - displays the skill of the experienced playwright in a number of - important particulars and details not found in ‘Etelle.’” - - - - -“A GOOD LITTLE DEVIL.” - - “_Children of an idle brain,_ - _Begot of nothing but vain fantasy._” - - -“A Good Little Devil” is a fairy fantasy, written in French by Mme. -Edmond Rostand (using the pen name of Rosamonde Gerard) and her son -Maurice Rostand. It was adapted to the American Stage by Austin Strong, -and Belasco produced it, for the first time in this country, December -10, 1912, at the Broad Street Theatre, Philadelphia: January 8, 1913, it -was acted in New York, at the Republic Theatre. An immense amount of -space, first and last, has been filled in the American newspaper press -with sentimental rhapsody about such fabrications as “Peter Pan,” “The -Blue Bird,” and “A Good Little Devil.” They are well enough in their -way, but they possess nothing of authentic importance, whether literary, -poetic, or dramatic, and the success gained by them is due solely to the -interest of children and of those who enjoy the amusements of their -children: “The sports of childhood satisfy the child.” - -In “A Good Little Devil” experiences are depicted of a Scotch orphan, a -lad named _Charles MacLance_, who is abused by his aunt, a witch, _Mrs. -MacMiche_; comforted and befriended by fairies; loved by a little blind -girl named _Juliet_, from whom he is separated; saved from evil beings -(_Old Nick, Sr._, and _Old Nick, Jr._); and raised to high social rank, -where he forgets the comrades of his boyhood and is about to wed -unworthily, when he returns to the home of his aunt. There he is visited -by the spirit of his youth; his better nature and his memory of olden -times and friends are awakened, and he returns to the arms of his early -love--whose sight has been restored by the fairies--declaring his -intention to live the life of the affections. - -The stage accoutrement in which Belasco presented this fabric of -whimsical extravagance was so beautiful, so full of the poetic feeling -and allurement conspicuously absent from the piece itself, that it -gained and for some time held, and deserved to hold, popular favor: it -was played at the Republic Theatre until May 3, 1913,--152 consecutive -performances being given. - -“A Good Little Devil” was presented with the following cast: - -_A Poet_ Ernest Lawford. -_Betsy_ Iva Merlin. -_Mrs. MacMiche_ William Norris. -_Charles MacLance_, a Good Little Devil Ernest Truex. -_Old Nick, Sr._ Edward Connelly. -_Old Nick, Jr._ Etienne Girardot. -_Juliet_ Mary Pickford. -_Marian_ Laura Grant. -_Queen Mab_ Wilda Bennett. -_Viviane_ Edna Griffin. -_Morganie_ Lillian Gish. -_Titania_ Claire Burke. -_Dewbright_ Reggie Wallace. -_Thought-From-Afar_ Georgia Mae Fursman. -_Jock_ Louis Esposit. -_Wally_ Gerard Gardner. -_Mac_ Adrian Morgan. -_Tam_ Jerome Fernandez. -_Sandy_ Edward Dolly. -_Allan_ Norman Taurog. -_Neil_ Harold Meyer. -_Jamie_ Carlton Riggs. -_Davie_ David Ross. -_Robert_ Roland Wallace. -_John_ Charles Castner. -_Angus_ Lauren Pullman. -_Huggermunk_ Pat Walshe. -_Muggerhunk_ Sam Goldstein. -_The Solicitor from London_ Dennis Cleugh. -_The Doctor from Inverary_ Joseph A. Wilkes. -_The Lawyer from Oban_ Robert Vivian. -_Rab, the dog_ Arthur Hill. - - - - -“THE SECRET.” - -“_A secret and villanous contriver._” - - -“When I produced ‘The Secret,’” writes Belasco, in a biographical note -made for me, “I was told by most of the writers for the [news]papers, -and by many friends, that the principal character in it, _Gabrielle_, is -untrue to life--is _impossible_! Well, all I have to say is:--It is -_not_ impossible. She is very exceptional, no doubt, and morbid; but she -is _true_ to life and I know it, because I have seen and known and had -to deal with exactly such women as _Gabrielle_. They are unpleasant, of -course,--but they are real, a part of the Comedy of Human Life that I -have aimed to show in the Theatre, and that is the reason I produced -‘The Secret,’ notwithstanding much advice against it. I did not expect -financial success.” - -When Belasco first heard of “The Secret,”--which, written in French by -Henri Bernstein, was originally produced, in March, 1913, at the Théâtre -Bouffes-Parisiens, in Paris, with Mme. Simone (Mme. Simone Le Bargy) in -the principal part,--Charles Frohman had just relinquished the right of -producing it in America. He was so much impressed by the published -accounts of the plot and of the performance that he went to Paris -(sailing, June 18, 1913, on the Campania, _via_ Fishguard) to see it, -and there, after witnessing several representations of the drama, he -personally arranged with its author for an American production. -“Bernstein,” he writes, “wanted me to have Mme. Simone act _Gabrielle_ -in America; but, although she is a fine actress and gave a good -performance, she did not, in my opinion, make the part credible. I could -see nobody for it but little Miss Starr--and Bernstein waived his wishes -and left everything to me. I knew from the first that it was impossible -to make money with the piece in America; but I was determined to do it, -and I did; and I am content, though it cost me $57,000 in order to show -the American public a perfect piece of modern play writing and (as I -think) acting.” - -The qualities in Bernstein’s “The Secret” which won Belasco’s profound -admiration are its technical constructive deftness and its cumulative -theatrical effectiveness. While repellent in subject, it is, for stage -purposes, extraordinarily well made. The principal character in it is -_Gabrielle Jannelot_, a wife, young, accomplished, beautiful, admired, -and loved,--apparently a paragon of feminine excellence; in fact, a -personification of malignant jealousy and malicious envy. This charming -female, blessed with everything that should make her contented, cannot -endure the sight of the happiness of others and, while cloaking her -wickedness with an assumption of generosity, gentleness, and goodness -which for years completely deceives her husband and her - -[Illustration: - -Photograph by the Misses Selby. Author’s Collection. - -BELASCO, ABOUT 1914] - -friends, she industriously spreads misery all about her. She has -contrived to establish bitter estrangement between her devoted husband -and a dearly loved and loving sister; and, ascertaining that another -sister-in-law, _Henriette Durand_,--who is her closest friend and who -has confided in her,--is beloved by a high-principled, jealous young -man, _Denis Le Guern_, she schemes to wreck their prospective happiness. -The fair _Henriette_ (whose amorous receptivity appears to be -comprehensive) has secretly been the mistress of a profligate man of -fashion, named _Charlie Ponta-Tulli_, to whom she would have been wedded -had not _Gabrielle_ surreptitiously suppressed missives passing between -them and thus caused their intrigue to be ended. Aware of _Guern’s_ -jealous disposition and strong preference for early vegetables, -_Gabrielle_ counsels _Henriette_, when he shall formally propose -marriage to her, to make a full confession to him of her relation to -_Ponta-Tulli_,--being confident that _Guern_ will then withdraw his -proposal. This advice _Henriette_ promises to act upon; but, through -fear, she fails to do so, and presently she and _Guern_ are wedded and -for a while dwell in bliss. _Gabrielle_, unable to endure the spectacle -of their felicity, plans to destroy it by contriving to have all the -persons implicated in the action assembled as guests in a country -residence, thus bringing the new-wedded couple into close contact with -the ardent though alienated _Ponta-Tulli_. There the former lover -protests to the distressed _Henriette_ his unchangeable passion, and -there they are surprised together by the suspicious _Guern_ in the -moment when _Tulli_ is demanding her reasons for having broken with him. -A violent wrangle ensues, during which _Gabrielle_, under pretence of -attempting reconciliation, neatly manages to make known the former -illicit relation of _Tulli_ and _Henriette_ to the latter’s husband. In -the passages of bitter recrimination which follow _Tulli_ at last -establishes the fact that he had not wilfully abandoned the charming -_Henriette_, and then (with remarkable dramatic dexterity) the spiteful -treachery of _Gabrielle_ is little by little elicited and “the secret” -of that vicious and contemptible little mischief-maker is finally -revealed when she is forced to confess to her wretched husband all her -years of wicked intrigue and perverse malice. There, dramatically, the -play ends,--where so much of human experience ends, in heartbroken -misery and despair. A superfluous “tag” is, however, provided in which -_Jannelot_ first induces _Guern_ to forgive _Henriette_ and then himself -casts the mantle of indulgence over the sins of _Gabrielle_--the fervid -_Ponta-Tulli_ being left to recede into the dim perspective of Paris, -there to comfort himself as best he may. - -The performance of this painful play was, in the main, excellent, Miss -Marguerite Leslie acting the errant _Henriette_ with deep and -sympathetic feeling, and Miss Starr, as _Gabrielle_, giving perhaps the -most completely finished and artistic performance of her -career,--because definite and intelligible in ideal, sustained, fluent, -precise in expression, and entirely plausible in effect. Mr. Frank -Reicher appeared as the excitable and jealous _Guern_ and provided a -significant exhibition of the radically artificial, insincere, and -finical method so common to the Continental European Stage and so much -admired and commended in America for the reason, apparently, that it is -European.--“The Secret” was exquisitely set upon the stage, in scenery -designed by Ernest Gros, and was presented by Belasco with the following -cast: - -_Constant Jannelot_ Basil Gill. -_Charlie Ponta-Tutti_ Robert Warwick. -_Denis Le Guern_ Frank Reicher. -_Joseph_ John P. Brawn. -_Gabrielle Jannelot_ Frances Starr. -_Henriette Durand_ Marguerite Leslie. -_Clotilde DeSavageat_ Harriet Otis Dellenbaugh. -_Marie_ Beatrice Reinhardt. - - - - -“MARIE-ODILE.” - - -[Of all the productions which he has made, excepting only that of -“Madame Butterfly,” Belasco feels most pride in that of Edward -Knoblauch’s play entitled “Marie-Odile,”--a work esteemed by him to be -one of great artistic excellence and beauty. It was brought out in -Washington, January 18, and at the Belasco Theatre, New York, January -26, 1915. Through a series of mischances it happened that neither my -father nor I saw that production. Therefore, as critical consideration -of it should not be omitted from this Memoir, I here copy, from “The New -York Evening Post,” the review of the representation written by my -father’s old friend and co-worker John Ranken Towse, now the most -experienced and authoritative writer on the drama connected with the New -York press.--J. W.] - - “The ‘Marie-Odile’ of Edward Knoblauch, which was presented for the - first time in the Belasco Theatre last evening, is in many respects - a remarkable play, which would have been still more noteworthy if - it did not slip now and then below the highest level of its ideal. - For the most part, it is sweet, idyllic romance, with an - undercurrent of satirical symbolism and a tincture of somewhat - perilous philosophy, and it is told with delicacy and imagination, - except for occasional touches of rougher realism, which are - unnecessary and inartistic, and have a harsh and jarring effect in - a rarefied and sentimental atmosphere. The object of them--one of - contrast--is obvious and legitimate, but it might have been - attained by less violent methods. - - “On the surface, at first, the tale is one for the nursery, but - beneath is deep and earnest purpose, the enforcement of the - distinction between the essential goodness of loving and unselfish - innocence, delighting in service, and the hard and cruel Pharisaism - of a narrow, egoistic bigotry. Presently the parable illustrates - the savagery which perfect innocence may experience at the hands of - arrogant and sophisticated virtue. But a brief outline will most - clearly show the motive of Mr. Knoblauch’s story. The scene is laid - in a convent in France, during the Franco-German conflict of 1870. - _Marie-Odile_, the embodiment of childish innocence, is virtually - the servant of the sisterhood. As an infant she had been found on - the door-step. Now she is serving her novitiate and doing the - domestic work, until ready for the final vows. She is a bright, - affectionate, devout, and indefatigable little creature, who has - never been outside the convent walls, has never seen a man--except - an old priest and a decrepit, half-witted gardener--and is - absolutely ignorant of the world and the ways of life. She has been - taught that babies are the rewards which kindly angels bring from - heaven to deserving mothers. By the _Mother Superior_, a martinet - and zealot, she is persistently bullied. Even her tenderness for - her pet pigeon is accounted a mortal sin, and, by way of spiritual - discipline, she is ordered to tell the gardener to kill it for the - _Mother Superior’s_ table. At this she revolts. Sooner than obey - she hides herself, and is not to be found when the terrible news - arrives that the French have been hopelessly beaten, and that the - _Uhlans_ are at the convent door. The priests and the nuns flee and - _Marie-Odile_ and the old gardener are left behind alone. Soon the - first German, a handsome young corporal, arrives, and - _Marie-Odile_, who has never seen a male figure of such splendor - before, concludes that he is Saint Michael--the convent’s patron - saint--and kneels to him in rapturous worship. Other soldiers come - in, led by a rough sergeant, and are disposed to take liberties, - but are promptly disarmed by her fearlessness, her simplicity, and - her transparent innocence. They even affect to respect the laws of - the _Mother Superior_, which she quotes as paramount. She feeds - them, presides at their table, and holds them in subjection--all - but one or two--by magic of the ignorance that knows no wrong. The - corporal champions her against the advances of his more brutal - fellows, and to him she appeals with the confidence of a child. - When the troops depart the sergeant, learning that the corporal has - never had a love affair of any kind, purposely leaves him behind, - bidding him take advantage of his manifest opportunity. - - The _Corporal_, who is not vicious, is so moved by _Marie-Odile’s_ - unsuspecting confidence that he resolves not to molest her, but she - begs him so earnestly to remain, and so willingly lets him kiss - her, that he yields to temptation, and the curtain falls upon the - second act as she reposes happily in his arms. The scene is natural - and charming, and the sentiment that of pure, youthful romance. In - the third and last act, after the lapse of a year, the convent has - another tenant. _Marie-Odile_ and the old gardener are no longer - alone. There is an infant, which _Marie-Odile_ accounts for as a - miraculous gift from Heaven. She is conscious of no ill, has - followed unhesitatingly the promptings of nature, and rejoices in - her new possession with boundless exultation. But now the war is - over and the nuns are returning. _Sister Louise_, the - personification of true Christian charity, is the first to enter, - and sorely afflicted is she as she listens to _Marie-Odile’s_ - grateful pæans, and thinks of what the _Mother Superior_ will say. - That austere judge is inflexible from the first. Straightway she - orders the amazed but unrepentant young mother from the sacred - precincts, in spite of the protests of _Sister Louise_, who - declares that the true responsibility lay with the sisterhood which - had failed to instruct or guard innocence. - - “Simple as the play is in external form, it deals with more than - one difficult and complex problem. Concerning the particular - instance of the heroine--who becomes in Mr. Knoblauch’s sketch a - fresh and delightful ideal of ignorant and untainted - innocence--there need be no question. Like _Haidée_, she flew to - her love like a young bird. She was guiltless, and her story--with - the exceptions hinted at--is told very prettily, with an unaffected - naturalism which is rare, and with many charming little poetic - interludes. Her love episode is handled with notable tact and - fancy, and is an eloquent plea for the sanctity of nature’s own - laws. But obviously it is less ingenuous than _Marie-Odile_ in its - wilful disregard of certain awkward and wholly incontrovertible - facts. The Pharisaism of the _Mother Superior_ is, of course, - utterly indefensible upon any count, but may be set down partly to - the credit of poetic license. Unfortunately, the innocence of love - is not, in the present state of this imperfect world, sufficient to - exempt it from the material penalties of unrestricted freedom. And - the instruction of ignorance is not altogether so simple a matter - as some of our younger social philosophers seem to suppose. - - “But in ‘Marie-Odile’ Mr. Knoblauch has produced a work of superior - calibre, and has acquitted himself of a difficult task with - ingenuity and tact. His first act is too much overladen with - (dramatically) trifling details, but the piece acquires strength - and impetus as it proceeds. _Marie-Odile_ is one of the most - credible examples of complete unsophistication that has been put - upon the stage for a long time, and she is admirably impersonated - by Miss Frances Starr. The part does not, it is true, present many - difficulties, but most actresses would have betrayed in it a - self-consciousness of the superfine quality of the innocence which - they were portraying, and this Miss Starr did not do. She did - really suggest the purity of a completely isolated maidenhood. Her - completely natural maternal exultation in the possession of a baby - was really excellent acting. Harriet Otis Dellenbaugh showed warm - womanly feeling as the kindly _Sister Louise_, Jerome Patrick did - very well as the _Corporal_, and Frank Reicher furnished a clever - character bit as the senile old gardener. The setting in the - convent was perfect--a notable specimen of Mr. Belasco’s - handiwork.” - -This was the cast of “Marie-Odile”: - -_Mother Saint Dominic_, Mother Superior - of the Convent Marie Wainwright. -_Sister Clotilde_ Ada C. Nevil. -_Sister Louise_ Harriet Otis Dellenbaugh. -_Sister Monica_ Alice Martin. -_Sister Anatole_ Sally Williams. -_Sister Angela_ Mildred Dean. -_Sister Cecilia_ Amy Fitzpatrick. -_Sister Joseph_ Mary Green. -_Sister Elizabeth_ Nona Murray. -_Sister Catherine_ Alice Carroll. -_Marie-Odile_, a novice Frances Starr. - -[Illustration: - -Photograph by White. Belasco’s Collection. - -FRANCES STARR AS _MARIE ODILE_] - -_Father Fisher_ Edward Donnelly. -_Peter_ Frank Reicher. -_Sergeant Otto Beck_ } { Henry Vogel. -_Corp. Philip Meissner_ } Uhlans { Jerome Patrick. -_Steinhauser_ } in a { Paul Stanley. -_Hartmann_ } Prussian { Alphonse Ethier. -_Horn_ } Regiment. { Edward Waldmann. -_Mittendorf_ } { Charles W. Kaufman. -_Schramm_ } { Robert Robson. - { Margaret Cadman. - { Edith King. -_Sisters_ { Dorothy Turner. - { Edythe Maynard. - { Madeleine Marshall. - { Gertrude Wagner. - { Hugo Schmedes. -_Soldiers_ { August Nelson. - { Albert Mack. - - - - -RECONCILIATION WITH CHARLES FROHMAN--AND JOINT PRESENTMENT OF “A -CELEBRATED CASE.” - - -The antagonism of Belasco and the Theatrical Syndicate, which he fought -for so many years, naturally led to friction between him and Charles -Frohman,--a person of extraordinary self-conceit, who loved to have -applied to himself the ridiculous designation of “the Napoleon of the -Theatre”; who aspired to be thought the greatest of theatrical managers, -and who, necessarily, felt himself rebuked under the superior talents of -the man with whom, in early years, he had been so closely associated -and who had done so much to make his career possible. In 1903 he had a -personal quarrel with Belasco (about what I do not know), and for twelve -years thereafter they were more or less actively at enmity and treated -each other as strangers. Frohman, however, appears to have possessed -engaging qualities, which endeared him to many of those who knew him -well. Belasco, for example, has assured me that through all the time of -their estrangement he “cherished a great affection for ‘Charlie,’” and -that he is “grateful beyond words that our misunderstanding was cleared -up and our friendship renewed before he sailed away to his death.” -Frohman left New York on board the steamship Lusitania, May 1, 1915, and -he lost his life, May 7, when, to the eternal infamy of the German -nation, that vessel was sunk off Old Head of Kinsale, Ireland. “I was -alone in my studio, one evening early in 1915,” Belasco has told me, -“and by chance I noticed a newspaper paragraph about Charles Frohman -being ill, at the Hotel Knickerbocker. It set me thinking about our -first meeting so long ago in San Francisco, and of all that followed; of -our first venture in Chicago and of all the years when we worked -together and had rooms side by side, when ‘Charlie’ used to consult me -about everything and I used to read my ‘May Blossom’ to him. As I sat -there thinking it all over I realized that the shadows were beginning -to slant toward the east--and suddenly I decided that if ‘Charlie’ -should die without our being reconciled it should not be my fault. I -started to write a little note to him but got no further than ‘Dear -Charlie’ when my telephone-bell rang. The caller was Roeder--and the -first thing he said was: ‘I’ve just had a telephone message from Charles -Frohman. He wants to see you’! We met that night, in his rooms, and -forgot that we ever had a disagreement.” - -Soon after that reconciliation Belasco held a little festival in honor -of Frohman, in his theatre-studio, and there, at first in jest, it was -proposed that they should make a joint revival of some notably -successful play of earlier days. This proposal led to a serious -discussion and eventually to an agreement whereby the two managers -covenanted to make a joint production every season during a term of -years. At Frohman’s request Belasco agreed to choose the first play to -be presented by them, and his election fell upon “A Celebrated Case.” - -That play (first produced in America at the Union Square Theatre, New -York, January 23, 1878) is a melodrama in six acts, translated, in rough -English, from the French of Adolphe D’Ennery (1811-1899) and Eugène -Cormon (18--- 18--). It presents the image of a murder which was done in -France, on the eve of the Battle of Fontenoy (May 11, 1745), and for -which an innocent man was made to suffer years of cruel punishment, -till, at last, in a mysterious and circuitous way, it was brought home -to its perpetrator. The circumstances of the crime are peculiarly -hideous and the circumstances of the belated retribution are peculiarly -complex. The innocent man, _Jean Renaud_, is condemned, for the murder -of his wife, on the testimony of their child. _Lazare_, the guilty man -(as in many other fictions on this antiquated pattern), assumes the -identity of another person connected with the crime, the _Count de -Mornay_, and, after various escapes from exposure and much suspense, he -is baffled in his maintenance of the assumed identity and is brought to -justice. The parting of the condemned father with his innocent, -prattling child, who has unconsciously convicted him of murder, and -their meeting in after years, he a wretched galley-slave and she a young -woman, afford a poignantly affecting contrast. Adroit use, likewise, is -made of a certain singular jewel as the instrument for discovery of the -actual criminal. Although there are no remarkable characters in the -piece and nothing extraordinary in its dialogue, it possesses -substantial dramatic merit in its occasional scenes of acute agony, -relieved by the violent action of natures taxed beyond endurance. Its -sentiment, moreover,--that of filial affection,--is pure; and in its -complication of the lives and the emotional troubles of two young girls -it deals skilfully and tenderly with difficult and lovely themes. Its -choice by Belasco (who had several times directed performances of it in -the days of his youth and in whom predilection for tense situation and -sharp effect is dominant) was a natural one. Affiliated with Frohman, he -presented it in a slightly revised form--some of its dialogue being a -little “modernized”--but substantially unaltered and in picturesque and -rich dress. It was well acted and kindly received. The first performance -of this Belasco-Frohman revival occurred at the Hollis Street Theatre, -Boston, March 28, 1915, and, April 7, they brought it out at the Empire -Theatre, New York. This was the cast: - -_Count d’Aubeterre_ Frederic de Belleville. -_Lazare_ } Robert Warwick. -_Count de Mornay_ } -_Chanoinesse_ Elita Proctor Otis. -_Viscount Raoul de Mornay_ Eugene O’Brien. -_Jean Renaud_ Otis Skinner. -_Dennis O’Rourke_ N. C. Goodwin. -_Corporal_ Walter F. Scott. -_Seneschal_ George Allison. -_Captain_ John Warnick. -_Duchess d’Aubeterre_ Minna Gale Haynes. -_Little Adrienne_ Mimi Yvonne. -_Martha_ Beverly Sitgreaves. -_Julia_ Ruth Farnum. -_Madeleine Renaud_ Helen Ware. -_Adrienne Renaud_ Ann Murdock. -_Annette_ Esther Cornell. -_Valentine de Mornay_ Florence Reed. -_Julie_ Marie Sasse. - - - - -LENORE ULRIC.--AND “THE HEART OF WETONA.” - - -Many players of talent and present eminence have been fostered and -developed under Belasco’s management--that being, indeed, one of his -most important services to our Stage. He is an inveterate -theatre-goer,--attending performances everywhere and, sooner or later, -seeing practically everything and everybody visible on the American -Stage. This customary vigilant observance of all activity within his -profession he facetiously describes as “my fishing trips,” and, -conversing with me on the subject, he has remarked: “It is often a long -time between ‘bites,’ but one of the delights of the sport is that you -never know, as the curtain goes up, how soon you may ‘hook a big one.’ -Among the biggest I have ever landed is, I believe, little Miss Ulric: I -think she will grow bigger every season she is before the public.” - -Miss Lenore Ulric, to whom Belasco thus referred, was born at New Ulm, -Minnesota, July 21, 189--. In childhood she knew the meaning of -hardship, and she has studied and learned in the often harsh school of -experience. Whether or not she will fulfil Belasco’s high expectation -time alone can tell, but one thing about her is certain: she belongs to -a class of which there is urgent need on our Stage,--she is “a born -actress.” She resorted to the dramatic calling not through mere vanity, -the impulse of personal exhibition, or the acquisitive hope of -profit,--motives which actuate a majority of the young women who go upon -the Stage,--but because her natural vocation is acting. As far as known, -no precedent member of her family was ever associated with the Theatre, -and for some time her choice of that calling met with severe paternal -disapproval. Her novitiate was served in various stock companies in -Milwaukee, Grand Rapids, Chicago, and Syracuse. In August, 1913, Miss -Ulric appeared as _Luana_, in “The Bird of Paradise,” under the -management of Mr. Oliver Morosco: she acted that part for two seasons. -In 1914, while playing at the Standard Theatre, New York, she wrote to -Belasco asking him to witness her performance of that part and -expressing the hope that after having done so he might find a place for -her in some one of his companies. “I have long made it a rule,” writes -Belasco, “to comply with such requests from young players whenever it is -possible for me to do so. I well remember how long _I_ pleaded with dear -John McCullough for a hearing before I got it and I know the -discouragement of ‘hope deferred.’ Besides--nobody can make a fairer -proposition than ‘watch my work and, if you think it is good, engage -me.’ But I was extremely busy when I received Miss Ulric’s request and -couldn’t give the time,--so I sent my secretary, Mr. Curry. His report -was so favorable that I felt I must see her at work--so, since I could -not go to her, I had Mr. Roeder bring her to me by making her a -tentative offer of an engagement to act in George Scarborough’s play of -‘The Girl.’ She accepted, of course (she has told me, since, that she -had set her heart on getting with me and would have accepted almost any -offer to do so), and I had my stage manager call a rehearsal. I was not -supposed to attend,--but I slipped into the gallery unknown to anybody -(a little trick I have) and watched her carefully. After twenty minutes -I knew I was watching a very talented and unusual young woman--one who -with opportunity and proper training might do great things. Before the -rehearsal was over I had told Roeder to close the arrangement with her -to play the leading part in ‘The Girl,’ which, afterward, became ‘The -Heart of Wetona.’” - -In its original form the scene of that play was “A Middle Western Town” -(Missouri), its five characters were Caucasian, and its story was one of -erring love, deceit, shame, and rescue set in a commonplace rural -environment,--a main purpose of its author being, presumably, to exhibit -a group of conventional persons impelled by violent passion yet -restrained by religious feeling. In that form it received a trial -presentment, June 28, 1915, at Atlantic City, New Jersey, with this -cast: - - -_In the Prologue._ - -_David Greer_ William H. Thompson. -_Elizabeth Greer_ Lenore Ulric. - - -_In the Play._ - -_Jonathan Wells, D.D_ Arthur Lewis. -_Anthony Wells_ Lowell Sherman. -_The Rev. Frederick Forbes_ John Miltern. -_Elizabeth Greer_ Lenore Ulric. -_David Greer_ William H. Thompson. - -“Although its material was undeniably good, I had felt strong doubts -about the piece, from the first, but I gave it a ‘try-out,’ anyway,” -said Belasco. “Then I saw that it would not do as it stood and took it -off, and, at my suggestion and under my supervision, with such -assistance as I could give, Mr. Scarborough rewrote ‘The Girl’ and -eventually we had a real success with it.” - -The rewritten play was first acted, January 20, 1916, at Stamford, -Connecticut, under the title of “Oklahoma”; soon after it was called -“The Heart of Wetona,” and under that name it was brought forth, -February 29, at the Lyceum Theatre, New York, where it held the stage -until May 20. - -In its definitive form the scene of “The Heart of Wetona” is an Indian -Reservation, in the torrid State of Oklahoma; several of its persons are -aborigines of the Comanche tribe, and,--though its action and incidents -are sometimes arbitrarily directed,--it is a remarkably good melodrama -of a long-familiar kind. Belasco’s purpose in directing the revision was -to provide an effective play for the exploitation of the young actress -whose talents had so favorably impressed him, and that purpose was well -accomplished,--the interest centring continuously in the principal -female part, a girl named _Wetona_, the child of a Comanche chieftain -and a white mother, deceased. This girl, who has been seduced under a -lying promise of marriage by _Anthony Wells_, a visitor to the Indian -Reservation, is chosen as a sort of vestal virgin in ceremonial rites of -the Comanches, and thereupon, in the Tribal House, before her father -and his assembled warriors, though concealing her lover’s identity, she -confesses her transgression. The girl is then subjected to a harrowing -inquisition by the Indians, who desire to find and slay her lover. At -last, unable to endure longer, she agrees to reveal his name on -condition that she first be permitted to warn him of his danger. She -seeks him in the home of his friend _John Hardin_, the Indian Agent on -the Reservation (who secretly loves the girl and desires to make her his -wife), and is followed by her father, _Chief Quannah_, who, finding her -in conference with _Hardin_, furiously accuses him of being the wronger -of his daughter and demands that he instantly marry her--as an -alternative to being instantly slain with her. To save the girl, -himself, and her to him unknown lover, _Hardin_ agrees to do so, -privately assuring _Wetona_ that the marriage shall be one in name but -not in fact, and, a clergyman being conveniently accessible, the wedding -is at once performed. Afterward _Wetona_, collapsing, calls upon the -name of her _Anthony_--thus discovering to her husband her resolutely -guarded secret. Later, _Wells_, ensconced in the home of _Hardin_ and -supposing himself unsuspected and secure, seeks to resume his relation -with _Wetona_, but is repulsed by her until a divorce (to which -_Hardin_ will connive) shall have been obtained and he shall have -fulfilled his promise of marriage. Then the perfidy of _Wells_ is -revealed to _Wetona_ and she revolts from him; _Quannah_ discovers the -truth; _Hardin_, though righteously wrathful against _Wells_, tries to -save him from the vengeance of the Indians (providing him with weapons -and a steed) but fails,--that rascal being shot and killed as he -attempts to ride away in the night,--and the injured, forlorn Indian -girl humbly and thankfully confesses to _Hardin_ her contrition, her -gratitude for his protective generosity, the affection with which he has -inspired her, and her glad willingness to remain with him as his wife. - -The ethics of all this will hardly bear scrutiny--but the dramatic -effect of it in representation was undeniable; and, perhaps, where -virtue is, presumably, intended it is to consider too curiously to -consider further. Miss Ulric presented with vigor, skill, simplicity, -sustained continuity of identity, and remarkable force a true, pathetic, -and alluring ideal of unsophisticated girlhood, confiding feminine ardor -and passionate distress, and she gained an auspicious success.--The cast -of “The Heart of Wetona,” as acted at the Lyceum under the management of -Belasco and a corporation called “Charles Frohman, Inc.,” is appended: - -[Illustration: - -Photograph by Abbe. Belasco’s Collection. - -LENORE ULRIC AS _WETONNA_, IN “THE HEART OF WETONNA”] - -_Quannah_, Chief of the Comanches William Courtleigh. -_Wetona_ Lenore Ulric. -_John Hardin_ John Miltern. -_David Wells_ Edward L. Snader. -_Anthony Wells_ Lowell Sherman. -_Mary Greer_ Isabel O’Madigan. -_Comanche Jack_ Curtis Cooksey. -_Nauma_ Ethel Benton. -_Nipo_ H. G. Carleton. -_Pasequa_ Langdon West. -_Eagle_ Chief Deer. - - - - -VARIOUS PRODUCTIONS--MISCELLANEOUS RECORD: “WHAT’S WRONG.”--“THE -VANISHING BRIDE.”--“THE LOVE THOUGHT.”--“ALIAS.” - - -During the last five years [that is, the five years preceding April, -1917] Belasco has made productions of various plays which do not require -extended consideration, though they must be specified and briefly -described in this Memoir in order to complete the record of his labors. -Those plays are “The Governor’s Lady,” “Years of Discretion,” “The -Temperamental Journey,” “What’s Wrong,” “The Man Inside,” “The Vanishing -Bride,” “The Phantom Rival,” “The Boomerang,” “The Love Thought,” “Seven -Chances,” “Alias,” “The Little Lady in Blue,” and “The Very Minute.” - -Of these, “What’s Wrong,” by Frederick Ballard; “The Love Thought,” by -Henry Irving Dodge; “The Vanishing Bride,” adapted by Sydney Rosenfeld -from a German original called “Tantalus,” by Leo Kastner and Ralph -Tesmar; and “Alias” (based on a story by John A. Moroso and originally -called “The Treadmill”), by Willard Mack, are plays to which Belasco -gave trial productions, and all of which, except “The Vanishing Bride,” -he purposes to present in New York hereafter, when they have been -smoothed and polished and are deemed by him to be ready for metropolitan -presentment. “What’s Wrong” was brought out at the National Theatre, -Washington, D. C., May 4, 1914; “The Vanishing Bride” at Long Branch, -New Jersey, July 27, the same year; “The Love Thought,” at the Parsons -Theatre, Hartford, Connecticut, April 26, 1915; and “Alias,” first under -its original title, at the Apollo Theatre, Atlantic City, May 8, 1916, -then, February 5, 1917, at the Belasco Theatre, Washington. “The -Vanishing Bride” would have been produced in New York soon after its -trial had not Belasco found Mr. Rosenfeld (who is an industrious and -moderately clever writer but flatulent with self-conceit) excessively -fractious and troublesome to deal with. “I had spent $18,000 on that -play,” Belasco has told me, “and I know it could be made a success, -because it has excellent material in it. But life is too short for -disputes with Mr. Sydney Rosenfeld. I am always glad to do my best for -the men and women, writers or actors, who work with me, but I am not -willing to wrangle and fight with them for the privilege of doing so! -Therefore, I preferred to pocket my loss and let the piece go--with my -blessing and the hope that its adapter will find a more satisfactory -producer.” - -The casts of the trial productions enumerated are here appended: - - -CAST OF “WHAT’S WRONG.” - -_George H. Smith_ Frederick Burton. -_Perry Dodge_ Richie Ling. -_Eddie_ William Dixon. -_Woodrow_ Percy Helton. -_Heavy_ } { Henry Weaver. -_Bill_ } Farm hands { J. W. Kennedy. -_Red_ } { Russell Simpson. -_Jennie Brown_ Janet Beecher. -_Mrs. Perry Dodge_ Maidel Turner. -_Mrs. Lee-Hugh_, S.P.A.I.H. Louise Sylvester. -_Phoebe Snow_ Dorothy Walters. -_Flossie_ Susanne Willa. -_Agnes_ Grace Vernon. -_Tillie_ Jane Shore. - - -CAST OF “THE VANISHING BRIDE.” - -_Zachary Hollis_ Thomas A. Wise. -_Dick Hollis_ Howard Estabrook. -_Baron Von Berndorff_ Gustav Von Seyffertitz. -_Eric Von Berndorff_ Frank Gillmore. -_Phelim O’Hara_ Denman Maley. -_An Upholsterer_ Conrad Cantzen. -_A Postman_ Lee Metford. -_Letty Von Berndorff_ Janet Beecher. -_Eva_, the bride Ottola Nesmith. -_Eileen O’Hara_ Angela Keir. -_Mrs. Miller_ Margaret Seddon. -_Anna_ Edith Houston. - - -CAST OF “THE LOVE THOUGHT.” - -_Stephen Bennett_ Ramsey Wallace. -_Howard Johnson_ Lowell Sherman. -_Squire Miley_ George Gaston. -_Jake Means_ Hardee Kirkland. -_Dupley Reed_ Henry Forsman. -_George Culligan_ Daniel Moyles. -_Lew Bates_ George Berry. -_Billy_ Edwin Dupont, Jr. -_Anne Gardner_ Janet Beecher. -_Mary Miley_ Isabel O’Madigan. -_Frances Avery_ Katherine Proctor. -_Nellie Avery_ Antoinette Walker. -_Mrs. Means_ Harriet Ross. -_Mrs. Bates_ Lois Frances Clark. -_Mrs. Culligan_ Elizabeth Hunt. - - -CAST OF “THE TREADMILL”--“ALIAS.” - -_Herman Strauss_, “Old Dutch” Willard Mack. -_Warden John Healey_ Edwin Mordant. -_“Biff” Schulte_ Jay Wilson. -_Dan Davis_ E. J. Mack. -_Toby_ Jack Jevne. -_Mrs. John Weldon_ Margaret Moreland. -_Mrs. Franklyn Joyce_ Carmilla Crume. -_Amanda Joyce_ Constance Molineaux. -_Titheradge Joyce_ Francis Joyner. -_Jacob Fralinger_ Arthur Donaldson. -_John Weldon_ William Boyd. -_Oscar Spiegel_ Gus Weinberg. -_Mrs. Mary Gilligan_ Annie Mack Berlein. -_Dick_ Tammany Young. -_Harry_ Cornish Beck. -_Greta_ Ruth Collins. -_Bertha_ Jean Temple. -_Andrews_ Tex Charwate. - - - - -“THE GOVERNOR’S LADY.” - - -Belasco produced “The Governor’s Lady” for the first time, May 1, 1912, -at the Broad Street Theatre, Philadelphia, and, September 9, that year, -at the Republic, he brought it out in New York. It is a drama of -domestic dissension and tribulation sequent on the surrender to -selfishness and vanity of a wilful man who is indicated as being, -notwithstanding his faults and errors, innately kind and good. The name -of him is _Daniel S. Slade_. He has been a miner and poor. Having -acquired riches he has become ambitious and aspires to social and -political eminence; would, in fact, be Governor of the State of -Colorado, wherein he dwells. _Mrs. Slade_, his wife, is an exemplary but -homely and home-keeping person and she cannot adapt herself to the ways -of the rich and fashionable society in which _Slade_ desires to be a -leader. She is, at first, disposed to consider their newborn -incompatibility and her husband’s dissatisfaction as fanciful. But when -_Slade_ intimates that he regards her as a hindrance to his advancement -and signifies that there had better be a formal separation, or a -divorce, between them she is deeply wounded. She agrees, however, to -separate from him, while indignantly repelling his suggestion that he -obtain a divorce. Later she ascertains that he has chosen as her -successor a young, beautiful, and unscrupulous woman who he believes -will be useful in furthering his ambitions and who is willing to abandon -the youth she loves in order to make a better match. _Mrs. Slade_ then -rounds on her discontented spouse and, being thrice armed in the justice -of her quarrel, notwithstanding his wealth and influence, brings upon -him and his prospective consort public odium, confronts and defeats him -in court, and, bringing a counter suit, is granted a divorce from him. -She leaves Denver and goes to New York,--where, two years later, -_Slade_, who has meantime become Governor of Colorado, finds her in one -of Child’s restaurants. The _Governor_ makes known to her that he is -perceptive of the impropriety of his course; that in spite of his -conduct he has always loved the wife who has divorced him, and proposes -that they remarry. This _Mrs. Slade_ declines to do, not, however, -concealing the fact that she still cherishes affection for _Slade_, and -the play ends with his picking her up and carrying her off in his arms, -in quest of a parson, in order to establish her as the _Governor’s -Lady_. - -Belasco described this fabric as “a play in three acts and an epilogue -in Child’s,” and it was announced as having been written by Miss Alice -Bradley. During its first performance in New York Mr. Emmett Corrigan -(who impersonated the character of _Slade_) came before the curtain and, -in a brief speech on behalf of Miss Bradley, made known that she -disclaimed credit for anything more than “the central idea” of the play. -Neither that “central idea” (the idea, presumably, of showing the -patient acquiescence of _Mrs. Slade_ suddenly turned into resolute and -triumphant opposition by discovery of the full extent of her husband’s -baseness) nor anything else in the piece is dramatically precious or -extraordinary. Many other “collaborators” with Belasco might, however, -fairly emulate Miss Bradley’s frankness. The construction of “The -Governor’s Lady” is sometimes arbitrary and the characters in it are in -some respects extravagantly drawn--causing more the effect of rough -sketches than that of finished portraits. The dialogue possesses the -merit of suitability to the situations and, in general, of seeming to -arise spontaneously from them. The notable excellence of the production -was its exact fidelity to the surface details of everyday life and the -really remarkable smoothness, harmony, and sincerity with which it was -acted--imparting to much that was crude and improbable an aspect of -veracity.--The play was cast as follows: - -_Daniel S. Slade_ Emmett Corrigan. -_Senator Strickland_ William H. Tooker. -_Robert Hayes_ Milton Sills. -_Wesley Merritt_ S. K. Walker. -_Brigham Hunt_ Bert Hyde. -_Ex-Governor Hibbard_ John A. Dewey. -_Colonel George Smith_ Will H. Nicholson. -_John Hart_ Albert Lane. -_Charles Ingram_ Harry B. Wilson. -_William_ Jack Smith. -_Martin_ Frank Hand. -_Jake_ John N. Wheeler. -_A Passerby_ James Singer. -_A Bookworm_ Stuart Walker. -_Jake’s Friend_ Edward Horton. -_A Cashier_ George H. Shelton. -_A Man Behind the Pastry Counter_ Robert J. Lance. -_Waiter No. 7_ John H. McKenna. -_Waiter No. 2_ Harrison Fowler. -_Mary Slade_ Emma Dunn. -_Katherine Strickland_ Gladys Hanson. -_Mrs. Wesley Merritt_ Teresa Maxwell-Conover. -_Susan_ Jane Briggs. -_A Girl of the Streets_ Eloise Murray. -_A Scrubwoman_ Judith Snaith. - - - - -“YEARS OF DISCRETION.” - - -Satirical and amusing use has been made in various works of fiction of -the old, or elderly, parent who behaves in an inappropriately youthful -manner. Charles Mathews built the capital old farce (I wonder if anybody -else ever recalls it now?) of “My Awful Dad!” around that idea: Collins -utilized it when he sketched _Madame Pratolungo’s_ “Evergreen Papa.” It -is one of the expedients of comicality in “Years of Discretion,” a -farcical comedy by Frederick Hatton and Fanny Locke Hatton which Belasco -presented, November 4, 1912, at the Empire Theatre, Syracuse, New York, -and at the Belasco Theatre, New York, on December 12, following. In that -entertaining play a buxom widow of fifty, _Mrs. Farrell Howard_ by name, -growing intolerably weary of a humdrum life, leaves the little rural -town where she resides and repairs to New York,--where, with the aid of -hair dye, tight lacing and a fashionable dressmaker, she puts on the -semblance of a gay young woman and recklessly participates in frivolous -dissipations, fascinating many ardent males and scandalizing her -somewhat sedate and priggish son. At the last she consents to marry one -of her numerous admirers, to whom she is honestly attached. After a -little struggle with vanity and the fear of losing his regard she -confesses to him that, with her, things are not what they seem; that she -is not really a roguish young woman eager for social festivity, but -rather an elderly one who has grown tired of it, who is inclined to be -stout and is extremely uncomfortable by reason of restrictive stays and -tight shoes. She is surprised and delighted when he, in turn, confesses -to rheumatism, years equal to hers, and a strong preference for easy old -slippers instead of dancing pumps. They then agree to abandon a -projected honeymoon trip around the world, to which both of them have -looked forward with dread, and to take their ease sensibly, in the home -surroundings which they prefer.--This was the cast of “Years of -Discretion”: - -_Christopher Dallas_ Lyn Harding. -_Michael Doyle_ Bruce McRae. -_John Strong_ Herbert Kelcey. -_Amos Thomas_ Robert McWade, Jr. -_Farrell Howard, Jr._ Grant Mitchell. -_Metz_ E. M. Holland. -_Mrs. Farrell Howard_ Effie Shannon. -_Mrs. Margaret Brinton_ Alice Putnam. -_Anna Merkel_ Mabel Bunyea. -_Lilly Newton_ Ethel Pettit. -_Bessie Newton_ Myrtle Morrison. - - - - -“THE TEMPERAMENTAL JOURNEY.” - - -Leo Ditrichstein adapted “The Temperamental Journey” from a French -original called “Pour Vivre Heureux,” by André Rivoire and Yves Mirande, -and Belasco produced it, for the first time, at the Lyceum Theatre, -Rochester, New York, August 28, 1913, and, September 4, following, for -the first time in New York, at the Belasco Theatre. It is an unusually -clever, sometimes humorous, sometimes bitterly satirical, farce blent -with elements of comedy and constructed around the struggles and -tribulations of a sincere, capable, “temperamental,” and unappreciated -painter named _Jacques Dupont_,--a part that was admirably acted (with -discretion, humor, feeling, and even a touch of passion) by Mr. -Ditrichstein. Notwithstanding the merit of his art _Dupont_ is unable to -sell his paintings. In a moment of despair, having been meanly upbraided -for his ill-fortune by his wife,--a shallow, selfish -hypocrite,--_Dupont_ resolves to destroy himself. He writes a farewell -letter to his wife, which he leaves with his clothes on the shore and, -forgetful of the fact that he is a capital swimmer, flings himself into -the waters of Long Island Sound to drown. The immersion so much -refreshes him that he changes his mind about dying, swims lustily, and, -being hauled on board of a sailing craft, makes a voyage to Halifax. -Upon returning home a fortnight or so later he finds his hypocritical -wife and friends, indulging to the full in “the luxury of woe,” about to -hold funeral services over a dead body which they receive as his; and, -also, he finds that his paintings, previously the objects of contumely, -are selling for high prices,--public interest having been inspired by -the pathetic circumstances of his supposed suicide. After observing from -an unsuspected coign of vantage in their home his hypocritical “widow’s” -ready acceptance of the embraces of one of his “friends,” and after -witnessing with ironic contempt the funeral over what are supposed to be -his remains, _Dupont_ betakes himself to Paris, where he paints many -landscapes. After an interval of three years he returns to America, -representing himself to be a collector of pictures, named _Lenoir_, who -has gathered together a large number of paintings by the defunct -_Dupont_--whose works now sell for enormous sums. He finds his “widow” -married to his former “friend” and the mother of a child by him, and -also he finds that person to be industriously engaged in forging -paintings by _Dupont_. During an auction sale of his works _Dupont_, -stung by manifestations of injustice, sordid meanness, and duplicity, -declares his identity and rebukes those who have wronged and contemned -him. Then, for the sake of the child, he agrees to arrange for a divorce -from his unworthy wife,--signifying his purpose, in due course, to unite -himself in matrimony to a loving young girl who has befriended him in -his earlier afflictions and remained faithful to his memory while -supposing him to be dead. - -The opportunity for gibes and railings provided by the successive -postures of circumstance thus indicated are obvious and many. Yet, at -best, the comicality evoked by them is bitter and painful.--“The -Temperamental Journey,” which was much admired and exceptionally -successful, was cast as follows: - -_Jacques Dupont_ Leo Ditrichstein. -_Prof. Babcock Roland_ Henry Bergman. -_Vernon Neil_ Frank Connor. -_Billy Shepherd_ Richie Ling. -_Dorval_ Edouard Durand. -_Howard Locke_ Julian Little. -_Carrington McLiss_ Lee Millar. -_Tamburri_ M. Daniel Schatts. -_Roy_ } { Edwin R. Wolfe. -_Max_ } { Earle W. Grant. -_Edna_ } _Prof. Roland’s_ { Carree Clarke. -_Eleanor_ } Pupils. { Anna McNaughton. -_Marjorie_ } { Dorothy Ellis. -_Lina_ } { Annette Tyler. -_Messenger_ William Dixon. -_Delphine_ Isabel Irving. -_Maria_ Josephine Victor. -_Fanny Lamont_ Cora Witherspoon. -_Teresa_ Gertrud Morisini. -_Maid_ Alice Jones. - - - - -A REVIVAL OF “THE AUCTIONEER.” - - -An incident of the theatrical season of 1913-’14 which requires passing -record here is the revival by Belasco of “The Auctioneer,”--a play -which, in all essentials, was original with him and which for this -revival he again revised, making it somewhat more closely-knit and -effective than it was when first he brought forward David Warfield in -it. “The Auctioneer” was acted at the Knickerbocker Theatre, New York, -September 30, 1913, with the following cast: - -_Simon Levi_ David Warfield. -_Mrs. Levi_ Mrs. Jennie Moscowitz. -_Mrs. Eagan_ Marie Bates. -_Callahan_ Louis Hendricks. -_Isaac Leavitt_ Harry Lewellyn. -_Mrs. Leavitt_ Helena Philips. -_Meyer Cohen_ Harry Rogers. -_Mrs. Cohen_ Marie Reichardt. -_Mo Fininski_ Frank Nelson. -_Richard Eagan_ George LeGuere. -_Minnie_ Charlotte Leslay. -_Dawkins_ Horace James. -_Customer_ John A. Rice. -_Helga_ Janet Dunbar. -_Miss Manning_ Frances Street. -_Misses Crompton_ { Margaret Johnson. - { Maud Roland. -_Miss Finch_ Ethel Marie Sasse. -_Mrs. Smith_, a shopper Geraldine de Rohan. -_Policeman_ George Berliner. -_Chestnut Vendor_ Tony Bevan. -_Visitors_ { Watson White. - { Douglas Farne. - { Irving Laudeutscher. - { Frank L. Van Vlissingen. -_Man from Hester Street_ Michael Levine. -_Newsboys_ { Meyer Howard. - { Jess Kelly. - - - - -A MANIAC’S PLAY--“THE MAN INSIDE.” - - -A singular yet characteristic incident of Belasco’s career was his -production of a play called “The Man Inside,” written by a madman who -had been the central figure in one of the most notorious murder cases in -modern criminal annals,--Roland Burnham Molineux. That poor wretch is -the son of a much respected citizen, General Edward Leslie Molineux, who -gained rank and honorable distinction in the Union Army during the Civil -War. He was arrested, February 7, 1899, charged with the murder of Mrs. -Katherine J. Adams, who died, December 28, 1898, of poisoning by -cyanide of mercury, which she unwittingly swallowed mixed with a -medicine received through the mails and which it was alleged that -Molineux had prepared and sent. His trial began, November 14, 1899, -before Recorder (now Supreme Court Justice) John B. Goff and continued -for fifty-five days, ending, January 7, 1900, with his conviction of -murder in the first degree. On February 16 Recorder Goff sentenced -Molineux to death and he was then taken to the Sing Sing Prison, where, -for many months, he was incarcerated in the “Death House.” His case was -carried to the Court of Appeals and, October 15, 1901, he was granted a -new trial which began, before Justice Lambert, in Part--of the Supreme -Court, October 17, 1902, and ended, November 11, with his acquital,--an -issue which, at the time, was regarded by some persons as a miscarriage -of justice. The second jury which heard all the testimony, however, -found him not guilty and he therefore stands vindicated. Mrs. Adams, -meanwhile, certainly was murdered and the guilt of that crime has never -been legally placed. - -Throughout the ordeal of his trials, his condemnation, and his -imprisonment under sentence of death Roland Molineux was sustained by -the unwavering support of his devoted parents--his sturdy old father -resolutely maintaining the son’s innocence and laboring without -remission to establish it. The younger man’s health, however, was -hopelessly undermined by the dreadful strain to which he was subjected -and after his release he became ill and morose. In 1912 his parents -obtained an introduction to Belasco and appealed to him for help. “His -mother said to me,” writes the manager, “‘My boy’s life has been ruined. -His health is gone--he has never been the same since he was released -from prison. He has written a play which he believes will do great good -and he has set his heart on getting it acted. If he is disappointed in -this, on top of all the rest that he has suffered, we fear that he will -die. If his play should be a success it might open a new life to him. -Will you read it and help us, if you can?’ They told me other -things--dreadful and afflicting things some of them, that I need not -repeat. I had been tremendously impressed by General Molineux’s great -fight for his son; I felt a great sympathy and pity for them--and I -consented to read the young man’s play and to do it, if I found it -practicable. - -“When the manuscript came to me I found the piece long and crude, but I -saw possibilities in it and I told the parents I would produce it. Their -gratitude was very touching. Soon afterward, I met young Molineux, gave -him several interviews, and went to work to knock his play into shape. -At the beginning everything seemed all right and he accepted my first -cuts and suggestions in a proper spirit and worked hard. But toward the -end, along about August or September [1913], when I put the piece into -rehearsal and began to make extensive changes, he turned sullen and very -ugly. Sometimes, instead of working, he would sit and roll his eyes or -glare at me; and, what was very dreadful, he gave off a horrible, -sickening odor like that of a wild beast. I shall never forget the last -night I ever had him with me. He was furious because of the changes I -was making and I am sure he was going to attack me. Suddenly I stopped -arguing with him and, picking up a heavy walking stick, I said: ‘See -here, Molineux, stop looking at me like that; I’m not afraid of you. If -you had brought me a finished play instead of a lot of words I wouldn’t -have had to change your manuscript. Now, it’s hot and I’m tired, so -we’ll call the whole thing off for to-night and you can go home and -think it over.’ He pulled himself together then and tried to apologize -and say how much he appreciated all I was doing, but I wouldn’t have it -and just showed him out of my studio as quickly as I could--and I took -care _he_ should walk in front, all the way! There wasn’t another soul -in the place, except the night watchman, away down at the stagedoor. I -never let him come near me again.” - -When “The Man Inside” had been made ready for production Molineux was -permitted to attend the dress rehearsal in New York, during the first -act of which he was self-contained and quiet. But after the curtain had -been lowered he became so violently excited and created so much -disturbance that Belasco was constrained to order him to be taken out of -the theatre. “It was hard to do, but it had to be done,” he writes; “I -didn’t know whether to go on or drop the whole thing, and I really -expected the man would break out and kill somebody.” Molineux’s -unfortunate family and friends were, however, happily able to intervene -and restrain him and no act of violence was committed. On November 7, -1914, he was placed in the King’s Park State Hospital, Long Island, and -there he is still confined,--hopelessly insane. His brave, devoted old -father, worn out and heart broken, died, June 10, 1915: his mother, a -few months earlier. [Roland B. Molineux died, in the King’s Park State -Hospital for the Insane, on November 2, 1917, of paresis. There is no -doubt that he was a dangerous madman when first Belasco met him.--J. -W.] - -_The Man Inside_ of Molineux’s play is, symbolically, Conscience; and -the fundamental idea which it expounds is that Society errs in its -treatment of criminals, because crime cannot be prevented by punishment -but only by an effective appeal to the self-respecting moral nature and -“better self” of the criminal,--who must first be taught to “think -right” before he can be made to _do_ right. Sublime discovery! No -intimation is made as to what method Society ought to employ in -cases--unhappily numerous--of criminals who do not possess any “better -selves” and who cannot by any means, not even the threat of death, be -restrained from crimes which profit them or gratify their ruling -passions. There was, without doubt, an honest altruistic purpose in the -distempered, tortured mind of Molineux,--though, since he did not -possess the power to elucidate it, there is no need to dwell upon the -subject in this place. Belasco, having through kindness undertaken to -produce an ill-digested, “talky” and undramatic play, revised it as well -as possible in the circumstances, making of it a moderately effective -melodrama, dealing with crime and injustice. In that melodrama a -philanthropic young man, who is also an Assistant District Attorney of -the City of New York, resorts to the haunts of criminals in order to -ascertain, if possible, why they persist in crime in spite of efforts -to reclaim them. He there becomes deeply interested in a girl named -_Annie_, the daughter of a desperate forger known as _Red Mike_, and -also he becomes so incensed at the viciousness and cruelty of some -methods employed by the Police Department and officials from the -District Attorney’s Office to insure convictions of accused criminals -that he assists _Annie_ in the theft of a forged check, upon possession -of which the fate of her father depends,--thus himself becoming party to -a crime, and, later, participating in a general bath of “whitewash.” The -First Act of “The Man Inside” passes in an opium den of the New York -“Chinatown”; the Second, in the office of the District Attorney--with -the Tombs Prison visible through the window; the Third, in a squalid -tenement house. Belasco placed the play on the stage in a setting of -extraordinary verisimilitude and caused it to be acted in a well-nigh -perfect manner. It was first produced at the Euclid Avenue Opera House, -Cleveland, Ohio, October 27, 1913, and, November 11, was brought forward -in New York at the Criterion Theatre. Public interest in it, however, -was languid and it did not long survive. This was the original cast: - -_Mr. Trainer_ A. Byron Beasley. -_James Poor_ Charles Dalton. -_Richard Gordon_ Milton Sills. -_“Red” Mike_ A. E. Anson. -_“Big” Frank_ Edward H. Robins. -_“Pop” Olds_ John Cope. -_Josh Hayes_ John Miltern. -_Larry_ Joseph Byron Totten. -_“Whispering” Riley_ Lawrence Wood. -_Cafferty_ Erroll Dunbar. -_Clusky_ Jerome Kennedy. -_Wang Lee_ J. J. Chaille. -_Chong Fong_ H. H. McCollum. -_“The Major”_ Herbert Jones. -_Murphy_ Karl Ritter. -_Raleigh_ Charles B. Givan. -_“Frisco” George_ Joseph Barker. -_“Monk” Verdi_ J. A. Esposito. -_Annie_ Helen Freeman. -_Maggie_ Clare Weldon. -_Lizzie_ Gertrude Davis. - - - - -BELASCO IN CHINATOWN. - - -While Belasco was preparing “The Man Inside” for the stage he made -several expeditions into the “Chinatown” of New York, accompanied by -members of his staff and his theatrical company, in order that some of -the ways and denizens of that place--the very prose of the earth--might -be pictured with literal exactitude. On those occasions he and his -companions, including Mr. Gros, the scenic artist, were convoyed and -protected by an eccentric being once well known in the purlieus of vice -and crime, whose disreputable acquaintance he had made by chance and to -whom he had commended himself by kindness. Describing the last of those -insalubrious visits Belasco wrote the following characteristic letter to -the young woman who afterward played the principal female part in his -adaptation of the Molineux play: - - -(_Belasco to Miss Helen Freeman_.) - -“My dear Miss Helen:-- - - “We went on the postponed, and probably the last, trip into the - ‘underworld’ last night. It might have been useful to have had you - see it once more; but, on the whole, I think you have seen enough - for the purpose and am glad you weren’t along. Familiar as I am - with the sights of such places (and far worse, such as I used to - visit in old San Francisco) I found some of it last night rather - shocking. But as I promised to give you an account of this trip I - will write a little description of our adventures--which, perhaps, - you may find suggestive. - - “At half-past nine my boys [meaning some members of the technical - staff of the Belasco Theatre and two actors] and I met at the - stagedoor and left for Chinatown, where, by appointment, we met a - very ardent admirer of yours--Mr. ‘Chuck’ Conners, no less! Perhaps - one of the reasons why I like the man is because, in his - unpicturesque, rough, human fashion, he felt and expressed your - sweetness--the quality which will help you so much in this play, - and in all parts. I shall tell you more particularly what he said - about you presently, and if you will translate his primitive - speech into the finer shaded meanings of a cultivated man, I am - sure it will touch your heart as it did mine. But I must get to my - story.... - - “First we sat in the Chatham Club, and had a few ‘rounds,’--which I - had a hard time to avoid drinking. I don’t know what the others did - with theirs--I was too busy with my own troubles to watch! While - human beings put such stuff inside themselves I can’t wonder at - anything they do. While there, the girls came and did some - ‘ragtime’ for us. ‘Chuck,’ I must tell you, was dressed for the - occasion,--‘to kill,’--with a white ’kerchief about his neck and - _one_ shoe polished! The other was a characteristic contrast. We - listened to the same old stories and ‘our hero’ sang the same old - songs. Also, as aforetime, to punctuate his remarks he found it - necessary to _punch_ me in the ribs, and so to-day I find myself - more or less black and blue. The old pianola was set to the wildest - airs, and they had a new one, for our especial benefit, called ‘In - the Harem,’--which is so good that I am going to introduce it in - our play. Do you remember the big, tall girl, with the flat nose - and her poor teeth out? She was still sitting in her corner, more - forlorn than ever, and with her sad ‘lamps’ looking into my very - heart. I gave her another five dollars and told her that if I came - again I should expect to see her wearing a new pair of shoes,--for - her poor toes were peeping out of frayed stockings, through the - impossible boots, and it was all very sad. - - “Well, from there we went to the same old opium bungalows and the - same old ‘Chink’ ‘hit the pipe’ for us,--afterward, however, taking - us into a female ‘joint,’ where we saw several regular denizens of - the place. It is all part of the show; but I am glad Conners did - not take us to it when you and the other ladies were along.... One - of the women there had been a belle of Philadelphia: another, a - runaway wife. Gradually, they have slipped down the ladder of shame - and remorse, until their poor, wavering little hands could hold the - rungs no longer, and so they fell into that ‘Slough of Despond,’ - with the ‘pipe’ for their favorite companion. I was glad to get - away from it, for it made my heart ache. With infinite - understanding there would be infinite tolerance; and if we knew the - springs of action, the circumstances and environment, of these - poor, stray souls, perhaps we shouldn’t judge them very harshly. - - “But to return to my story: ‘Chuck’ was in his element. Never did I - know that such unmentionable slang, such mere depravity of phrase, - could come from human lips, although my experience has been a - varied one! The night you ladies were with us the ‘choicest gems’ - of his vernacular were bottled up: last night the cork was - drawn--with a vengeance! And yet, after all (though I’m glad you - did not hear him), it was only words. At heart, the man is kind and - generous, and he lives up to his code closer than many another who - has had every advantage. - - “Of course, he asked all about you. He said you were ‘Der real - t’ing,’ ‘der right stuff,’ ‘der whole cheese,’ etc. ‘Next day,’ - said he, ‘all der fleet wanted t’ know who der swell little skoit - was. “And,” I sez, “why dat’s der Princess Nicotine!” I sez.’ - - “He was anxious to know your opinion of him, and so I said that he - had made ‘a great hit’ with you. This pleased him mightily. I then - said that he ‘was tearing every skirt’s heart wide open!’ ‘Stop - dat--stop dat!’ he said; ‘Go ‘way back! She was kidding of yer!’ - - “We wound up by dining at the Chinese Delmonico’s on tea and rice - and chop suey. Of course, I ordered some, but not daring to eat it - I slipped my plate to ‘Chuck,’ whose chop-sticks soon made short - work of the concoction. He ordered _more_, afterward, and I wish - you could have seen his expression when he had at length reached a - stage of repletion and exclaimed ‘Hully gee! dis is goin’ some! I - wouldn’t change me feed-bag dis minute wif Rockefeller!’... - - “We parted with ‘Chuck’ about three in the morning. He escorted us - to the same old car, which was piloted by the same old chauffeur. - As we were leaving he blew me a kiss! ‘Hully gee!’ he said, ‘I - likes youse; an’ don’ yer ferget to tell de little skoit dat she’s - der _real t’ing_!’ We were about to start when he gave a yell that - frightened us and said he had forgotten something. He pulled the - enclosed book from his pocket and, using the chauffeur’s back as a - desk, wrote the inscription on the fly-leaf!... - - “The last act will soon be in final shape. Study hard, but don’t - over-do,--and everything will be all right. Good-night and good - luck. - -“Faithfully, -“DAVID BELASCO.” - - - - - - -AN ADMONITION TO STAGE ASPIRANTS. - -(_Belasco to a Recalcitrant Novice_.) - - -Another letter which Belasco wrote at about the same period as that -above quoted is characteristic and informative as to his views -concerning the Stage and stage aspirants and can conveniently be placed -here: - -“The Belasco Theatre. - -My dear Mrs. H.------:-- - - “It is not an easy task to write what I have to say, but it is time - that it should be written and understood. If I am to do for your - cousin, Miss V------, what I want to do and have hoped to do; if I - am to open the way for her to a career, she must be guided by me; - _my_ influence, not yours nor that of anybody else, must - predominate. The Stage is a harsh master. Real success on it does - not ‘happen’: it is _made_--made of striving and sacrifice and - self-denial and _hard work_. - - “What you do is, of course, no concern of mine and I have no wish - to meddle in anybody else’s business, having far more of my own - than I can properly look after. But I have every reason to think - that, if it were not for your influence, I might not have so many - causes to be dissatisfied with Miss V------. At present, my wishes - are not heeded by her. And so that we may all reach an - understanding, I want to say to you that I resent Miss V------‘s - recent conduct; that, in view of the fact that I have taken the - trouble to interest myself in her future as an actress, I resent it - _very much_, and will not any longer tolerate it. - - “If I am in some ways a strict master I am always a fair and - considerate one. But,--and please realize this,--in everything - connected with my theatre, from the waterboys in the smoking room - to the ‘star’ on the stage; from the carpets to be laid on the - floors to the plays that are produced, _I am the Master, and my - word is the absolute and final law_. - - “Miss V------ is a very young girl, who has seen very little of the - world. She is not only exceptionally talented but pretty, - attractive, and charming. Consequently she is admired by the idlers - who have time to kill in dangling after young women of the - Stage--and nothing better to do. Miss V------ is much sought after - by matrons who are ever on the look-out for pretty girls to attract - men to their dances and their ‘week-end’ visits. Such women care - nothing at all about a girl’s career or whether they ruin it or - not--and they will ruin it, every time, if the girl is weak or - foolish enough to be persuaded. Miss V------ likes this kind of - attention, which is natural, but it won’t do--not if she is to - remain with _me_. No big man or woman has time for frivolities; it - is either one thing or the other: we work and work and rise and - rise; or else we try to flutter through life on butterfly - wings--and then we fall by the wayside. - - “Miss V------ has, I am informed, been neglecting her duties at the - theatre. True, at present she has only the minor position of an - understudy; but she should at least be conscientious enough to - attend to its duties. She knows very well that she should keep Mr. - L------ informed of her whereabouts. She has no right, no excuse, - to go anywhere, or to be in any place, where he cannot reach her at - a moment’s notice, by telephone. An understudy is just a reserve - soldier, subject to instant call. If Mr. Dean had been well, of - course he would have attended to this matter of Miss V------‘s - neglect. But as it is, Mr. L------ has too many details to look - after. Her conduct is not fair to him, to say nothing of me, nor - does it show any proper respect for the theatre, for Miss V------ - so to ignore her obligations. Last evening, through an - indisposition, Miss------, whom she understudies, was nearly - obliged to remain away. If she had done so, the house would have - been dismissed, and Mr. L------ would have been discharged, through - her negligence. Have you any conception what it would mean to me to - disappoint an audience, _in my theatre_? - - “If Miss V------ is to remain under my guidance she must obey _my_ - wishes: not yours, or her own, or anybody else’s, but _mine_--at - all times and in everything. If she does not see fit to follow my - advice, I shall reluctantly leave her to her own resources. - Inasmuch as I have made myself responsible for her artistic - success, her mental and physical condition are matters of much - moment to me and I will not have them jeopardized as [they are] by - her present mode of life. Automobile rides, midnight suppers and - dances until daylight are all very well--but they are not conducive - to health. They are a sapping of the vitality which, if she wishes - to succeed, should be reserved for higher things.... - - “Do you realize that, for months past, I have given two nights a - week to Miss V------,--time and work that no money could buy and no - influence induce me to waste? _I_ realize it! I once refused a - fortune, a theatre in London and an endowment for life, in return - for which I was to give a popular actress what I have given Miss - V------ for nothing, simply because she has great talent and I have - believed in her. And I refused to direct that actress because I - knew she would never sacrifice her society life and pleasures for - her work. Understand, please; _I_ have a reputation to maintain, a - standard to live up to. Sickness, weariness, accident, trouble, - death--the Public does not want and will not take excuses. That is - not what they [it] comes into my theatre for. It comes to see the - best plays I can put on, acted by the best artists I can engage - and train. Miss V------ can be one of these, if she will pay the - price; if, like the women who have made a success of their lives - she can be strong enough to give up everything else, ‘for the love - of the working.’ Miss ------ did, and little Miss ------; otherwise, - they would not be where they are to-day.... - - If it is your intention for Miss V------ to make her _début_ in - society, with matrimony in view for her, then I suggest that you - and she be frank enough to let me know, so that I may make my plans - accordingly. Matrimony is a career with which _nothing else_ can - compete.... - - “I have been very lenient and have written at length and explained - myself, because Miss V------ is very young, and because I hold you - more to blame than I do her. But if I am to continue the moulding - of her artistic career it must be with the distinct understanding - that my wishes and my influence shall dominate, in everything. - - “If Miss V------ wishes to continue under my direction,--absolute - obedience, application, study, effort, and constant hard work are - the conditions. On the other hand, when you have read this letter - to her, she is at liberty to consider herself released from all - engagements to me if she so desires. - -“Yours faithfully, -“DAVID BELASCO.” - - - - - - -“THE PHANTOM RIVAL.” - - -“The Phantom Rival,” adapted by Leo Ditrichstein from an Austrian -original by Ferenc Molnar, postulates that a woman idealizes the man -whom she first loves and never forgets him; and, by presenting her -extravagant notions about him in a dream and then showing,--in an -individual case,--that he turns out to be a commonplace person, implies -that the ideals founded in youth and cherished by females in after life -are mistakes and absurd. It may be so. It probably is true that all -ideals of human perfection are unsound and even ridiculous. It certainly -is true that the longer we live and the more we see of human nature the -more disappointed we are, in ourselves as well as in others, till we -come at last to believe, as Lockhart wrote: - - “That nothing’s new and nothing’s true - And nothing signifies!” - -The “visible dream” is an old device of the theatre and a good one. It -was exceedingly well managed in this play--the only blemish, indeed, -being a certain effect of monotony which, being inherent in the dramatic -fabric, was ineradicable in the stage exhibition of it. The principal -persons in this drama, which centres around “the dream,” are an American -woman, _Mrs. Marshall_, and an Austrian, named _Sascha Taticheff_. In -youth they dwelt in the same Brooklyn boarding house. Propinquity had a -usual consequence. The girl, romantic, admired the youth and became fond -of him. The youth was flattered and reciprocated. Then, suddenly, he -went away, called back to his native land, taking a sentimental farewell -and writing a letter filled with ardent vaporings. Years have passed. -The girl has met and loved and married a successful American lawyer; -they dwell together; they would be happy, in a staid, conventional way, -were it not for the preposterous, boorish jealousy of the husband. He -suspects his wife of having had an earlier lover and he tortures himself -and her because of this suspicion, this paltry jealousy of “the phantom -rival” of a youthful attachment. And then, by chance, in a public -restaurant, _Taticheff_ and _Mrs. Marshall_, who is with her husband, -meet again. Scarce able to recall each other, they exchange formal bows. -Having returned to their home _Marshall_ badgers his wife about the -stranger in the restaurant until, exasperated, she admits that she once -knew _Taticheff_ and was fond of him; and, finally, she surrenders to -her husband, who reads it, the farewell letter of her youthful -sweetheart. The sentimental folly of that screed so amuses _Marshall_ -that he declares himself cured of his jealousy, speaks of the writer -with contempt, and, laughing heartily, goes out to a business -conference. The wife, incensed by this cavalier attitude toward the -object of her girlhood affection, rereads his perfervid protestations: -then, falling asleep, she has a dream in which her _Sascha_ returns to -her, at a fashionable ball, in, successively, the different characters -suggested by his letter:--first, as an all-conquering military hero; -then as a world-dominating statesman; next as a peerless singer, the -idol of two hemispheres; finally,--after she has been turned out of -doors by an indignant hostess because of the scandal of her conduct with -her multiform lover,--in the guise of a wretched, one-armed -street-beggar, upon whom her husband makes a furious assault, whereupon, -shrieking, she awakes. Then, her husband returning with the actual -_Sascha_ (who proves to be subordinately concerned with the business -which _Marshall_ has in hand), she is left alone with him. The interview -that then occurs between them is much the cleverest passage in the play. -The woman, rather forlornly, tries to discover in the man before her -some trace of the romantic glamour with which she had fancifully -invested him, but finds only a plebeian dullard, stupidly embarrassed, -inveterately selfish and petty, and much interested in her husband’s -brandy. At last, when she is relieved of his tiresome presence, she -drops his long-cherished letters into the fire and joins her husband in -his contemptuous amusement at her sentimental memories and the sorry -figure of his “phantom rival.”--Belasco’s preservation of an unreal, -dream-like atmosphere throughout the dream scenes of this play was -perfect. And, of the kind, nothing so good as the acting of Miss Laura -Hope Crews and Mr. Ditrichstein in the last scene of it has been visible -on our Stage for many years. “The Phantom Rival” was first produced, -September 28, 1914, at Ford’s Opera House, Baltimore: on October 6, it -was presented at the Belasco Theatre, New York. This was the original -cast: - -_Sascha Taticheff_ Leo Ditrichstein. -_Frank Marshall_ Malcolm Williams. -_Dover_ Frank Westerton. -_Earle_ Lee Millar. -_Farnald_ John Bedouin. -_Oscar_ John McNamee. -_Waiters_ { Louis Pioselli. - { Frank E. Morris. -_Louise, Mrs. Marshall_ Laura Hope Crews. -_Mrs. Van Ness_ Lila Barclay. -_Nurse_ Anna McNaughton. -_Maid_ Ethel Marie Sasse. - - - - -“THE BOOMERANG.” - - -It was an opinion of the philosophic Bacon that women “will sooner -follow you by slighting than by too much wooing.” That is an opinion -shared by many and one which observation perceives to be grounded on -fact: _some_ women _will_. It is the basic idea underlying the play by -Messrs. Winchell Smith and Victor Mapes, called “The Boomerang,” which -Belasco produced at his New York theatre, August 10, 1915,--and which, -slender as it is, has proved one of the most richly remunerative of all -his ventures. In that play a youth, _Budd Woodbridge_ by name, loves a -girl, _Grace Tyler_, so unreservedly that she finds him wearisome and is -inclined to repel his devotion and bestow her affections upon another -youth. Young _Woodbridge_ so peaks and pines under his mistress’ disdain -and the pangs of juvenile jealousy that his mother fears that he is -passing into a decline and insists on his consulting a physician. That -physician, _Dr. Gerald Sumner_, finds the young man depressed, -irritable, and in extreme nervous distress. He questions him shrewdly -and soon ascertains the nature of the distemper for which he is desired -to prescribe. He rather cynically undertakes to cure the youth and his -directions are obeyed. His patient is sent home and put to bed; a daily -hypodermic injection is ordered of a mysterious, vivifying serum (in -fact, water), and a young woman nurse, beautiful and peculiarly kind and -sympathetic, is employed to administer the injection and to amuse and -cheer the unhappy sufferer, who is obediently responsive to her angelic -ministration. The capricious _Miss Tyler_, seeing her adorer apparently -succumbing to the fascinations of the lovely nurse and finding herself -rather slighted off, discovers that she cannot live without him and -_Woodbridge’s_ amatory anguish is soon in a fair way to be assuaged. The -relevancy of the title of this farce, “The Boomerang,” is revealed in a -dictionary comment on that implement of Antipodal warfare which declares -that: “in inexperienced hands the boomerang recoils upon the thrower, -sometimes with very serious results.” This is illustrated by the fate of -_Dr. Sumner_, who, having been scornful on the subject of love and -jealousy, becomes violently enamoured of the charming nurse and for a -time suffers much because of her affectionate tendance upon his -patient,--until, at last, he learns that her regard is really fixed upon -himself. - -This play was designated as a “comedy,”--and, if Dr. Johnson’s -definition of a comedy as something to make people laugh be accepted, -that definition is plausible. The piece is, in fact, a farce and, in my -judgment, rather a slight one; but it was so exquisitely stage-managed -and so admirably acted that it passed for being something far more -substantial and worthy than, intrinsically, it is. With the view that it -is slight and merely ephemeral Belasco emphatically disagrees. “I -maintain,” he has declared to me, “that ‘The Boomerang’ has a vital -theme, of universal appeal, no matter how much you may ridicule it: I -mean Calf Love. Everybody has had it--and, while it lasts, it’s -terrible. No matter how much we may laugh at the boys and girls -suffering from juvenile love and jealousy, we sympathize with them, too. -That’s why everybody in the country wants to see our little play--why -men and women have stood in line all night (as they have done in many -places) to buy tickets for the performance. I believed in the little -piece from the very first. I wish I knew where to get another as good!” - -One of many scores of letters received by Belasco, commendatory of this -play and its exemplary presentment, came from perhaps the most generous -of contemporary patrons of the Theatre and it may appropriately be -quoted here: - - -(_Otto H. Kahn to David Belasco._) - -“52 William Street, New York, -“November 8, 1915. - -“Dear Mr. Belasco:-- - - “I need not tell you that I have frequently and greatly admired - your art and skill, but there are gradations of achievement even in - an acknowledged master and, having just seen your latest - production, ‘The Boomerang,’ I cannot refrain from sending you a - few lines of particularly warm appreciation and congratulation. - Nothing is more difficult in art than to produce great effects with - simple means, to do a simple thing superlatively well. Nothing is - more rare in art than restraint. Nothing is a greater test of the - art of the producer than to maintain throughout an entire evening - the atmosphere, the illusion and the effect of comedy, unaided as - he is by either the stirring incidents of drama or the broad appeal - of farce. Your wisdom in picking out one of the very best and most - genuine comedies that I have seen in many a day, your judgment in - providing an admirable cast, and your skill and art in producing, - have combined to bring about the most happy result, and I owe you - thanks for that rare treat, a wholly delightful evening at the - theatre, unmarred by any jarring note. - -“Believe me, -“Very faithfully yours, -“OTTO H. KAHN.” - - - -“The Boomerang” was originally produced at The Playhouse, Wilmington, -Delaware, April 5, 1915. This was the cast: - -_Dr. Gerald Sumner_ Arthur Byron. -_Budd Woodbridge_ Wallace Eddinger. -_Preston de Witt_ Gilbert Douglas. -_Heinrich_ Richard Malchien. -_Hartley_ John N. Wheeler. -_Mr. Stone_ John Clements. -_Virginia Xelva_ Martha Hedman. -_Grace Tyler_ Ruth Shepley. -_Marion Sumner_ Josephine Parks. -_Gertrude Ludlow_ Dorothy Megrew. -_Mrs. Creighton Woodbridge_ Ida Waterman. - - - - -“SEVEN CHANCES.” - - -“Odds life, sir! if you have the estate, you must take it with the live -stock on it, as it stands!” exclaims _Sir Anthony Absolute_, in “The -Rivals,” to his son, when mentioning that his proffer of “a noble -independence” is “saddled with a wife.” Such arbitrary bestowal of -wealth contingent on matrimony--frequent in actual experience--is one of -the best established and most respected expedients of comical stage -dilemmas, and it recurs, at intervals, in one form or another, with much -the inevitability of death and taxes. It is the basis of another -entertaining farce, called “Seven Chances,” which Belasco produced at -the George M. Cohan Theatre, New York, August 8, 1916, and which also -enjoyed a long and prosperous career. That farce was built on a -“suggestion” derived from a short story by Mr. Gouverneur Morris, -entitled “The Cradle Snatcher,” and, originally, it was called -“Shannon’s Millions.” It was several times rebuilt, under Belasco’s -supervision,--Mr. Roi Cooper Megrue being the last of his coadjutory -playwrights. It was produced, April 17, 1916, at the Apollo Theatre, -Atlantic City, New Jersey, under the name of “The Lucky Fellow.” Its -comical incidents revolve around _Jimmy Shannon_, an amiable young -bachelor with a vigorous antipathy to matrimony, whose sardonic -grandsire, dying, leaves to him by will a fortune of twelve million -dollars, conditional upon his being married by the time that he is -thirty years old. _Shannon_ is informed of that contingent bequest on -the eve of his attainment of the specified age. He is at a Country Club -where, also, there are seven young women. “The affair cries haste and -speed must answer it.” The impecunious _Shannon_ will propose marriage -to each one of those females, if necessary: thus he has “seven chances” -of obtaining the impendent fortune,--which, at last, he gets, along with -a bride so young and beauteous as to reconcile him to the imposed change -in his state. The opportunities for fun in all this are obvious; -critically to dilate upon them would be much like breaking a butterfly -on the wheel. They were utilized to the full under Belasco’s direction -by a good company,--the parts being cast as follows: - -_Jimmie Shannon_ Frank Craven. -_Billy Meekin_ John Butler. -_Earl Goddard_ Hayward Ginn. -_Ralph Denby_ Charles Brokate. -_Joe Spence_ Frank Morgan. -_Henry Garrison_ Harry Leighton. -_George_ Freeman Wood. -_Anne Windsor_ Carroll McComas. -_Mrs. Garrison_ Marion Abbott. -_Lilly Trevor_ Anne Meredith. -_Peggy Wood_ Emily Callaway. -_Irene Trevor_ Beverly West. -_Georgiana Garrison_ Gladys Knorr. -_Florence Jones_ Florence Deshon. -_Betty Brown_ Alice Carroll. - - - - -“THE LITTLE LADY IN BLUE”: THE LAST PLAY EVER SEEN BY WILLIAM WINTER. - - -[The last play ever seen by my father was “The Little Lady in Blue,” -which Belasco produced on October 16, 1916, in Washington, and, on -December 22, at the Belasco Theatre, in New York. It is a very agreeable -piece, with a somewhat trite but expertly handled story. The period of -it is 1820. The scene of it is England. The principal character in it is -named _Anne Churchill_. She is an impoverished little governess who sets -out to be an adventuress. She wins the affection of a wild young naval -officer named _Anthony Addenbrooke_., incidentally rescuing him from the -clutches of a much bepainted Circe of the Portsmouth waterfront. Next -she helps him to meet the conditions under which he will inherit -£60,000, intending to marry him for the sake of that money. Then she -discovers that she really loves him, she is ashamed of her conduct, and -she cannot go through with the part of a mercenary adventuress. She -confesses to _Addenbrooke_ the real origin of her interest in his -affairs and releases him from his engagement to marry her. Being -recognized as an earthly paragon she is not permitted to retire into -indigence but is wedded to her lover, who has gained a lieutenant’s -commission through her assistance and is about to sail away to fight for -King and country.--The piece was written by Messrs. Horace Hodges and T. -Wigney Percyval. - -My father was unable to attend the first New York performance of that -play, and his work on this Memoir prevented his seeing it until several -weeks later. In his “Journal” he wrote: - - [1917] “February 8. More damnable peace blather!--Belasco kindly - invited us to visit his Theatre and sent his automobile for us, and - ‘Willy’ and I went and saw performance of ‘The Little Lady in - Blue,’--a pleasing entertainment.” - -Two days afterward Mr. Winter wrote the following letter, which records -his critical views of the production. - ---J. W.] - - -(_William Winter to David Belasco._) - -“New Brighton, Staten Island, -“February 10, 1917. - -“Dear Belasco:-- - - “It was indeed a pleasure to see, at your theatre, the play of ‘The - Little Lady in Blue.’ It is long since I have so much enjoyed - anything. The rightly conducted Theatre still remains to me what it - always was--the home of that magic art which cheers the loneliness - of life and opens the portal into an ideal world. Alas, that it is - not more generally conducted for such a purpose! ‘The Little Lady’ - can hardly be considered _a play_; but, as you have presented it, - it is a charming entertainment--a whimsical, almost grotesque, - portrayal of eccentric characters and incredible incidents, which - are made to _seem_ real, for the moment by the glamour of the - Stage. Since the plot is so frail, I was all the more surprised and - delighted that so much interest could be excited and sustained and - so much pleasure diffused by the histrionic treatment of a theme so - slender. You have set the play on the stage in an exquisite manner, - and it is acted throughout with a scrupulous care and zeal that, in - recent years, I have seldom seen equalled. It is easy to ridicule - such quaint, fantastic, almost dream-like pieces. As Frederick - Locker wrote: - - ‘We love the rare old days and rich - That poetry has painted; - We mourn that sacred age with which - We never were acquainted!’ - - “But they have a potent charm, a sort of mignonette and wild-thyme - fragrance, a power to touch the gentler feelings and soothe the - mind, and so they are precious. - - “There is one blemish that should be removed--namely, the character - of _A Girl of Portsmouth Town_: it adds nothing to the situation, - and it is only a blot on the delicacy of the play. - - “I am glad to know the production is prosperous: it deserves to - be--and it ought to fill your theatre for months, and I hope it - will. - -“With kind regards, -“Faithfully yours, -“WILLIAM WINTER.” - - - -The cast of “The Little Lady in Blue appended: - -_Admiral Sir Anthony Addenbrooke_ A. G. Andrews. -_Anthony Addenbrooke_ Jerome Patrick. -_Captain Kent, R. N._ Frederick Graham. -_Joe Porten_ Horace Braham. -_Baron von Loewe_ Carl Sauerman. -_John Speedwell_ Charles Garry. -_Cobbledick_ George Giddens. -_A Waiter_ Adrian H. Rosley. -_A Process Server_ Harry Holiday. -_Landlord of the Portsmouth Inn_ Roland Rushton. -_Anne Churchill_ Frances Starr. -_Miss Quick_ Lucy Beaumont. -_A Girl of Portsmouth Town_ Eleanor Pendleton. - - - - -“THE VERY MINUTE”--A MEMORANDUM. - - -_Memo._--David produced a new play called “The Very Minute” last Monday -night [April 9, 1917], at his N. Y. theatre, with Mr. Arnold Daly in the -principal part. All about bad effects of drinking too much liquor, &c. -Novelty--striking! Good old Towse calls it “a shallow pretence of a -serious play” and says it is a “nightmare.” Commends D. B.’s “meticulous -attention to the material and manner of production.” Also commends A. D. -for “moments of _powerful_ acting.” Well--he was there and I was not; -but how A. D. must have changed! _I_ never saw any more “power” in him -than there is in a pennywhistle. Used to have a sort of _sonsy_ quality -that was pleasing. Competent in a commonplace way: unusual -assurance--great conceit. Knows his business--generally _definite_, -which is a merit. Disagreeable personality. Head turned with vanity. And -nothing really IN him--that ever _I_ could see. - -This play written by John Meehan. Young man, said to be related to me by -marriage. I never met him and do not know. Suppose I must see his play -and write about it. Don’t want to! “What, will the line stretch out to -the crack of doom?” Where do they [plays] all come from, I wonder? Hope -David has got another success, but surmise it’s an awful frost,--as -’twere “the very _last_ minute of the hour,” I fear. Wish he would stop -producing plays altogether until after I get through writing this -“Life”! - -[“The Very Minute” was first acted at The Playhouse, Wilmington, -Delaware, April 5, 1917: it was “an awful frost,” as my father surmised, -and it was withdrawn on May 7--the Belasco Theatre being then -closed.--J. W.] This was the cast: - -_Horace Cramner_ Forrest Robinson. -_Mrs. Cramner_ Marie Wainwright. -_Francis Cramner_ Arnold Daly. -_Kathleen_ Cathleen Nesbitt. -_Philip Cramner_ William Morris. -_Mr. Husner_ John W. Cope. -_Dr. Monticou_ Lester Lonergan. -_Robert_ Robert Vivian. -_Bennett_ Leon E. Brown. - - - - -SUMMARY. - -[The various passages in the following “Summary” of the character and -career of Belasco were written disjointedly. They are here gathered and -arranged in what appears to be their natural sequence,--as nearly as I -can judge in the order in which Mr. Winter would have placed them. In -two or three instances an unfinished sentence has been completed and -here and there an essential word or two has been inserted or added. -Otherwise the matter stands unrevised: I have not attempted to write -connecting passages.--J. W.] - - “_Not fearing death nor shrinking for distress,_ - _But always resolute in most extremes._” - --SHAKESPEARE. - - -The estimate that observation forms of a person still living cannot -always be deemed conclusive: the person can invalidate it, in an -instant, by some sudden action, some unexpected development, some -surprising decadence; and, as a general rule, it should be remembered -that no person is ever completely - -[Illustration: DAVID BELASCO - - Inscription: - - “_To my friend of many years, William Winter._” - - From a photograph not before published--by the Misses Selby. - - Author’s Collection. -] - -comprehended by anybody. We have glimpses of each other; but, -practically, each individual is _alone_. In the most favorable -circumstances, accordingly, no life can be more than approximately -summarized until the record is complete--perhaps not even then. It was -perception of this fact that caused the old grave-digger of Drumtochty -to declare that there is no real comfort in a marriage because nobody -knows how it will turn out; whereas there is no room for solicitude -about a funeral, because, at all events, the play is over. David -Belasco, although he begins to see the shadow of the Psalmist’s -threescore years and ten, is still in the full vigor of life; he is, -indeed, the most powerful, vital influence now [1917] operant in the -English-speaking Theatre,--Herbert Beerbohm-Tree, in London, being his -only competitor,--and (as I hope and believe) is approaching the highest -achievements of his long, varied, and brilliant career, which there is -reason to expect will continue for many years.... - -Actors, it has been noted, who are actors only, often are remarkably -long-lived. Men who attain eminence in theatrical management,--whether -they be also actors or not,--seldom are so: Sir William Davenant died at -sixty-two; Garrick at sixty-one; John Kemble at sixty-six; Thomas S. -Hamblin at fifty-one; Charles Kean at fifty-seven; Benedict De Bar at -sixty-three; John McCollough at fifty-three; Lester Wallack at -sixty-eight; Lawrence Barrett at fifty-two; Edwin Booth at sixty; John -T. Ford at sixty-five; Augustin Daly at sixty-one; A. M. Palmer at -sixty-seven. Garrick had been three years in retirement when he died; -Kemble, six; Kean, nearly one; Booth, more than two; Palmer, five. -Belasco’s career has already extended over a period of forty-six years -and, excepting Wallack, he is now older than any of those men were when -their professional labors ended,[7]--yet there is in him none of the -dejection of age; none of the despondency of fatigue; no abatement of -his ambitious purpose, resolute enterprise, and amazing energy; no sign -of that forlorn loneliness which often settles on the mind as friends -die, things alter and long familiar environment drifts away, the old -order changing and giving place to new. On the contrary, his health is -excellent, his mind virile, his courage high, his spirit cheerful, and -in every way he shows as indeed “strong in will to strive, to seek, to -find, and not to yield.” It is, therefore, a specially difficult and -dubious task to attempt to make at this time a summary of his character, -life, and labor. But if another of the abrupt and lamentable -bereavements of the Stage which it has so often been my task to -chronicle and estimate should befall at this time; if, suddenly, now, -while all around seems bright and full of life and hope, mortality’s -strong hand should close upon Belasco and I should be required to write -of him as of one whose work was finished and who had “bid the world -good-night,” I should write in these words: - -From the beginning and until the end David Belasco was an embodiment of -high ambition, zealous enterprise, resolute endeavor, and patient -endurance. He did not drift into his career--he selected it. His natural -proclivity for the Theatre was irresistible; in youth his aspiration was -to reach a dominant place in that institution; all his early life was -spent in arduous toil to equip himself for the eminence at which he -aimed; through long years, in which he became well acquainted with -bitter strife and grievous disappointment, he never lost hope or -faltered in the purpose which at last he achieved,--supremacy in the -American Theatre. He was a rare and vivid personality; an extraordinary -and many-sided man; the natural successor of Lester Wallack, Edwin -Booth, and Augustin Daly as the leading theatrical manager of America; -and, in the English-speaking world, he was absolutely the last of the -managers who, personally, were important and interesting. His place will -not be filled. It has been said of David Belasco that he was a “posing -and posturing charlatan.” That harsh censure is the tribute of envy to -merit and it is as unjust as it is mean. His nature was impetuous, his -temperament was intensely dramatic, his sensibility was extreme, the -tone of his mind was at times exuberant and florid, and, consequently, -his language and his conduct were sometimes extravagant. He, also, -understood the uses of advertising; he was occasionally over-solicitous -as to public opinion; he possessed a full share of very human, almost -childlike, vanity, and certainly he managed the public as well as the -Theatre. But his devotion to the dramatic calling was true, passionate, -and entire and to it he gave his life: he never desired retirement and -never thought of it. The secret of his success--if any secret there -be--was his inveterate determination, indefatigable labor, and profound -sincerity of purpose. If the public poured great wealth into his hands -(as it did), he never spared wealth, labor, and time--toilsome days and -sleepless, care-full nights--to give the public in return the very best -there was in him and to make that best as good as it could be made. He -was a master of every detail of his vocation and, alone among American -theatrical managers of the past twenty years, he understood and -practically recognized that Acting is a Fine Art and not merely a -business. The main result at which he aimed was always good plays, -correctly set and superbly acted. If that result was not always attained -by him, neither has it always been attained by any other worker of the -Stage,--not since “Roscius was an actor in Rome.” While judgment and -taste must deplore his production of “Zaza” and “The Easiest Way” -justice and candor must concede his right to be remembered by the best -and most influential of his works, which comprehend an amazing variety -of subjects and of merit, ranging, for example, from “May Blossom” to -“Peter Grimm,” from “Men and Women” to “Sweet Kitty Bellairs,” from “The -Heart of Maryland” to “The Music Master,” from “The Charity Ball” to -“The Girl of the Golden West,” from “The Girl I Left Behind Me” to -“Adrea,” from “Lord Chumley” to “Madame Butterfly,” from “The Darling of -the Gods” to “A Grand Army Man,” and which, first and last, deal with -most of the great elemental experiences of human life. - - * * * * * - -The sentiment of patriotism is a sublime and lovely sentiment, but it -cannot be nurtured by self-deception, by vainglorious boasting and -sycophantic adulation. There is far too much talk about our superiority -as a people and far too little thought about means of making that -alleged superiority actual. We are hearing much, and we shall hear more, -about the spiritual exaltation and the fine idealism which has recently -carried us into the Great War,--but such talk is not honest. We had as -much reason to enter the War in 1915 as we had in 1917. We have entered -it, primarily, from self-interest, for self-defence,--to fight now, in -Europe, in order that we need not fight, hereafter, in America. Let us -be honest and outspoken about our course. It is idle to seek, as some of -his “very articulate” political opponents and detractors do, to lay the -blame of our unworthy delay on Woodrow Wilson (one of the great men of -modern times) or on any other man or group of men. The blame rests -squarely on the people of the United States as a nation. The spirit of -our country is and long has been one of pagan Materialism, infecting all -branches of thought, and of unscrupulous Commercialism, infecting all -branches of action. Foreign elements, alien to our institutions and -ideals as to our language and our thought,--seditious elements, -ignorant, boisterous, treacherous, and dangerous,--have been introduced -into our population in immense quantities, interpenetrating and -contaminating it in many ways: in the face of self-evident peril and of -iterated warnings and protests, immigration into the United States has -been permitted during the last twenty years of about 15,000,000 -persons--including vast numbers of the most undesirable order. We call -ourselves a civilized nation--but civility is conspicuous in our country -chiefly by its absence. Gentleness is despised. Good manners are -practically extinct. Public decorum is almost unknown. We are -notoriously a law-contemning people. The murder rate--the _unpunished_ -murder rate--in our country has long been a world scandal. Mob outrage -is an incident of weekly occurrence among us. Our methods of business, -approved and practised, are not only unscrupulous but predatory. Every -public conveyance and place of resort bears witness to the general -uncouthness by innumerable signs enjoining the most elemental -decency--and by the almost universal disregard of the enjoinments! Slang -and thieves’ argot is the prevalent language of the people and there is -scarcely a periodical or a newspaper in the land which does not exhibit -and promote the corruption of good manners diffused by that evil -communication,--while the publicist who dares to record the facts and -censure the faults is generally stigmatized as a fool or ridiculed as a -pedant. The tone of the public mind is to a woful extent sordid, -selfish, greedy. In our great cities life is largely a semi-delirious -fever of vapid purpose and paltry strife, and in their public vehicles -of transportation the populace--men, women, and young girls--are herded -together without the remotest observance of common decency,--mauled and -jammed and packed one upon another in a manner which would not be -tolerated in shipment of the helpless steer or the long-suffering -swine.... - -If true civilization is to develop and live in our country, such -conditions, such a spirit, such ideals, manners, and customs as are -widely prevalent among us to-day, must utterly pass and cease. The one -rational hope that they will so disappear lies in disseminating -EDUCATION,--not merely schooling, imperative as that is; but, far more, -a truer and higher education imparted by the ministry of beauty; -education which recognizes that material prosperity and marvellous -discoveries of science are not ultimate goals of human pilgrimage but -mere instruments to be used in spiritual advancement; the inspiration -of noble ideals, gentleness, refinement, and the grace of manners; -cheerful courage, resolute patience, and the calm of hope. For that -education Society must look largely to the ministry of the arts and, in -particular, to the rightly conducted Theatre,--an institution -potentially of tremendous beneficence.... - -Few managers have been able to take or to understand that view of the -Stage. David Belasco was one of them. It is because his administration -of his “great office” has been, in the main, conducted in the spirit of -a zealous public servant; because for many years he maintained as a -public resort a beautiful theatre, diffusive of the atmosphere of a -pleasant, well-ordered home, placing before the public many fine plays, -superbly acted, and set upon the stage in a perfection of environment -never surpassed anywhere and equalled only by a few of an earlier race -of managers of which he was the last, that David Belasco has, directly -and indirectly, exerted an immense influence for good and is entitled to -appreciative recognition, enduring celebration, and ever grateful -remembrance. And, though on the two occasions when I differed with him I -vigorously opposed his course, it is a comfort to reflect that nothing -ever chilled our friendship and that all that could be done to sustain -and aid his great and worthy purpose and to cheer his mind was done -while he could benefit by it.... - - * * * * * - -Among American theatrical managers David Belasco was long unique,--the -sole survivor, exemplar, and transmitter of an earlier and better theory -and practice of theatrical management than is anywhere visible now. When -he came to New York, to the Madison Square Theatre, representative -theatre managers of our country were Lester Wallack, Augustin Daly, John -T. Ford, Samuel Colville, Dion Boucicault, J. H. McVicker, R. M. Hooley, -Henry E. Abbey, Montgomery Field, and A. M. Palmer, and our Stage was -dominated and swayed by the influence of those men and of such players -as John Gilbert, Joseph Jefferson, William Warren, Charles W. Couldock, -Edwin Booth, Lawrence Barrett, W. J. Florence, Tommaso Salvini, Fanny -Janauschek, Helena Modjeska, Ada Rehan, Mary Anderson, Henry Irving, and -Ellen Terry. When, in 1895, Belasco first successfully struck out for -himself, great changes had taken place and greater ones were impending. -When, in 1902, he at last succeeded in establishing himself -independently, in a theatre of his own, it was in almost a new world -that he did so! Colville, Wallack, Ford, Boucicault, - -[Illustration: - -Photograph by William S. Page. Belasco’s Collection. - -BELASCO AT ORIENTA POINT--SUMMER HOME OF HIS DAUGHTER, MRS. GEST] - -McVicker, Hooley, Abbey, Daly, Field, Gilbert, Barrett, Florence, -Booth,--all were dead. Mansfield had made his ambitious venture in -theatre management and had utterly failed in it: Irving had lost the -Lyceum in London and was nearing the end of his life: Salvini and Mary -Anderson had left the Stage: Jefferson retired within eighteen months -and soon after died: Modjeska and Ada Rehan were in broken health, their -careers practically closed. Fine actors were visible and, here and -there, splendid things were being done: the histrionic fires have never -yet been wholly extinguished. But actors and men truly comprehensive of, -and sympathetic with, actors no longer controlled the Theatre: that -institution had passed almost entirely into the hands of the so-called -“business man,”--the speculative huckster and the rampant -vulgarian,--and the prevalent ideal in its management was that of the -soap chandler and the corner-grocery. The men who chiefly dominated the -Theatre in the period of fifteen years since Belasco’s establishment in -the metropolis,--with many of whom he was long righteously and bitterly -at variance,--were Charles Frohman, Al. Hayman, A. L. Erlanger, Marc -Klaw, Samuel Nirdlinger, J. F. Zimmermann, William Harris, George C. -Tyler, William A. Brady, Henry B. Harris, Lee Shubert, J. J. Shubert, -George M. Cohan, and Al. H. Woods. - -There is not one of those men, his later contemporaries, with whom it is -possible properly to compare Belasco. _He_ was an artist, a dramatist, -an authentic manager actuated by a high purpose and one who exerted a -profound influence on the Theatre of his period. _The others_--though -several of them have manifested various talents--all belong in the -category of mere showmen,--speculators in theatrical business, and, save -for the bad influence fluent from some of them, they are of no more -interest or importance than so many “eminent brewers” or celebrated -purveyors of tallow and pork. - -One of the managers named, however, by reason of exceptional energy and -shrewdness and by dint of incessant self-advertising, became and long -continued to be the most conspicuous figure in the theatrical field. -That manager was Charles Frohman, and because Belasco and he were -personal friends and personal enemies, because they were professional -associates and, in a business sense, professional rivals during many -years, it is inevitable that the student of the theatrical period from -1885 to 1917 should attempt to make some comparison of them. That -renders an estimate of Frohman desirable here.... - -Charles Frohman was born at Sandusky, Ohio, June 17, 1860, and he lost -his life in the sinking of the Lusitania, May 7, 1915. He entered the -theatrical business, as an “advance agent,” in January, 1877, and he -remained in it until his death. He was honest in his dealings, amiable -in his domestic and social relations, benevolent toward the poor, highly -popular among his friends, able and energetic in business affairs, a -gambler by temperament, and of a self-poised, resolute character. His -management of the Theatre, however, was injurious, both to that -institution and to society. He assisted to commercialize and thus to -degrade the Stage. His policy was distinctly and unequivocally expressed -by himself, in these words: “I keep a Department Store.” That is -precisely what he did, and that is precisely what no manager has a right -to do,--while claiming _to exercise an intellectual power and foster a -great art_. The man to whom Oofty Gooft and Edwin Booth, “Shenandoah” -and “Hamlet,” “Hattie” Williams and Helena Modjeska, “The Girl from -Maxim’s” and “Alabama,” and so following, are all alike--mere theatrical -commodities of commerce to be exploited as such--may be “a man of his -word,” an honest tradesman, a genial companion, a dutiful son, an -affectionate brother, a loyal friend, generous in prosperity, -unperturbed in adversity and expeditious in transaction of -business,--but he is not and he never can be a true theatrical manager. - -In the “Life” of Charles Frohman--by his brother Daniel (a man of far -higher ability) and another writer--some informative utterances by him -are quoted,--utterances which reveal and establish the quality of his -mind more unmistakably than whole chapters of analysis could do. This is -one of them, imparting his view of the greatest poet and dramatist that -ever lived and of the consummate tragedy of youthful love, “Romeo and -Juliet”: - - “‘Nonsense!’ exclaimed Frohman. ‘Who’s Shakespeare? He was just a - man. He won’t hurt you. I don’t see any Shakespeare. Just imagine - you’re looking at a soldier, home from the Cuban war, making love - to a giggling schoolgirl on a balcony. That’s all I see, and that’s - the way I want it played. Dismiss all idea of costume. Be - modern.’”--The tragedy was acted in the manner he desired. - -Charles Frohman was simply a wholesale dealer in theatrical produce. He -“made” many “stars”--“stars” being a commodity requisite in his business -and for the manufacture of which he expressed a strong liking. He never -made an actor. There was nothing of importance accomplished in the -Theatre through his activity that would not have been accomplished -equally well if he had never been born. As far as the Art of the Theatre -is concerned he stands in about the same relation to such men as -Wallack, Daly, and Belasco as a maker of chromo-lithographs does to -Corot or Inness. - - * * * * * - -Belasco was a good fighter--resourceful, courageous, pertinacious. He -never forgot a kindness nor an injury,--yet bitter and, to a certain -point vindictive, as his resentment of injury unquestionably was, he -could easily be placated and he was instantly amenable to any appeal to -his kindness of heart. I well remember one occasion on which I chanced -to be with him and other friends (it was the last night of the run of -“The Darling of the Gods,” May 30, 1903) when he was called away by an -urgent appeal. He presently returned and, speaking aside with me, -informed me that the message had been from a person widely known among -journalists and actors as one of the vilest creatures that ever -scribbled slander about decent men and women for the blackguard section -of the press and one who had done him great wrong and injury. “And now,” -Belasco said, “he comes to _me_--appealing for help!” “What have you -done?” I asked. “What could I do?” he answered: “The man is in the -gutter--friendless--penniless--starving. I couldn’t refuse him--now, -could I? I gave him what he asked for.” That incident is significantly -characteristic.... - - * * * * * - -Upon David Belasco’s ability as an actor I can give no judgment, never -having seen him act: he seldom appeared on the stage after 1880, and he -did not come to New York until 1882. He played more than 170 parts -between 1871 and 1880, and it is obvious that his early, continuous, and -practical experience in acting and in observation of the dramatic -methods and the stage business of many actors, of all kinds, as well as -of the practice of some of the best stage managers ever known in -America, must have largely contributed to the brilliant efficiency in -direction for which he was remarkable. No more capable, resourceful -mechanician has appeared in the modern Theatre.... - -Belasco was a great stage manager because he possessed a comprehensive -knowledge of human nature and human experience and an equally -comprehensive knowledge alike of scenery (including stage lighting) and -of acting; a dramatic temperament; clear insight; almost inexhaustible -patience; ability to impart knowledge, and the rare and precious faculty -of eliciting and developing the best that was in the actors whom he -directed. It was the latter attribute that made him unique among stage -managers of the last twenty years or so: the general custom of that -pestiferous animal “the stage producer” is to thrust upon actors an -arbitrary ideal of character.... - -Belasco possessed, moreover, exceptional understanding of the traits of -actors: he knew their vanity and sometimes almost intolerable conceit, -their often paltry purposes and petty ways; likewise he knew and deeply -sympathized with their fine and lovable qualities,--the noble ambitions -by which sometimes they are actuated, their often forlorn hopefulness, -their courage under disappointment, their restless impulse toward -_expression_, their honest longing for opportunity and recognition, -their peculiarities, foibles, and sensibility, and he possessed and -exercised extraordinary judgment, consideration, and tact in the control -of them.... - - * * * * * - -Being human, Belasco possessed faults and made mistakes: being -successful, he never lacked for censurers to point out the one or, with -gleeful malice, to celebrate the other. He was weak by reason of an -inordinate craving for approbation and by reason of an excessive -amiability: rather than inflict the pain of immediate disappointment he -sometimes foolishly temporized in dealing with importunate persons, -thus, at last, incurring their bitter resentment and enmity because of -what they mistakenly though naturally deemed his insincerity. But, in -every respect, his virtues far exceeded his faults, his strength his -weakness, and his rectitude his errors: he was an extraordinary man, -worthy of public esteem and honor, and, in private, most loved by those -who knew him best. As the years speed away and the great place he filled -in the Theatre of his time, and the great void which his passing must -make, become rightly appreciated, those whose detraction followed David -Belasco may admit their injustice: - - “They that reviled him may mourn to recover him,-- - Knowing how gentle he was and how brave! - Nothing he’ll reck, where the wind blowing over him - Ripples the grasses that dream on his grave!” - - * * * * * - -Much has been written, first and last, about Belasco’s utter absorption -in artistic matters and his ignorance of business affairs. It is true -that, first of all, he was an artist and that in his theory of -theatrical business the keystone of the arch was the Art of Acting. But -it cannot be too strongly emphasized that he was one of the few managers -who united in himself a profound knowledge of the drama, all the -methods and expedients of histrionic art, the history of the Theatre and -entire familiarity with its contemporary conditions. He was, in short, -one of the most shrewd, sagacious, far-sighted, hard-headed managers -that ever lived. He early saw the futility of trying to attend, himself, -to every detail of a great and complex organization and so he employed -capable and vigorous men, able and willing to work under his direction -and to carry out his orders. But anybody who supposes that David Belasco -was not perfectly well and intimately aware of everything that was going -on around him and was not at all times the master of his own destiny in -the Theatre is cherishing a delusion! - -Most conspicuous among the men associated with Belasco throughout his -long career in management was Benjamin Franklin Roeder, his general -business representative and close personal friend, whose name is here -fittingly linked with commemoration of the chief whom he so long and -faithfully served. Mr. Roeder, originally, aspired to be a dramatist, -and during the early days of Belasco’s activity in New York, while -connected with the Sargent School of Acting, he obtained an introduction -to him from Franklin Sargent. Roeder had made a dramatization of the -novel of “St. Elmo” (a subject which was successfully introduced on the -stage many years later) and desired that Belasco should read his play -with a view to its possible production. Belasco, pleased by the manner -and address of the young writer, agreed to consider the matter and made -an appointment to meet him and discuss it at the School office at one -o’clock on the following Sunday afternoon. In the stress of business he -forgot that appointment, but an urgent errand taking him to his office -at eleven o’clock on the night of the specified day he found Roeder -seated on the doorstep, asleep. He had been waiting there ten hours. -“When I asked him why he had waited,” said Belasco, telling me of this -incident, “he answered, ‘You said you might be late--and to wait.’ I -made up my mind then that there was surely a place for a boy so -tenacious and that he was just the fellow for me. I took him on, at -first as my secretary, and he has been my business assistant, sometimes -my bulwark, always ‘my friend, faithful and just to me,’ ever since.” - -Members of the theatrical profession are almost without exception -indiscreet and garrulous; secrecy, which often would be invaluable in -that profession,--as in any calling in which success frequently depends -on priority in exploitation of ideas which cannot be protected from -imitation,--is almost unknown in it. Roeder unites in himself not only -fidelity to his - -[Illustration: - -Photograph by White. Belasco’s Collection. - -BENJAMIN F. ROEDER, BELASCO’S GENERAL BUSINESS MANAGER] - -employer, tenacity of purpose, familiarity with all the commercial -details of theatrical affairs, but also excellent executive faculties, -directness and celerity in the despatch of business and, on all -subjects, the restful reticence of the reclusive clam. His services were -often invaluable to Belasco. - - * * * * * - -In person David Belasco was singular. His height was only five feet, six -inches, and in later years he became rather stout, but in youth he was -slender and graceful. His raiment was, almost invariably, black and in -appearance much resembled that worn by Roman Catholic priests of the -present day. His hair, originally black (not, as most hair so designated -is, dark brown, but _jet black_), became first gray, then silver-white. -His eyebrows were remarkably heavy and black and so remained. His eyes -were extraordinarily fine--dark brown, large, and luminous--and his gaze -was attentive and direct. I have not observed a countenance more -singular, mobile, and expressive. When he chose he could make of it an -inscrutable mask. But when indifferent or unaware of observation the -changes of expression--shadows of his thoughts--would flit over his face -with astonishing variety and rapidity, so that I have watched him when -he would appear at one moment commonplace and dull--the next, -highly distinguished, then kind--gentle--thoughtful--dreamy-- -ruminant--pensive--mischievous--pugnacious--alert--hard--cold--at -moments, even malignant--boyish--playful--tender. On the rare occasions -when passion mastered him (or when he chose to have it seem to do -so--occasions always difficult to distinguish), his aspect became -positively Mephistophelian.... - - * * * * * - -One of the mental advantages possessed by Belasco,--a qualification as -precious as it is rare,--was the faculty of absorbing knowledge without -effort. He learned all things with amazing ease. When little more than -thirteen years old he had imbibed from an uncle, a visionary scholar, -sufficient knowledge of Hebrew to enable him to conduct a religious -service in that language, which he did, “without the punctuation,”--an -achievement the difficulty of which will be appreciated only by Hebrew -scholars. That faculty persisted in him always.... - -Belasco early recognized the wisdom contained in the old poet Prior’s -injunction as to the treatment of woman, - - “Be to her faults a little blind, - Be to her virtues very kind,” - -and he consistently obeyed it. He possessed, furthermore, an intuitive -knowledge of the nature of women, a compassionate sympathy with them, -and, whether professionally or personally, exceptional skill in pleasing -and managing them: he was, in turn, readily subservient to female -influence.... - -As a writer he manifested amazing vitality, persistent industry, lively -fancy, considerable faculty of imagination, keen observation, quick -perception of character but more of striking situation and effect, and -great knowledge of human nature. He possessed more the sense of humor -than the faculty of it.... - -Belasco all his life possessed the spirit of adventure. He was eagerly -interested in the life of to-day. His sensibility was extreme. He had -great goodness of heart. He was very generous, extremely kind. - - * * * * * - - - - -A GREAT SHAKESPEAREAN PROJECT. - - -[Not long before my father died he broached to Belasco the project of -making a remarkable series of Shakespearean productions. His suggestion -was eagerly adopted and, if he had lived, it would have been put into -effect during the theatrical season of 1918-’19. His death forced -postponement of the productions--but some preparatory work had been -accomplished and Belasco has not abandoned the project, which is -outlined in the following correspondence, and which will, I believe, -ultimately be fulfilled.--J. W.] - - -(_William Winter to David Belasco._) - -“New Brighton, Staten Island, -“February 23, 1917. - -“Dear David:-- - - “My work on your ‘Life,’ leading me into considerate examination of - what you have done and not done, the scope of your experience, the - difference between conditions, past and present, has, incidentally, - turned my mind toward the future and what you might do, and I - venture to make a suggestion, which I hope you will not deem - intrusive. It would be a great thing for our Stage, and I think for - you, if you were to make a splendid production of a Shakespeare - play--and I believe that you could, with profit, bring out ‘King - Henry IV.’ It has not been acted in New York since 1896, and then - only for a few nights and in a very inefficient way.[8] It had not - been acted previous to that for fifteen or twenty years. ‘On the - road’ it is, practically, as little known. The Second Part has not - been acted in our city (except two or three performances at the - Century [Theatre], by amateurs, signifying nothing) for more than - half-a-century. A production of the First Part might be made; or, - Daly’s original scheme of combining the two parts might be - fulfilled,--though I believe the former would be much the better - venture. - - “If the idea pleases you, I should be most happy to talk with you - about it, in detail; to make suggestions, and to assist in any - possible way. I hope you will consider this matter with care. If - you do not bring out the play, before long somebody else will--and, - if with proper care, gain reputation and money by it. - - “I have been very sick, but am improving and the work goes - on--though much slower than I would have it do. I hope to see you - before long. - -“With kind regards, -“Faithfully yours, -“WILLIAM WINTER.” - - - - -(_David Belasco to William Winter._) - -“Belasco Theatre, New York, -“March 2, 1917. - -“My dear Mr. Winter:-- - - “I received your letter and regret very much that you were so ill. - I am glad, indeed, to learn that you are better. I think the - weather is very depressing and debilitating. - - “I have long wanted to do a Shakespearean play, and your suggestion - gives me an idea. I think that ‘King Henry IV.,’ if well done and - produced with simple dignity, would be most timely. Thank you very - much for your suggestion. - - “As soon as this hateful season is over (the spring season is - always so hard on me--engaging actors, getting manuscripts - together, etc.) do let me come over and talk over ‘King Henry IV.’: - meanwhile, I must read it again, as parts of it are very faint in - my memory. I do not believe in combining the two parts. I had - thought of ‘Julius Cæsar,’ which I consider the greatest play in - the world; but it is so well known that it invites comparison. It - is much better to produce a Shakespearean play but little seen.... - - “With many thanks, all good wishes--and looking forward to seeing - you and talking over a Shakespearean production, I am, - -“Faithfully yours, -“DAVID BELASCO.” - - - - -(_William Winter to David Belasco._) - -“New Brighton, Staten Island, -“March 8, 1917. - -“Dear David:-- - - “Your letter of March 2 has reached me. - - “I was glad to hear from you, and I thank you for your kind wishes. - I improve but slowly: still--I improve. - - “The work goes on--but _not_ well. It goes slowly. But still--it - goes. I do not remember ever experiencing so much difficulty in - putting biographical matter in order.... - - “As soon as the weather settles, and the pressure of your business - will permit, I shall be glad to have you come to see me here. We - can then resume talks about your adventures; and we can confer - about ‘King Henry IV.’ The more I have reflected on the subject the - more I feel that you would do well to revive that play. It requires - editing, of course,--but it is a superb work. Besides _Falstaff_, - _King Henry the Fourth_, _Prince Henry_ and _Hotspur_ are all - splendid characters (_I_ prefer the _Prince_ to _Hotspur_: actors - usually do not), and several of the others are almost as good. - - “The plan of combining the two Parts has some merits: but (in my - judgment) to produce the First Part is the ‘eftest scheme.’ We will - talk of it when you come.... - -“Faithfully yours, -“WILLIAM WINTER.” - - - - -(_William Winter to David Belasco._) - -“46 Winter Avenue, New Brighton, -“Staten Island, New York, -“May 18, 1917. - -“My dear David:-- - - “In the course of my work on the ‘Life’ I have had occasion to - examine and consider several forms of censure and disparagement - which, first and last, have been a good deal circulated about you. - One of these is the statement (which I, personally, have heard made - by some who ought to have known better) that you have not ‘produced - Shakespeare’ because you have been afraid the public would then - ‘find you out.’ This has led me to make a very careful study of the - subject and an exposition of the quality of your early experience - and training as bearing upon competency to produce and direct - Shakespeare in revivals. This, in turn, has kept the suggestion I - ventured to make to you, some time ago, about ‘King Henry IV.,’ - much in my mind. And turning over that subject and looking at it - from many points, I have formulated a plan, fulfilment of which - would give you an absolutely unique position among producers of - Shakespeare, and I venture to lay it before you, in the hope that - perhaps it may be of use, and that, at least, you will not think me - presumptuous. - - “It is as follows: - - “‘King Henry IV.,’ both parts, is a sequel to ‘King Richard II.’ - The latter is one of the most eloquent and beautiful of all - Shakespeare’s plays. All three of the plays named could well and - conveniently be acted _by the same company_. The actual expense of - putting on all three of them would not be much more than that of - putting on one. You could make an IMMENSE impression by bringing - out those three plays as a ‘Shakespeare Trilogy.’ Thus: - - “Mondays and Thursdays; ‘King Richard II.’ - - “Tuesdays and Fridays; ‘King Henry IV., Part One.’ - - “Wednesdays and Saturdays; ‘King Henry IV., Part Two.’ - - “Thus, every week, you could give two full ‘cycles’ of the trilogy; - and, on matinée days, the ‘First Part of King Henry IV.,’ or a - modern play. - - “In presenting such a thing you would undertake and accomplish a - more distinctive, original, and impressive managerial enterprise - than any single venture of any of the representative Shakespearean - producers,--Garrick, Kemble, Macready, Phelps, Kean, Booth, Irving, - Daly, or Beerbohm-Tree. - - “_I_ feel confident that, in a _business_ way, it could be made - profitable. If you got through even at cost, or at a small loss, it - would (in _my_ view) be, in a _business_ way (wholly aside from the - immense and incontestable service to art and the public), a - profitable investment. And I _am sure_ it would ‘make money,’ too. - - “I would do anything and everything in my power to help so fine a - scheme,--would arrange the plays, write notes, etc., etc., if you - should desire it. - - “Please do not think me intrusive with my suggestions. And please - give this very careful consideration. - - “It would be a special satisfaction to me to see you crown your - career with such a wonderful, such an unparalleled, accomplishment. - However much honest difference of opinion there may be regarding - some of the productions you have made (as you know, you and I are - hopelessly at variance about some of the plays you have brought - out), there could be no room for cavil or honest censure of such a - venture as the production of three of Shakespeare’s greatest plays, - which, practically speaking, are unknown, are _new_, to the - American Stage, and which are peculiarly well suited to _your_ - purposes and treatment. And it would be all the more splendid that - such production should not be made at the high-tide of general - theatrical prosperity, but should be made when the whole world - seems shattered, and the rest of theatrical managers are running - about like ants that have been disturbed in their hill! - -“Faithfully yours, -“WILLIAM WINTER.” - - - - -(_Telegram, David Belasco to William Winter._) - -“New York, May 19, 1917. - - “Dear William Winter, I [have] just read your letter. You are - right, and I promise you and myself to do the plays as you suggest, - counting upon your generous assistance, without which I could not - do them. I shall come over as soon as I possibly can, to speak - further of this. Thank you for your enthusiasm and your faith. God - bless you! - -“DAVID BELASCO.” - - - - - - -CONCERNING SARAH BERNHARDT. - - -[It was part of my father’s purpose in making this Memoir to devote a -section in it to BELASCO’S CONTEMPORARIES. The notes which he made on -the subject were not extensive. For that reason and for others I have -decided not to attempt to supply the section. Before making the -decision, however, I addressed to Belasco some inquiries bearing on the -subject and especially one concerning his “favorite player.” His reply -to the latter embodies a notable tribute to a wonderful woman and is, I -think, of exceptional interest. Among other things, it strikingly -illustrates how radically doctors sometimes disagree. No person more -admired the resolute courage shown by Sarah Bernhardt than Winter did, -who wrote of her: “It is good to see upon the Stage--and everywhere -else--indomitable endurance, the aspiring mind that nothing can daunt -and the iron will that nothing can break.” And no writer more justly -appreciated than he did her artistic faculties, her supremacy as “an -histrionic executant.” His final estimate of her, however,--an estimate -as exact as a chemist’s analysis and one which will survive all -disparagement,--is, in some respects, in such sharp disagreement with -Belasco’s that readers of the latter will find the former specially -instructive. It is embodied, together with his studies of her acting, -in his book entitled “The Wallet of Time.”--J. W.] - - -(_David Belasco to Jefferson Winter._) - -“The Belasco Theatre, New York, -“May 31, 1918. - -“My dear Jefferson Winter:-- - - “You ask me to tell you who, of all the players I have ever seen, - is my favorite. My, but that is a hard question to answer! In fact, - I don’t think I _can_ answer with just a name. I have so many - favorites! It is a case of ‘Not that I love Cæsar less but Rome - more!’ And then, too, I have seen and known so many players of so - many different kinds--of _all_ kinds--and our moods vary. As I look - back into my memory and try to call up the actors and actresses of - the Past it seems to me that John McCullough was the most _lovable_ - as a man and, in the great, heroic parts, the most satisfying as an - actor. Barrett was the most _ambitious_; Booth was the most - _powerful_ and _interesting_; Owens was the _funniest_ man I ever - saw, and after him Raymond; Wallack was the most _polished_ and - _courtly_; Salvini was the most _imposing_; Irving the most - _intellectual_ and _dominating_; Mansfield the most _erratic_--and - all of them were great actors and each of them, I think, was my - special favorite! But if I could see only one more theatrical - performance and had to choose which one of those actors I would - see, I think I would choose Edwin Booth in _King Richard the - Third_. - - “Of the women--Adelaide Neilson was easily the most _winsome_ and - _passionate_. Modjeska was the most _romantic_. Mary Anderson was - the _stateliest_, Ellen Terry the most _pathetic_, Ada Rehan the - _greatest comedienne_, and Sarah Bernhardt--ah, what shall I say - of the Divine Sarah! - - “If I were to have the choice of one last performance by the _one - actress_ I admire the most I am afraid I should quarrel with Fate - and insist on choosing _two_--Adelaide Neilson in _Juliet_ and - Sarah Bernhardt in anything. To me, she is, in all seriousness, one - of the everlasting wonders of art. Her voice was like liquid gold; - her delivery was, and is, a supreme example for any man or woman - that ever stepped on a stage. She added a language to all the - others. French is beautiful; but - French-as-spoken-by-Sarah-Bernhardt is sublime! As an actress I - admired her most in the pre-Sardou plays; but she is great in - everything. She has always practised one of the great truths your - dear father taught--that the art of acting is the art of - _expression_ not _re_pression. I consider that she is the best - _listener_ I ever saw--and very few except stage managers know how - difficult it is to seem to listen for the first times to speeches - which have been heard over and over again, sometimes for many - years. She is always mistress of the scene. It is a dramatic - education just to watch her. She could play ‘quiet’ scenes as well - as anybody else--if not better. But when it came to the great - emotional outbursts Sarah Bernhardt could always make them and make - them so that she brought her audience right up on their feet. A - good deal of the so-called ‘repressed school’ of acting is not art - but artifice--mere trickery. Many players of that school ‘repress’ - because they haven’t got anything to give out--they make a virtue - of necessity and dodge what they cannot do. Sarah Bernhardt never - tried to dodge anything and she never needed to, because she never - undertook anything she could not do superbly. As to the secret of - her wonderful success and great career that you hear people talk so - much about, it is simply this: She loves her work. - -[Illustration: - -Photographed by Rochlitz Studio Belasco’s Collection. - -SARAH BERNHARDT] - - When man, woman, or child _loves_ what they are doing, the doing of - it is to them like God’s sunlight to the flowers, it keeps them - alive and makes them beautiful. - - “Much as I admire Mme. Bernhardt as an actress I think I admire her - most as a woman. She sets an example of pluck and perseverance for - all of us, and I have always been very solicitous of her good - opinion. She has come to see several of my productions and her - approval has meant much to me. I once gave a special performance of - ‘Adrea’ for her,[9] because that was the only way she could get to - see it and her admiration and applause I regard as the highest - honor. - - “Last Christmas I sent her a telegram which I should like to give - you. This is it: - - -“‘Dear and adored friend:-- - - “‘May God be good to you this coming year, may you have a bright - and happy Christmas, and may your glorious spirit remain with us - for many years to come. We all admire your courage and your genius - and love to call you “The Great Woman” of our century!’ - -“Her reply is one of my most valued treasures: - - “‘I cannot express to you sufficiently my appreciation of your - adorable messages. I have long been an admirer and friend of yours. - My one regret is that I have never played under your direction. - That will be for another planet! - -“‘All my heart devoted, -“‘SARAH BERNHARDT.’ - - - - “Yes, my dear Jefferson Winter, if I must have one, and _only one_, - favorite player, I am quite sure it must be Mme. Sarah Bernhardt, - in whom the Spirit of Courage, the Spirit of Youth, the Spirit of - France, and the Spirit of Art are all united. - -“Faithfully, -“DAVID BELASCO.” - - - - - - -BRIEF EXTRACTS FROM MISCELLANEOUS CORRESPONDENCE OF BELASCO. - - -“In all my years of work in the Theatre I have never done anything with -which I was wholly satisfied--and I never shall do so. It is the irony -of Fate that we live only long enough to learn how, and then die before -we can make use of the knowledge!” - -“If I were asked what proportion of the aspirants for the Stage who -apply to me for advice will ultimately become great artists, I should -answer: ‘One in two thousand.’” - -“The good stage manager is born--like the good actor. It [stage -management] is, in itself, a special gift and cannot be acquired by -training.” - -“When I can think more with my head and less with my heart the world -will think me wise--and I shall know myself a fool!” - -“The eyes of the heart see quickly and judge rightly.” - -“I think Dreams are the only Realities of Life--and Love is their soul.” - -“My world is a small one, of my own making; a world of faith and -dreams--and that’s why there are so few people in it!” - -“When we are not physically well, the thoughts follow the line of least -resistance--if the Will allows them to; but the Will is _Master_, and -whatever we wish to be, whatever we wish to do, whatever we wish to get, -we _can_ get, we can _be_ and _do_, by _willing_ it. So it is that you -will be happy; so it is that you will do wonderful things with your -life; so it is that you will get into the Castle of your Dreams.” - -“For women, marriage is the greatest of all careers: therefore, do not -try to mix any of the others with it!” - -About Flaubert and de Maupassant: “Both of them are of the realistic -school, and all students of human nature should read and reread them, -for they are well worth thought and study. The joys and ills of life are -so graphically portrayed that one may almost hear the souls of many -women weep in their pages. Many of their women you will find frail and -erring, but the light of love shines through nearly all their mistakes, -hallowing them, and whether they be beautifully human, or just inhumanly -beautiful, they are always women.” - -“Actors are prone to think too much of themselves and too much of the -affairs of other people. Gossip and frivolity in the theatre have killed -many a promising career. The first maxim I would teach all beginners on -the stage is this, by Augustin Daly. - - ‘A sure way to Success--Mind your business: - A sure way to Happiness--Mind your own business!’ - -I read that on a sign in the waiting room of Daly’s Theatre, more than -thirty-five years ago, and I made up my mind if ever I had a theatre of -my own I’d put it up where my actors could see it,--and I did. It’s over -the Call Board at my theatre now. The second maxim I would teach actors -is this: ‘Never fake on the stage. The public will always catch you and -never forgive you!’” - -“The day of the drunken actor, like that of the drunken statesman and -the drunken doctor, has gone forever.” - -“Try with all your might to think sweet and happy thoughts--and in time -you will come to have faith in real things and so will understand life.” - -“Life is very short, and happiness an elusive will-o’-the-wisp--a wraith -of the night of Time who beckons and beckons, and when we try to follow -him, escapes us very easily.” - -“The ‘star’ actors of to-day lack that careful schooling and full -equipment conspicuous in all the great ‘stars’ of twenty-five, thirty, -fifty years ago, and which is to be acquired only through the old-time -stock system. According to the method of those days, it was never -possible for the actor to play the same part many times in succession. -He was obliged to demonstrate ability not only in many parts but through -a period of many years, and thus to establish himself deservedly in the -good opinion of the public.... I doubt whether any of the young ‘stars’ -could play as many and as great a variety of parts and play them as well -as the ‘stars’ of former days,--although striking successes are made -repeatedly in characters especially written for some particular ‘star.’ -...” - -“In the old days we frequently produced plays with hardly anything at -all to enhance them, either scenery or properties, but merely by a -judicious use of clothes and lighting we made them effective: we did -this because we did not have means to do them correctly. Nowadays, -productions so made are hailed as novelties and the wonders of the age!” - -“I maintain that the great thing, the essential thing, for a producer is -to create _Illusion_ and _Effect_. The supreme object in all my work has -been to get near to nature; to make my atmosphere as _real_ as -possible, when I am dealing with a drama or a comedy of life. In -mounting a fantastic play there is but one thing to do, and that is to -be as fantastic as possible. And so, in a realist play to be as -realistic as possible. And by this I mean to create the _illusion_ of -reality. To do that every scene must be treated as a separate, a new, -problem,--and the setting of it so as to create illusion is a problem -that will never be solved by the ‘new art.’... When I set a scene -representing a Child’s Restaurant how can I expect to hold the -_attention_ of my audience unless I show them a scene that _looks_ real? -They see it, recognize it, accept it and then, if the actors do their -part, the audience forgets that it isn’t looking into a real place. In -‘Marie-Odile’ some benches, chairs, tables, a pot of carrots and a few -other things, with the bare walls of the convent, were all we needed. -But suppose I had tried to put ‘Adrea’ on in the same way? Let us cut -our cloth to suit our pattern. Do not let us attempt to ‘suggest’ a -Child’s Restaurant by setting up a counter with a coffee cup and a -toothpick on it, nor try to picture the court of a Roman emperor with -the same bare simplicity that answers for a lonely convent in -Alsace!...” - -“After all, hard work, a little love, courage to go on, strength to -fight the daily battle,--what more can a man ask?” - -[Illustration: - -Photograph by White. Belasco’s Collection. - -DAVID WARFIELD AS _VAN DER DECKEN_] - - - - -APPENDIX - -(By J. W.) - - - -“VAN DER DECKEN.” - - -Belasco’s romantic drama of “Van Der Decken” was first produced at The -Playhouse, Wilmington, Delaware, on December 12, 1915, with David -Warfield in its central character, that of _The Flying Dutchman_, and it -was acted during the balance of the season of 1915-’16 on a tour which -embraced Washington, Baltimore, Pittsburgh, Cincinnati, and many other -cities of the Middle-western States. It has not yet been presented in -New York. Belasco esteems it as in some ways his best work. Mr. Winter -did not see it. The following comments on “Van Der Decken” and its -representation are quoted from an article by Charles M. Bregg, a -respected journalist and dramatic critic of “The Pittsburgh Gazette”: - - “It is a play so delicate, so poetic in its inner meaning and so - weird in its mystery and philosophy that one wonders at the - artistic courage of David Belasco and the daring of this - adventurous actor who has struck out into hitherto unsailed seas of - dramatic endeavor.... The story, which has appeared in the folklore - of nearly all the nations of Europe but which has found its most - extensive expression in Holland--that of the rebellious seaman who - was destined to an eternal roaming of the seas as a punishment for - defying God--is not new in the literature of the stage. In Opera - and in Drama it has appeared under various guises; but to David - Belasco and to David Warfield has been left the task of giving the - old myth a new setting. Under the title of ‘Van Der Decken’ Mr. - Warfield appears as this Wandering Jew of the seas in a drama of - intense emotional appeal tinged with a deep sense of the - supernatural. In this new play _The Flying Dutchman_ gains port and - finds a peaceful ending as a reward for his self-sacrifice in - surrendering the woman for whom he first sinned. This woman, - according to the Belasco play, is a reincarnated image of the wife - of the Dutchman left in Amsterdam nearly two centuries before when - he sailed away on that cruise around Cape Horn. Thus we find that - the elements of mystery and of the supernatural are the main pivots - of the dramatic action. To visualize them by stage investiture and - amply to suggest them in action are tasks that few producers or - actors would care to undertake.... There is [in the dramatic story] - a romance, but it is so wrapped up in the mystery of other - centuries, and perhaps is not always so clear in the philosophy of - reincarnation, as to be appreciably understood. These are points - about which there may be sound differences of opinion, but on a - first hearing they seem, as a final result, to leave the play shorn - of diverse interest and therefore somewhat monotonous in its - appeal. - - “But it is a weird and deeply interesting play in the compactness - of the story and in its dramatic rendition. The fabric is so - delicate that if it were not staged and played with the utmost care - and good taste it might easily fall to pieces.... Mr. Warfield - demonstrates afresh the fine, sympathetic quality of his acting. - This - -[Illustration: - -Photograph by Charlotte Fairchild. Belasco’s Collection. - -INA CLARE AS _POLLY SHANNON_, IN “POLLY WITH A PAST”] - - _rôle_ is absolutely foreign to anything else he has ever done, and - by the power of his personality and the care of his delineation he - makes the part of the ill-fated sailor throb with sympathy and - meaning. In makeup he emphasizes the poetic quality underlying the - character.... In staging this play Belasco handles his lights as a - great symphony conductor plays with instruments, bending them to - his will and making them set the color of the entire play. The - three acts are set with marvellous care. An old ship sail acts as - the front drop curtain, and throughout the play the atmosphere is - almost made to drip with salt water. One act is in a harbor; - another, on board the ship of _The Flying Dutchman_, and the third - is a beautiful little delph setting that is like some old picture - of Hollandese ware. In the stage effects, such as wind, thunder, - and lightning, Belasco can make old devices seem an echo of Nature - herself.... The music of the stage is ghostly and haunting....” - -“Van Der Decken” was played with the following cast: - -_Van Der Decken_ David Warfield. -_Nicholas Staats_ Ernest Stallard. -_Mate Jacob Te Beckel_ William Boag. -_Jansoon Kolp_ Fritz Lieber. -_Petie Vieck_ Fred Graham. -_Raff Kloots_ Harold Russell. -_Rudie Schimmelpennick_ Horace Braham. - -SAILORS ABOARD THE FLYING DUTCHMAN’S SHIP “BATAVIA.” - -_Kris_ Arthur Fitzgerald. -_Bram_ Herbert Ayling. -_Hein_ Worthington L. Romaine. -_Hans_ J. J. Williams. -_Prinz_ Lawrence Woods. -_Klass_ Edward L. Walton. -_Jan Tanjes_ Bert Hyde. -_Pilot Krantz_ Tony Bevan. -_Boatman_ Oren Roberts. -_Trintie Staats_ Jane Cooper. -_Johanna_ Marie Bates. -_A Little Boy_ Master MacComber. - - - - -“POLLY WITH A PAST.” - - -“Polly with a Past” is a merry though thin piece of farcical fooling, -which owes its exceptional success--it has already run nearly an entire -season in New York--to the attractiveness of the setting provided for it -by Belasco and to the earnestness and zest with which it is played. It -was written by Messrs. George Middleton and Guy Bolton and then -rewritten under the direction of Belasco. Its plot is conventional, -though familiar stage figures and time-tried devices are handled in it -with considerable breezy dexterity. _Polly Shannon_, an orphan, the -daughter of a poor clergyman of East Gilead, Ohio, desires to study -music in Paris. She makes her way as far as New York and there, having -no money, she secures employment as cook and waitress in the service of -two young bachelors, _Harry Richardson_ and _Clay Collum_. A friend of -theirs, _Rex Van Zile_, is violently in love with a young woman, _Myrtle -Davis_, whose purpose in life is the reformation of the abandoned waifs -of society. _Myrtle’s_ attitude toward _Rex_ is aloof and cool and he -despairs of winning her. _Harry_ and _Clay_, who have heard the story of -their pretty little servant and become interested in her, seek her -counsel. _Polly_, premising that though a minister’s daughter she is -familiar with French novels, suggests that the best way for _Rex_ to win -_Myrtle’s_ love is for him to pretend to become the helplessly -fascinated victim of a notorious Parisian adventuress. Finally, after -much persuasion, _Polly_ agrees to assume the part of the adventuress -and, introduced into the ultra-respectable _Van Zile_ home, she does so -with such entire success that not only is _Myrtle_ inspired with jealous -interest but that _Rex_ is really charmed by her winning ways and -transfers his affections to her. Various complications occur, incident -to the attainment of this result--all of them amusing although -transparently artificial in contrivance--and as a whole the -representation provides an unusually agreeable entertainment. - -“Polly with a Past” was first acted at the Apollo Theatre, Atlantic -City, on June 11, 1917; and, after a brief fall tour, it was produced at -the Belasco Theatre, New York, on September 6, with the following cast: - -_Harry Richardson_ Cyril Scott. -_Rex Van Zile_ Herbert Yost. -_Prentice Van Zile_ H. Reeves-Smith. -_Stiles_ William Sampson. -_Clay Collum_ George Stewart Christie. -_A Stranger_ Robert Fischer. -_Commodore “Bob” Barker_ Thomas Reynolds. -_Polly Shannon_ Ina Claire. -_Mrs. Martha Van Zile_ Winifred Fraser. -_Myrtle Davis_ Anne Meredith. -_Mrs. Clementine Davis_ Louise Galloway. -_Parker_ Mildred Dean. - -Excellent performances were given in this farce, especially by Cyril -Scott,--a neat and skilful actor of pleasant personality, who bears -himself with more breezy jauntiness than most men half his age,--H. -Reeves-Smith and William Sampson, both experienced and accomplished -players of the old school, and by Miss Ina Claire, a talented young -actress, who, as _Polly Shannon_, made her first appearance on the -legitimate stage in it. Belasco’s attention was first directed to her -during the season of 1915-’16 when, as one of the performers in a -vaudeville, she sang a song called “Poor Little Marie-Odile” in which he -was severely lampooned. He attended her performance, was favorably -impressed by her singing and imitations, and engaged her. Miss Claire is -pretty, extraordinarily self-poised, an expert mimic, has a good stage -presence, is able to assume effectively a demure manner, and she played -_Polly_ with spirit, humor, and at least one touch of feeling. - - - - -“TIGER ROSE.” - - -“Tiger Rose” was written by Willard Mack and then rewritten under -Belasco’s direction and with his assistance. It was first produced at -the Shubert Theatre, Wilmington, Delaware, on April 30, 1917: on October -3, that year, it was produced at the Lyceum Theatre, New York, where it -is still current (June, 1918) and where it bids fair to remain for many -weeks. It is a picturesque and effective melodrama, in four acts (the -third being presented as practically an undetached continuation of the -second), the scene of which is a frontier post in the Canadian -Northwest. The action of that play revolves around the love affair of a -French-Canadian girl named _Rose Bocion_. She is an orphan and the ward -of _Hector MacCollins_, a conventionally austere yet kindly Scotchman, a -factor of the Hudson Bay Trading Company, in whose dwelling three of the -acts take place. The girl, a lovely flower of the forest, is admired and -courted by all the youth for many a mile around, including a capable -but dissolute Irishman, _Constable Michael Devlin_, of the Royal North -Western Mounted Police. _Rose_, however, will have none of them,--for -she and _Bruce Norton_, a young civil engineer from a neighboring -construction camp, have met by chance and have become lovers. _Norton_, -in the camp where he is employed, unexpectedly encounters and kills a -man who, years earlier, had first misled and then deserted his sister, a -married woman, who in consequence committed suicide. _Norton_ makes his -escape into the wilderness and seeks to communicate with _Rose_, his -only friend, hoping to obtain her help in getting clear of the region. -An Indian squaw employed in the factor’s household bears a message and -eventually he succeeds in reaching the girl. But information of his -crime has been transmitted to _MacCollins’_ dwelling, by telephone, -where it is received by _Devlin_. That blackguard, who has been made -furious by _Rose’s_ bitterly contemptuous repulse of his dishonorable -advances and who has surmised the identity of her lover with the -fugitive, is vigilantly watchful, hoping to gratify his jealous hatred -while in the performance of his duty. During the interview between -_Norton_ and _Rose_ she detects the stealthy approach of _Devlin_, -tracking him. After making a tryst with him at a remote - -[Illustration: - -Photograph by Abbe. Collection of Jefferson Winter. - -LENORE ULRIC AS _ROSE_, IN “TIGER ROSE”] - -and abandoned log cabin in the woods, she has barely time to hide her -lover in a huge old grand-father’s clock, in the factor’s house. From -that precarious concealment _Norton_ escapes, down a trapdoor in the -floor, under cover of the dreadful tumult of an appalling electrical -storm (most realistically and impressively managed in Belasco’s -presentment) and, eventually, makes his way to the appointed meeting -place. There, during the next night, he is joined by _Rose_ and a kindly -physician, _Dr. Cusick_, who has discovered her attachment and who, -somewhat unwillingly, has consented to assist in the escape of her -sweetheart. Various explanations are exchanged and it is revealed that -_Dr. Cusick_ (that being an assumed name) is actually the wronged -husband of _Norton’s_ sister and has been for years seeking to find and -kill the man slain by him. After the family misfortunes have been -discussed and an understanding arrived at and after plans for the escape -of _Norton_ out of the Dominion have been devised and arranged by the -intrepid _Rose_, the trio are about to separate when the ubiquitous -_Devlin_, who has divined their resort to the ruined cabin, has -concealed himself there and listened to their conversation, suddenly -emerges from his hiding place and, “covering” the culprit with a pistol, -arrests him. _Rose_, however, abruptly extinguishes the only light in -the cabin, at the same instant shooting the weapon out of _Devlin’s_ -hand and crying to her love to fly--which he does. _Devlin_ makes an -attempt to follow him, striking down and stunning _Cusick_, but, being -unarmed, is stopped by _Rose_ at the pistol point. Then, throughout the -night she holds him there. With dawn, however, _Norton_, who has -realized the predicament in which his escape will leave his sweetheart, -returns, accompanied by a Jesuit priest whom he has met--and, as _Rose_ -will not submit to the removal of her lover to Edmonton, there to stand -trial alone, but insists on an immediate marriage to him, the play ends -with impending matrimony and the implication that _Dr. Cusick_, who, it -appears has “done the State some service,” will succeed in his declared -intention of appealing to the legal authorities for lenient treatment of -_Norton_,--an intention, by the way, which indicates a touching -ignorance of the operation of criminal law in the region specified. - -All this, if sometimes false to the probabilities of actual life, is -always responsive to the purposes of acting, and, as presented by -Belasco,--with scrupulous care to every aspect of the stage setting and -to every detail of the stage management and with an unusually capable -company,--the melodrama merits the success it has achieved. The central -character is, of course, _Rose Bocion_,--who, with euphonious disregard -of gender, is called _Tiger Rose_. This girl is headstrong, impulsive, -and intense, she indulges with excessive freedom in violent expletives, -and she fights hard for the man she loves. But there is nothing -tiger-like in her conduct or her character. On the contrary, _Rose_, is -winsome, brave, loyal, ardent, resourceful and utterly sincere, devoted -and unselfish in her love. However, the name makes a striking title for -the play. Miss Lenore Ulric, who acts the part, is possessed of -exceptional natural advantages,--youth; a handsome face; abundant hair; -expressive eyes, dark and beautiful; a slender, lithe figure; a -sympathetic voice; strong, attractive personality, and an engaging -manner. Her temperament is intense, her nature passionate, her style -direct and simple. Her acting reveals force of character, experience, -observation, thought, sensibility, ardor, definite purpose, and unusual -command of the mechanics of art. It is, moreover, suffused with fervid, -sometimes ungoverned feeling (which is a defect), and it is at all times -sincere, individual, and interesting. She is an admirable listener, an -excellent speaker,--articulating with great care,--and, at moments (as, -for example, in a colloquy with _Father Tibault_ as to belief in Diety), -the disposition she exhibits in this performance seems altogether -childlike and lovely. Under Belasco’s sagacious direction she should go -far. - - -CAST OF “TIGER ROSE.” - -_Hector MacCollins_ Thomas Findlay. -_Dan Cusick, M.D._ William Courtleigh. -_Constable Michael Devlin, R.N.W.M.P._ Willard Mack. -_Bruce Norton_ Calvin Thomas. -_Father Thibault_ Fuller Mellish. -_Pierre La Bey_ Pedro De Cordoba. -_George Lantry_ Edwin Holt. -_Old Tom_ Edward Mack. -_Constable Haney_ Arthur J. Wood. -_Mak-a-low_ Chief Whitehawk. -_Wa-Wa_ Jean Ferrell. -_Rose Bocion_ Lenore Ulric. - -[Illustration: - -Photograph by Arnold Genthe. Collection of Jefferson Winter. - -DAVID BELASCO--HIS LATEST PORTRAIT, 1918] - - - - -CHRONOLOGY - - - - -CHRONOLOGY OF THE LIFE OF DAVID BELASCO - - - HUMPHREY ABRAHAM BELASCO, BORN, LONDON, ENGLAND, DECEMBER 26, 1830. - - REINA MARTIN BELASCO, BORN, LONDON, ENGLAND, APRIL 24. 1830. - -1853. - July. - 25. DAVID BELASCO, eldest child of Humphrey - Abraham, and Reina Martin, Belasco, was - BORN, in a house in Howard Street, near - Third Street, San Francisco, California. - -1858. While David Belasco was a little child,--apparently - about 1858,--his parents removed - to Victoria, Island of Vancouver, B. C., taking - him with them. - - In the latter part of 185(8?) he was “carried - on,” at the Theatre Royal, Victoria, as - _Cora’s Child_, in “Pizarro,”--Julia Dean - (Hayne) being the _Cora_. Later he played - the child in “Metamora,” when Edwin Forrest - filled an engagement in Victoria. - -186(2?). About 1862 he appeared with Julia Dean - (Hayne), in “East Lynne,” as _Little William_. - -1864. In the latter part of 1864 he played the - little _Duke of York_, in “King Richard III.,” - with Charles Kean, at the Theatre Royal, - Victoria. - -1865-1871. In 1865 (March-April?) the elder Belasco - removed with his family to San Francisco, - California, and there established his permanent - residence. As a boy, in that city, Belasco - attended several schools, chief among them the - Lincoln Grammar School. During part of - this period the Belasco home was in Louisa - Street, then in Bryant Street, afterward it - was in Clara Street. - -1871. - March. - 17. At the Metropolitan Theatre, San Francisco, - Belasco appeared as an _Indian Chief_ - in Professor Hager’s “Great Historical Allegory, - ‘The Great Republic,’”--which was - several times repeated, for the benefit of the - schools whose pupils participated in the - performance: in the Second Part thereof he - personated _War_. - - April. - 15. He appeared, in Hager’s “The Great - Republic,” at Sacramento, California. - - June. - 2. (Friday Evening.) He took part in a - series of public “competitive declamations” - (reciting “The Maniac”), by pupils of the - Lincoln Grammar School, at Platt’s Hall, - San Francisco. On same occasion he - appeared as _Highflyer Nightshade_, in “The - Freedom of the Press.” - - 7. At the Metropolitan Theatre, revival of - Hager’s “The Great Republic,” in which he - again appeared as an _Indian Chief_, and as - _War_. - - 22. He appeared as _Fornechet_, _Minister of Finance_, - in a presentment of Sutter’s “Life’s - Revenge,” by the Fire-Fly Social and Dramatic - Club, at Turnverein Hall, Bush Street, - near Powell, San Francisco. - - July. - 10. BELASCO’S FIRST REGULAR APPEARANCE on - the professional stage,--as a super, with - Joseph Murphy, in “Help,” at the Metropolitan - Theatre. Subsequently he was given a - small part, a few words to speak, in this - play. “Help” was played till July 16, Sunday - night. - - 19. “Help” revived at Metropolitan Theatre. - - 22. End of Murphy’s engagement in “Help.” - -1872. - July. - 22. He played _Bloater_, in “Maum Cre” (then - first acted in San Francisco), with Joseph - Murphy, at the Metropolitan Theatre. - - December. - 16. He appeared at the Metropolitan Theatre, - San Francisco, with Minnie Wells (not - Mary Wells), in “The Lion of Nubia” (not - Lioness), as _Lieutenant Victor_: on this occasion - he was billed as Walter Kingsley. -1873. - February. - 23. He played _Peter Bowbells_ in “The Illustrious - Stranger,” in a Benefit Performance, - for Marion Mordaunt, at the Metropolitan - Theatre. - - March. - 5. “Grand Reopening of the Metropolitan - Theatre,” under direction of John R. - Woodard: cheap prices: The Chapman - Sisters, in H. J. Byron’s “Little Don - Giovanni.” Belasco played the _First Policeman_. - - 18. He played _Prince Saucilita_ (giving burlesque - of a local character known as - “Emperor” Norton), in “The Gold Demon,” - with the Chapman Sisters, at the Metropolitan - Theatre. - - 21. He played _Strale_, in “Checkmate,” with the - Chapmans, at the Metropolitan. - - April. - 2. (One night only.) He played _Reuben_, in - “Schermerhorn’s Boy,” and _Strale_, in “Checkmate,” - with the Chapmans, at the Academy - of Music, Oakland, California. - - 3. At the Metropolitan, San Francisco, he - appeared, with the Chapmans, as the _Genius_ - _of the Ring_, in “The Wonderful Scamp; or, - Aladdin No. 2,” and as _Peter True_, in “The - Statue Lover.” - - 9. He played the _First Fury_, in “Pluto,” with - the Chapmans, at the Metropolitan. - - 18. Revival of “Little Don Giovanni” at the - -[Illustration: - -Photograph by Harris & Ewing. Belasco’s Collection. - -BELASCO LEADING THE PARADE OF “THE LAMBS” UP PENNSYLVANIA AVENUE, -WASHINGTON, D. C. - - INSCRIPTION: - - “The first time I ‘paraded’ into town since my old days in the - West, when I used to bang the cymbals and pound the drum!”--D. B. - -] - - Metropolitan: Belasco as the _First Policeman_. - - 28. Last regular performance at the Metropolitan - Theatre, San Francisco. The Chapman - Sisters in “Cinderella,”--produced 23. - - May. - 3. He played with the Chapman Sisters, in - “Little Don Giovanni,” in Sacramento. - Later he appeared, with the Chapman Sisters, - in several California towns. - - August. - 18. He played _Bloater_, in “Maum Cre,” with - Joseph Murphy, at Shiels’ Opera House, San - Francisco. - - 25. He played _Bob Rackett_, in “Help,” with - Murphy, at Shiels’. - - 26. At the home of his parents, No. 174 Clara - Street, San Francisco, California, David - Belasco and Cecilia Loverich were married. - - September. - 1. At Shiels’ Opera House he played _Baldwin_, - with Murphy, in “Ireland and America”: - Same bill, September 2, 6, and 7. “Maum - Cre” 3, 4, and 5. - - 10. He played _Harvey_, in “Out at Sea,” with - Laura Alberta, at Shiels’ Opera House. - - 20. He played _Sambo_, in “Uncle Tom’s - Cabin,” to the _Topsy_ of Laura Alberta, at - Shiels’. - - 25. “Twice Saved; or, Bertha the Midget,” was - acted at the Opera House (formerly Shiels’, - subsequently Gray’s) and Belasco played - _Major Hershner_. - - 29. He acted _Spada_, in Stirling Coyne’s “The - Woman in Red,” with Fanny Cathcart, at - the Opera House. (That house was first - billed as Gray’s Opera House, on October 3, - and “The Woman in Red” was played there - till October 5.) - - October. - 6. Belasco played at Gray’s Opera House, as - _Darley_, with Fanny Cathcart and George - Darrell, in “Dark Deeds.” - - 18. Benefit performance, at Gray’s Opera - House, to James Dunbar: Belasco acted - _Mons. Voyage_, in Third Act of “Ireland as - It Was.” - - October-November, _et seq._ - He went to Virginia City, Nevada, where he - became a member of the stock company at - Piper’s Opera House. - -1874. - March. - 1-7? Belasco returned to San Francisco from - Virginia City. - - 10. Engagement of Adelaide Neilson in San - Francisco began at the California Theatre,--Miss - Neilson making her first appearance - there in “Romeo and Juliet.” Belasco participated - in all the performances given during - that engagement,--which ended on March - 30,--as a super and helper about the stage. - - May. - 4. Grand Opening of Maguire’s New Theatre, - San Francisco, (the old Alhambra, rebuilt and - altered),--“The Entire Lingard Combination,” - Wiliam Horace Lingard, Dicky Dunning, - Alice Lingard, etc., appearing in - “Creatures of Impulse,” “Mr. and Mrs. - Peter White,” and a miscellaneous entertainment. - - June-September. - Belasco worked as a copyist, etc., for - Barton Hill, at the California Theatre - and played minor parts (not recorded) - at Maguire’s New Theatre. Also, he - made several brief excursions as a “barnstormer” - to small towns of California and - Nevada. - - September. - (14?). Belasco became attached to Maguire’s New - Theatre as assistant stage manager and - prompter, actor of small parts, hack playwright, - and secretary and messenger to - Thomas Maguire. In this employment he - came into association with James A. Herne, - Thomas Whiffen, Annette Ince, Ella Kemble, - Sydney Cowell, etc. He remained there for - about four months. - - October. - 12. He played the _Dwarf_ in “Rip Van Winkle” - at Maguire’s,--Herne being _Rip_. - - December. - 24. Belasco played _Pietro_ and _Galeas_, in the - prologue and drama of “The Enchantress,” - at Maguire’s New Theatre. - -1875. -January to (May?). - Belasco was “barnstorming” with a Miss - Rogers, originally a school teacher, who obtained - financial support and starred in a - repertory including “East Lynne,” “Camille,” - “Frou Frou,” and “Robert Macaire.” Miss - Rogers’ tour began in Portland, Oregon, and - continued through small towns along the Big - Bear and Little Bear rivers. It proved a - failure and the company was disbanded,--Miss - Rogers and Belasco, however, continued - to appear together for several weeks, - presenting one-act plays such as “A Happy - Pair” and “A Conjugal Lesson.” - - June. - --. He was in San Francisco. - - July. - 4. He participated, as assistant to James H. - Le Roy, in stage management of a benefit - performance, for Frank Rea, at Maguire’s - New Opera House. - - August. - 4. He assisted, in various ways, in a presentation - at the California Theatre of “The - Bohemian,” in which George Ceprico (amateur) - appeared as _Edmund Kean_. - - 7. Production at the California Theatre of - [a variant, by Belasco?] Le Roy’s version - of “The New Magdalen,”--Ellie Wilton playing - _Mercy Merrick_. - - 8. “Lost in London” was presented at - Maguire’s New Theatre, at Belasco’s suggestion - [acted according to a prompt book - or “version” prepared by him?]. - - November. - 17. Benefit, to “Sam” Wetherill, at Maguire’s - New Theatre,--stage management of Belasco. - - December. - 6. Belasco played a subsidiary part in “The - Jealous Wife,” in a performance (“last night - of the season”) at Maguire’s, for the benefit - of Katy Mayhew. - - 13. C. R. Thorne’s Palace Theatre (formerly - Wilson’s Amphitheatre), corner Montgomery - and Mission streets, San Francisco, was - opened, with “Gaspardo; or, The Three Banished - Men of Milan,” and Belasco appeared - in it as _Santo_, _a Monk_. - - 21. He played _Signor Mateo_, in “The Miser’s - Daughter.” - - 24. He played _Selim_, in “The Forty Thieves,” - at Thorne’s Palace Theatre. - - 30. He played _Gilbert Gates_, in “The Dawn of - Freedom,” at the same house. Thorne closed - his theatre, suddenly, December 31. - -1876. - January. - 7. The Palace Theatre was reopened, as the - Palace Opera House, under management of - Colonel J. H. Wood, presenting Frank Jones - in “The Black Hand; or, The Lost Will,” - in which Belasco played _Bob_, _a Policeman_. - That engagement lasted for about three - weeks, at the end of which time, apparently, - he went back to Maguire’s New Theatre. - - March. - 6. Opening of Baldwin’s Academy of Music, - San Francisco. Thomas Maguire, proprietor. - James A. Herne, stage manager. David - Belasco, assistant stage manager and - prompter. Bill: Barry Sullivan, in “King - Richard III.,”--Belasco played _Ratcliff_. - - 11. Sullivan revived “The Wonder,” at Baldwin’s, - and Belasco played in it as _Vasquez_. - - 13. Sullivan acted in “Hamlet,” at Baldwin’s: - Belasco played _Bernardo_ and the _Second Actor_. - - 16. Sullivan presented “Richelieu,” at Baldwin’s, - and Belasco appeared as one of the - _Secretaries_. - - 20. Played the _First Officer_, in “Macbeth,” - with Sullivan, at Baldwin’s. - - 23. Played the _Waiter_, in “The Gamester,” - with Sullivan as _Beverley_. - - 27. Played the _Duke of Burgundy_, in “King - Lear,” with Sullivan, at Baldwin’s. - - 29. Played a _Messenger_, in “Othello,” with - Sullivan, at Baldwin’s. - - 31. Played _Salarino_, in “The Merchant of - Venice,” with Sullivan, at Baldwin’s. - - April. - 5. Played the _Lieutenant_, in “Don Cæsar de - Bazan,” with Sullivan, at Baldwin’s. - - 7. Played _Furnace_, in “A New Way to Pay - Old Debts.” - - 10. Played _Marco_, in “The Wife.” - - 16. End of Barry Sullivan’s engagement at - Baldwin’s Academy of Music, “King Richard - III.” Belasco played _Ratcliff_. - - 18. Mrs. James A. Oates began an engagement - in Opera at Baldwin’s, and Belasco, with - other members of the dramatic stock company, - returned to Maguire’s New Theatre - (whence they had come to Baldwin’s), where - they supported Baker and Farron, in “Heinrich - and Hettie.” - - May-June--part of July. - Belasco went “barnstorming.” - - July. - 23. He played _DeMilt_, in “Under the Gas-Light,” - in a benefit, by John McCullough and - others, for E. J. Buckley, at the California - Theatre. - - September. - 4. Edwin Booth began an eight weeks’ engagement - in San Francisco (the first in twenty - years), at the California Theatre, in “Hamlet,” - “Richelieu,” “Othello,” etc., and Belasco - was employed as a supernumerary in his company. - - October. - --. Belasco was employed by James M. Ward - as stage manager and playwright, at the - Grand Opera House. - - 16. He appeared with Ward and Winnetta - Montague, at the Grand Opera House, in - “The Willing Hand.” - - 22. He appeared at Baldwin’s, as _Doctor of the_ - _Hospital_, in “The Two Orphans,” for benefit - of Katy Mayhew. - -1877. - February. - 16. He appeared at Egyptian Hall (No. 22 - Geary Street, near Kearny), in association - with Frank Gardner and his wife (Carrie - Swan), acting _The Destroyer_, in “The - Haunted House,”--a play written by himself,--_Valentine_, - in an abridgment of “Faust,” - and _Mr. Trimeo_, in “The Mysterious Inn.” - - The presentments at Egyptian Hall were - all built around a variant of the “Pepper’s - Ghost” illusion. - - 17. At Egyptian Hall he appeared as _Avica_, - _Spirit of Avarice_, in “A Storm of Thoughts”; - _Phil Bouncer_, in “The Persecuted Traveller,” - and as _The Destroyer_, in “The Haunted - House.” - - 20. At Egyptian Hall “Our Mysterious Boarding - House” was presented, in which he played - _Our Guest_, replacing “The Persecuted Traveller,” - in bill as on 17. - - April. - 2. Same place, he played _Mark_, in “The - Prodigal’s Return,” as well as _Avica_ and - _Our Guest_, as above. - - The engagement of the Gardners and - Belasco at Egyptian Hall continued for eight - weeks. - - Other plays which Belasco recalls having - written for presentation there are “Wine, - Women, and Cards” and “The Christmas - Night; or, The Convict’s Return.” I have - not, however, found _record_ of the presentation - of them. During that engagement at Egyptian - Hall, Belasco also gave several recitations, - including “The Maiden’s Prayer,” - with musical accompaniment, and “Little - Jim.” - - May-July. - Belasco acted with Gardiner and his wife, - in various cities and towns of California and - the Pacific Slope, in the plays above mentioned. - - August. - 18. Belasco played _John O’Bibs_, in Boucicault’s - “The Long Strike” (billed as “The - Great Strike”), and the _Earl of Oxford_, in - the Fifth Act of “King Richard III.,” in a - benefit for A. D. Billings, at the California - Theatre, San Francisco. - - September. - 24. A theatrical company, from the California - Theatre, San Francisco, under the management - of Thomas W. Keene, of which Belasco - was stage manager, began a “Fair week” - engagement at the Petaluma Theatre, Petaluma, - California. Bill: “The Lady of - Lyons,” in which Belasco played _Monsieur Deschapelles_; - and “The Young Widow,” in - which he played _Mandeville_. - - 25. Same engagement: “The Hidden Hand,” - Belasco playing _Craven Lenoir_; and “Robert - Macaire,” in which he played _Pierre_. - - 26. Same. “The Wife,” Belasco as _Lorenzo_; - and “My Turn Next,” Belasco as _Tom Bolus_. - - 27. Same. “The Streets of New York,” - Belasco as _Dan_; and “The Rough Diamond,” - Belasco as _Captain Blenham_. - - 28. Same. “Deborah,” Belasco as _Peter_; and - “Solon Shingle” (“The People’s Lawyer”), - Belasco as _Lawyer Tripper_. - - Same. Benefit of Keene. “The Ticket-of-Leave - Man,” Belasco acted one of the subsidiary - parts. - - October. - --. Belasco joined the Frayne Troupe, at Humboldt, - Oregon, opening as _Mrs. Willoughby_, - in “The Ticket-of-Leave Man.” This engagement - lasted about three months. - -1878. - January. - 4. He played at the Opera House, San José, - as a member of the Frayne Troupe (Frank - I. Frayne, manager), comprising also M. B. - Curtis, H. M. Brown, E. N. Thayer, Mrs. - Harry Courtaine, Gertrude Granville, and - Miss Fletcher. - - He played in many Pacific Slope towns and - cities with this company. - - January-March. - He returned to San Francisco and performed - miscellaneous theatrical drudgery. - - March. - 4. Belasco played _James Callin_, and _Pablo_, - _an Italian Harpist_, in the prologue and - drama of “Across the Continent,” with Oliver - Doud Byron, at the Bush Street Theatre, - San Francisco. (Six nights: revival, March - 18 to 23.) - - 26. The New York Union Square Company - acted at the Baldwin Theatre, San Francisco, - in “Agnes,” and Belasco appeared with it, as - the valet, _Rudolphe_. - - April. - 8. “One Hundred Years Old” was acted at - the Baldwin Theatre, Belasco playing the - servant, _Louis_. - - 15. “Saratoga” was acted at the Baldwin, - Belasco playing _Gyp_. - - 25. “A Celebrated Case” was revived at the - Baldwin, Belasco playing a subsidiary part. - - May, _et seq._ - Belasco travelled with the Union Square - Theatre Company, as stage manager, during - a tour of towns and cities of California, Oregon, - etc. At the end of that tour he received - a memorable tribute from the members of the - company: see page 106. - - July. - 8. Boucicault’s “The Octoroon,” “retouched - and rearranged” by Belasco, was revived at - the Baldwin Theatre. - - September. - 2. Belasco’s version of “The Vicar of Wakefield,” - entitled (like Wills’ version) “Olivia,” - was produced for the first time at the - Baldwin Theatre, San Francisco, Rose Wood - acting _Olivia_, A. D. Bradley _Dr. Primrose_, - James O’Neill _Mr. Barchell_, and Lewis Morrison - _Squire Thornhill_. - - October. - 14. An alteration by Belasco of Wills’ “A - Woman of the People” was acted at the Baldwin. - - 28. Belasco’s “Proof Positive” was acted at the - Baldwin. - - November. - 4. Clara Morris began her first San Francisco - engagement at the Baldwin, Belasco being - the stage manager. - - December. - 23. “Not Guilty,” by Watts Phillips, revised - by Belasco, and produced under his direction, - was acted for the first time in San Francisco, - at the Baldwin Theatre: notable success. - -1879. - January. - --. Belasco resigned his position at the Baldwin - Theatre and rewrote his play of “The - Lone Pine” for Denman Thompson. He disagreed - with Thompson and his manager, J. - M. Hill, and his play was not produced. - - February. - --. Belasco was re-employed as stage manager, - etc., at the Baldwin. - - 6. He played _Colonel Dent_, in “The Governess,” - with Clara Morris, at the Baldwin - Theatre (one night only: farewell of Miss - Morris). - - 17. Belasco’s dramatization of Gaboriau’s - “Within an Inch of His Life” was acted for - the first time at the Grand Opera House: - notable success. - - March. - 1. “Within an Inch of His Life” was withdrawn. - - 3. The first presentation of Salmi Morse’s - “The Passion Play” was made at the Grand - Opera House, San Francisco, under the stage - management of Belasco and “Harry” Brown,--James - O’Neill appearing in it as _Jesus Christ_. - - 11. “The Passion Play” was withdrawn at the - Grand Opera House. - - April. - 15. Revival of “The Passion Play” at the - Grand Opera House. - - 20-21. An injunction prohibiting further presentation - of “The Passion Play” was issued, - and, that being disregarded, O’Neill and his - associates were arrested (21st): O’Neill was - imprisoned, and later he was fined $50 and - his associates $5 each, for contempt of - court. - - May. - 5. An adaptation of Sardou’s “La Famille - Benoiton!” entitled “A Fast Family,” made - by Belasco, was played at the Baldwin. - - 19. At the Baldwin Belasco acted the old man, - _Timothy Tubbs_, in his play of “The Millionaire’s - Daughter,” which was then first - presented,--five nights: revival May 26 to 31. - - June. - 2. Rose Coghlan, engaged at Belasco’s request, - began her first engagement in San Francisco, - at the Baldwin, playing _Lady Gay_, in “London - Assurance.” - - 30. First performance of “Marriage by Moonlight” - (afterward renamed “The Moonlight - Marriage”), by Belasco and James A. - Herne, occurred at the Baldwin Theatre. - - July. - 13. (Sunday night.) Special benefit for Belasco - and James A. Herne, at the Baldwin: - “The Moonlight Marriage” and “Rip Van - Winkle.” - - 15. First performance of Belasco’s version of - “L’Assommoir,” based on Zola’s novel, was - made at the Baldwin, with an “all-star company,”--Rose - Coghlan, Lillian Andrews, Jean - Clara Walters, O’Neill, Morrison, Herne, etc., - being in the cast. - - September. - 9. At Baldwin’s Theatre, San Francisco, first - production of “Chums” (“Hearts of Oak”), - by David Belasco and James A. Herne. - - 21. (Sunday.) Last performance of “Chums” - at Baldwin’s. Failure. - - October. - 6. Herne-Belasco partnership presented - “Chums” at Salt Lake City. - - Other places were visited. The business was - bad. Failure. “Chums” was closed, and company - disbanded. - - Belasco, Herne and his wife (Katharine - Corcoran) went to Chicago and lodged at the - old Sherman House. - - November. - 17. First performance in Chicago, at Hamlin’s - Theatre (formerly the Coliseum?), of - “Hearts of Oak” (“Chums”). Notable success. - - 30. “Hearts of Oak” closed at Hamlin’s. - - December. - 1. Belasco-Herne Company appeared in Cincinnati. - - 20. (About) Belasco-Herne Company was - playing “Hearts of Oak” in Indianapolis. - - A version of “The Mariner’s Compass” (on - which “Hearts of Oak” was built) was presented - in cities of the Middle West, under the - name of “Oaken Hearts,” to trade on the success - of the Belasco-Herne title: unauthorized - use of that title was stopped by legal action - taken by Herne in courts of Michigan in - May, 1880. - -1880. - March. - 15. “Hearts of Oak” was acted at Hooley’s - Theatre, return engagement, till March 27. - - 29. “Hearts of Oak” was performed for first - time in New York, at the New Fifth Avenue - Theatre--untruthfully announced as “by - James A. Herne.” Failure. During this - engagement Herne was several times incapacitated - to perform and Belasco appeared in his - place as _Terry Dennison_. - - April. - 16. Last performance of first “Hearts of Oak” - engagement in New York. - - Belasco and Herne took their play to the - Arch Street Theatre, Philadelphia. There - Herne quarrelled with Belasco and bought his - half-interest in the play for $1500, which he - did not pay till several years later. - - Belasco returned to New York, seeking - employment, but could not obtain it. He - then made his way, by various shifts, across - the continent, to his home in San Francisco. - - June. - 16. Belasco reached San Francisco, after his - disastrous experience with Herne and “Hearts - of Oak.” - - He obtained immediate employment at the - Baldwin Theatre, where Adelaide Neilson was - then playing her farewell engagement (it began - on June 8). James H. Vinson and Robert - M. Eberle were, officially, the stage managers: - Belasco officiated as assistant stage manager - and as prompter, and, on July 17, he “rang - down” the curtain on _the last performance ever given_ - by Miss Neilson:--_Juliet_, in Balcony - Scene from “Romeo and Juliet,” and _Amy Robsart_, - in the play of that name. - - During this engagement at the Baldwin, - though actually he performed much important - labor, both as stage manager and as - writer and adapter of plays, Belasco’s acknowledged - position was wholly subsidiary: for - reasons of business expediency he again assumed, - for a time, use of the name Walter - Kingsley. - - July. - 19. His play of “Paul Arniff” was produced, - for the first time, at the Baldwin Theatre: - it is founded in part on “The Black Doctor.” - - August. - 16. John T. Malone made his first appearance - on the stage, acting _Richelieu_, at the Baldwin, - under the direction of Belasco. - - 30. A new version, by Belasco, of T. P. - Cooke’s “True to the Core” was acted at the - Baldwin. - - November. - 15. William E. Sheridan began his first San - Francisco engagement, at the Baldwin, during - which, under stage direction of Belasco, he - appeared in “King Louis XI.,” “Wild Oats,” - “The Lady of Lyons,” “The Merchant of - Venice,” etc., etc. - - December. - 28. First production in America of the once - famous melodrama of “The World” was made, - under Belasco’s direction, at the Baldwin - Theatre, San Francisco. - -1881. - January. - 17. Belasco’s “The Creole” (based on “Article - 47”) was acted for the first time in - New York, at the Union Square Theatre,--Eleanor - Carey appearing in it as - _Diana_. - - February. - 6(?). Last performance of “The Creole” at the - Union Square Theatre. - - March. - 27. Belasco left San Francisco, with the Baldwin - Theatre stock company, for Portland, - Oregon. - - April. - 15. He returned from Portland and resumed - employment at the Baldwin Theatre. - - July. - 18. Belasco’s play of “La Belle Russe” was - anonymously produced, under his stage - direction, at the Baldwin Theatre, San - Francisco (first time anywhere), Miss - Jeffreys-Lewis, Osmond Tearle, and Gerald - Eyre acting the chief parts in it. Exceptional - success. - - 26. Belasco’s authorship of “La Belle Russe” - was announced, in advertisements of that - play. - - 30. Final performance, original run, of “La - Belle Russe,” at the Baldwin. - - August. - 15. At the Baldwin occurred the first performance - of Belasco’s dramatic epitome of - Adolphe Belot’s story, “The Stranglers of - Paris,” Osmond Tearle acting _Jagon_: - Belasco’s name was not made known at - this time as the stage-adapter of the - story. - - September. - 25. Belasco left San Francisco, with Maguire, - for the East, to arrange for the sale of his - play of “La Belle Russe.” - - During his stay in New York, October-December, - this year, Belasco negotiated - regarding presentment of “La Belle Russe” - with Augustin Daly, John Stetson, A. M. - Palmer, and Lester Wallack. He finally sold - his interest in that play outright, to Frank - L. Goodwin, for $1500, a return ticket to - San Francisco, and $100 for travelling - expenses. - - December. - 25. Belasco reached San Francisco from New - York. - -1882. - March. - 7. First performance of Belasco’s spectacle - melodrama of “The Curse of Cain” occurred - at the Baldwin. - - April. - 16. End of Thomas Maguire’s control of the - Baldwin Theatre, San Francisco. - - May. - 8. First production in New York of Belasco’s - play of “La Belle Russe” was made at Wallack’s - Theatre,--Osmond Tearle and Rose - Coghlan playing the chief parts. - - June. - 12. A “sensation revival” of Belasco’s “retouched - and re-arranged” version of Boucicault’s - “The Octoroon,” introducing Callender’s - Colored Minstrels, was effected at the - Baldwin, under the stage direction of Belasco - and the management of Gustavo Frohman: - notable success. - - July. - 10. Belasco’s “American Born” was acted, for - the first time, at the Baldwin Theatre, San - Francisco,--Edward N. Marble being then - the lessee of that house. - - --. First meeting of Belasco and Charles Frohman. - - 18(?). Belasco left San Francisco, travelling, as - stage manager, with the [Gustave] Frohman - Dramatic Company. - - 31. That company began an engagement in - Denver, Colo.,--at the end of which, apparently, - it was disbanded. - - August. - 16. Belasco’s “American Born” was successfully - produced, at the Grand Opera House, - Chicago, under the joint management of Gustave - and Charles Frohman. - - October. - 9. First production of “Young Mrs. Winthrop,” - by Bronson Howard, at the Madison - Square Theatre. This was the first play - produced at that theatre under the stage - management of Belasco, and the incident - marks his establishment in the Theatre of - New York. - - The 100th performance of “Young Mrs. - Winthrop” occurred January 12, 1883: the - 150th, March 5. - -1883. - April. - 7. Last performance (original “run”) of - “Young Mrs. Winthrop” at the Madison - Square Theatre. - - 9. First performance, by professional actors, - Madison Square Theatre, of “A Russian - Honeymoon,” by Mrs. Burton N. Harrison, - produced under stage management of - Belasco. - - June. - 4. Last performance of “A Russian Honeymoon” - and end of “the regular season” at - the Madison Square. - - 5. Beginning of the “summer season” at the - Madison Square, with first production of - “The Rajah; or, Wyncot’s Ward,” by William - N. Young, revised by Belasco, and produced - under his stage direction. - - September. - 1. 100th performance of “The Rajah” at the - Madison Square. - - October. - 31. 150th performance of “The Rajah.” - - November. - 12. At the New Park Theatre occurred the - first performance in New York of Belasco’s - melodrama (revised for the occasion) of - “The Stranglers of Paris,” which was produced - under the stage direction of the author - and the management of Charles Frohman: - Henry Lee appeared as _Jagon_. - - December. - 8. “The Rajah” was withdrawn at the Madison - Square. - - 10. At the Madison Square first production of - “Delmar’s Daughter; or, Duty”; by Henry - C. De Mille, under Belasco’s direction. It was - a failure and was withdrawn on the 15th. - - 17. “The Rajah” was revived at the Madison - Square. - -1884. - January. - 29. Last performance of “The Rajah.” - - 31. First New York performance, Madison - Square Theatre, of “Alpine Roses,” by H. - H. Boyesen; stage direction of Belasco. - Georgia Cayvan, Marie Burroughs, Eben - Plympton, and Richard Mansfield played the - chief parts in this drama. - - April. - 10. Last performance of “Alpine Roses.” - - 12. At the Madison Square Theatre, first production, - on any stage, of Belasco’s drama - of “May Blossom,” founded in part on his - earlier play of “Sylvia’s Lovers”: produced - under the stage direction of the - author. - - July. - 5. Belasco sailed for England, on board the - SS. Alaska, to witness performances of - “Called Back,” at the Haymarket Theatre, - London,--that play having been purchased - for production in America by the Mallory - brothers. First meeting of Belasco and author - occurred on this voyage. - - 19. He sailed for New York, on board the - SS. Alaska. - - 27. He arrived in New York. - - August. - 27. Public announcement by the Mallory - brothers that Albert Marshall Palmer had - become a partner in the management of the - Madison Square Theatre. Friction between - Belasco and Palmer, relative to management - of the stage, had arisen some time - earlier. - - September. - 1. First production in America of “Called - Back,” made by the Mallory brothers at the - Fifth Avenue Theatre, under the stage direction - of Belasco. - - 9. 150th performance of “May Blossom” at - the Madison Square Theatre. - - 27. Last performance of “May Blossom” at - the Madison Square Theatre. - - 29. A new policy was put into effect at the - Madison Square Theatre, under the influence - of Palmer, marked by the presentation, on - this date, of “The Private Secretary.” - This farce was placed on the stage almost - entirely under the direction of Frank - Thornton. - - After the successful production of “Called - Back” at the Fifth Avenue Belasco resigned - his position as stage-manager of the Madison - Square Theatre company. - -1885. - --. Belasco contemplated abandoning stage direction - and reverting to acting,--it being his - plan to appear at the head of a company - managed by himself as _Hamlet_ and in the central - part of a play he wished to write for his - own use. - - He became acquainted with Steele Mackaye. - -1886. - February. - 15. At Wallack’s Theatre, New York, occurred - the first production on any stage of “Valerie,” - a play in three acts altered by Belasco - from Sardou’s “Fernande.” - - March. - 13. “Valerie” was withdrawn at Wallack’s. - - May. - --. Belasco returned to San Francisco as stage - manager of Al. Hayman’s “all-star stock company.” - - 31. That company appeared, under his direction, - at the Baldwin Theatre, in a dramatization - of the novel of “Moths.” - - June. - Hayman’s company acted at the Baldwin - under Belasco’s direction as follows: - - 7. In Belasco’s “Valerie.” - - 14. “The Marble Heart.” - - 21. “Anselma.” - - 24. “The Lady of Lyons.” - - 28. “Alone in London.” - - July. - 18. (Sunday night.) Belasco took a benefit - at the Baldwin Theatre, San Francisco: extraordinary - programme and great public enthusiasm. - - 26. He left San Francisco for New York, to - take up work there in connection with the - Lyceum Theatre. - - September. - Belasco revised A. C. Gunter’s “A Wall - Street Bandit,”--which was produced at the - Standard Theatre, September 20. - - 18. Henry C. De Mille’s play of “The Main - Line; or, Rawson’s Y” was produced at the - Lyceum Theatre, under Belasco’s stage direction. - - October. - 18. May Fortesque (Finney) began an engagement - at the Lyceum, acting _Gretchen_, in - Gilbert’s “Faust”: Belasco officiated as stage - director throughout that engagement, during - which Miss Fortesque also acted as _Gilberte_, - in “Frou-Frou”; _Iolanthe_, in “King - Rene’s Daughter,” and _Jenny Northcott_ in - “Sweethearts.” - -1887. - March. - 23. Under Belasco’s direction, pupils of the - Lyceum Theatre School of Acting gave a - performance, at the Lyceum, of an English - translation of Molière’s “Les Précieuses - Ridicules.” - - May. - 3. First production, at the Lyceum Theatre, - of “The Highest Bidder,” made by Belasco - on the basis of a play called “Trade,”--which - was written by John Maddison Morton - and Robert Reece, for the elder Sothern. - Notable success. - - July. - 16. End of the original “run” of “The Highest - Bidder,” and close of the season at the - Lyceum Theatre. - - August. - 22. Revival of “The Highest Bidder” at the - Lyceum. - - September. - 12. “Pawn Ticket 210,” by Belasco and Clay - M. Greene, was produced by Lotta, at McVicker’s - Theatre, Chicago. - - 19. Cecil Raleigh’s farce, “The Great Pink - Pearl,” and Augustus Thomas’ one-act drama, - “Editha’s Burglar,” were produced, under - Belasco’s stage direction, at the Lyceum. - - October. - 24. At the Fourteenth Street Theatre “Baron - Rudolph,”--originally entitled “Only a - Tramp,”--by Bronson Howard, first rewritten - as well as renamed by Howard; - then, at Howard’s request, altered and - improved by Belasco, was produced, for the - first time in New York, by George S. Knight,--Charles - Frohman representing Knight in - the business management and Belasco stage - directing the performance. Failure: the - play was kept on the stage four weeks, to - bad business. (In its original form Knight - first presented “Baron Rudolph” in New - York, at the Windsor Theatre, October 17, - 1881.) - - November. - 1. At the Lyceum occurred the first performance - on any stage of “The Wife,” by - Belasco and Henry C. DeMille. - - 19. “Baron Rudolph” was withdrawn at the - Fourteenth Street Theatre. - - December. - --. During this month Belasco revised and - rectified William Gillette’s dramatization of - Haggard’s “She,”--which had been produced - at Niblo’s Garden on November 29. His work, - for which he received $1,000, made a popular - success of that spectacle. - -1888. - June. - 16. 239th consecutive performance of “The - Wife,” and close of the Lyceum Theatre. - - August. - 21. The Lyceum was reopened for the season - with first performance anywhere of Belasco - and De Mille’s “Lord Chumley.” - - September. - 11. Belasco’s revision of E. J. Schwartz’s “The - Kaffir Diamond” was produced at the Broadway - Theatre, New York, with Louis Aldrich - in the chief part. (Belasco was paid $300 - for his work on this play.) - - November. - 11. --th and last performance at the Lyceum - of “Lord Chumley.” - -1889. - March. - 11. The fifth annual performance of the Academy - of Dramatic Art (formerly the New - York School of Acting) occurred at the - Lyceum Theatre, under the direction of - Belasco, Franklin H. Sargent, and Henry - C. De Mille,--pupils of that school appearing - in an English version of Sophocles’ “Electra.” - - 18. “The Marquis,” a version of Sardou’s - “Ferréol,” prepared by Belasco, was produced - under his stage direction at the Lyceum. - Failure. - - 29. Revival of Belasco-De Mille drama of “The - Wife,” at the Lyceum. - - April. - 29. A play by William Gillette, based on Mrs. - Humphry Ward’s novel of “Robert Elsmere” - and bearing the same name, was produced - at the Union Square Theatre under - the stage direction of Belasco--by special - arrangement with the directorate of the - Lyceum Theatre: Belasco received $500 for - his labor on this production. - - May. - 6. James Albery’s play of “Featherbrain” - (adapted from a French farce called “Tête de - Linotte”) was produced, under stage management - of Belasco, at the Madison Square Theatre--a - special company organized by Daniel - Frohman appearing in it. - - 18. Close of the season at the Lyceum. - - (Month, date?) Belasco and De Mille - were commissioned to write a new play for - the season of 1889-’90, at the Lyceum. - - --. First meeting of David Belasco and Mrs. - Leslie Carter. - - September. - --. Mrs. Leslie Carter sought Belasco at - Echo Lake, New Jersey, and obtained his - promise to undertake her training for the - stage. - - November. - 19. First performance anywhere of “The - Charity Ball,” by Belasco and De Mille, stage - direction of the former. - - This was the last play for the Lyceum - with which Belasco was concerned. - - December. - --. Belasco, being in need of the use of a stage - for rehearsals of Mrs. Carter, agreed to revise - a play by Mrs. Abby Sage Richardson, - based on Mark Twain’s “The Prince and the - Pauper,” and to rehearse a company in it, on - the understanding that, as payment, he should - be permitted to rehearse Mrs. Carter on the - stage of the Lyceum Theatre. - -1890. - January. - 20. Belasco’s revision of “The Prince and the - Pauper” was acted at the Broadway Theatre, - Elsie Leslie appearing in it as Tom Canty - and as _Prince Edward of Wales_. - - January-February. - Belasco was active in planning a play for - Mrs. Carter, called “The Heart of Maryland,” - in negotiation for its production under - the management of A. M. Palmer, and in - training of Mrs. Carter. - - February. - 26. The bargain between Daniel Frohman and - Belasco, for the latter to use the stage of - the Lyceum Theatre, was wrongfully abrogated - by the directors of that institution. - Belasco soon afterward resigned his place at - the Lyceum. - - March. - 27. Belasco ended his association with the - Lyceum Theatre. - - May. - 24. 200th performance of “The Charity Ball,” - and close of the Lyceum Theatre. - - October. - 21. A melodrama entitled “Men and Women,” - by Belasco and De Mille, was produced at - Proctor’s Twenty-third Street Theatre, by - Charles Frohman, under the stage direction - of Belasco: and, to accommodate Miss Annie - A. Adams, an old friend, Belasco wrote in - this play a small part for Miss Maude - Adams. - - November. - 10. Belasco, with E. D. Price as business manager - (the financial capital having been provided - by Mr. N. K. Fairbank, of Chicago), - presented Mrs. Leslie Carter, at the Broadway - Theatre, as a star, in a play by Mr. - Paul M. Potter, called “The Ugly Duckling”; - that was _Mrs. Carter’s first appearance on the stage_. - -1891. - March. - 14. End of tour of Mrs. Carter in “The Ugly - Duckling,” and of career of that play, in - Kansas City, Mo. - - 25. 200th consecutive performance of “Men - and Women” at Proctor’s Twenty-third - Street Theatre. - - 28. Last performance of “Men and Women,”--original - production. - - April. - 15. Belasco, Mrs. Carter, and Mrs. Dudley, - her mother, sailed for England, on board - SS. City of New York, and proceeded to - Paris, to see the French play with music - afterward presented in America as “Miss - Helyett.” - - November. - 3. “Miss Helyett,” a farce with music, - adapted from the French by Belasco, was, by - him, in association with Charles Frohman, - produced at the Star Theatre, New York,--Mrs. - Carter appearing in it as _Miss Helyett_. - - December. - 17. 50th performance of “Miss Helyett” at the - Star. - -1892. - January. - 10. Last performance of “Miss Helyett” at the - Star. - - 11. “Miss Helyett” was transferred from the - Star to the Standard Theatre. - - 29. 100th performance of “Miss Helyett.” - - February. - 13. Close of the New York engagement of Mrs. - Carter in “Miss Helyett”: she then went on a - tour in that play, under the management of - Frohman and Belasco, which lasted until the - end of the theatrical season of 1891-’92. - - During the greater part of the remainder - of 1892 Belasco’s attention was bestowed - principally on the writing of “The Girl I Left - Behind Me.” - -1893. - January. - 16. “The Girl I Left Behind Me,” by Belasco - and Franklyn Fyles, was produced, by Charles - Frohman, for the first time anywhere, at the - New National Theatre, Washington, D. C.,--under - the stage management of Belasco. - - 25. The Empire Theatre, New York, was - opened, under the management of Charles - Frohman, with a performance of “The Girl I - Left Behind Me.” - - March. - 29. “The Girl I Left Behind Me” was played - at the Empire with an entirely new cast--the - original company, with one or two exceptions, - going to Chicago, where, during the World’s - Columbian Exposition, it was presented in - that drama, at the Schiller (now, 1917, the - Garrick) Theatre, for many weeks. - - June. - 24. 288th consecutive performance of “The - Girl I Left Behind Me,” at the Empire, and - close of the first season at that theatre. - - October. - 24. First performance in New York, at the - Empire Theatre, of “The Younger Son,” - adapted by Belasco from a German play - called “Schlimme Saat” (“Evil Seeds”). - Failure: it was withdrawn after four performances. - -1894. - August. - 22. Belasco left New York, taking his brother - Frederick with him, for San Francisco,--called - there by the illness of his mother, who - was thought to be dying. - -1895. - October. - 9. Belasco’s play of “The Heart of Maryland” - was presented, by the author, in association - with Mr. Max Bleiman, of New York, - for the first time anywhere, at the Grand - Opera House, Washington, D. C. - - 22. “The Heart of Maryland” was acted for - the first time in New York, at the Herald - Square Theatre: notable success. - -1896. - March. - 3. 150th performance of “The Heart of - Maryland.” - - 31. An extra performance of “The Heart of - Maryland” was given at the Herald Square - Theatre, for the benefit of the Hebrew - Infant Asylum. - - April. - 18. 200th performance of “The Heart of Maryland,” - and distribution of souvenirs at the - Herald Square. - - May. - 16. End of the “run” of “The Heart of Maryland,” - and close of the season at the Herald - Square Theatre: 229 consecutive performances - had been given of this fine melodrama. - - June. - 3. Trial of Belasco’s suit against N. K. - Fairbank, to recover $65,000, losses, expenses, - etc., incidental to instruction of - Mrs. Carter and her tour in “The Ugly - Duckling,” was begun before Justice Leonard - Giegerich and a jury, in Part V., Supreme - Court, State of New York. This suit - was fought with extreme acrimony at every - point. - - 23. The jury in Belasco’s suit against Fairbank - returned a verdict for the Plaintiff, - awarding him $16,000 and interest, for five - years, at 5 per cent. - - August. - 20. “Under the Polar Star,” revision by Belasco - of play by Clay M. Greene, was produced at - the Academy of Music, New York. - -1897. - August. - 16. Belasco presented “The Heart of Maryland” - at the Baldwin Theatre, San Francisco. - - October. - 5. At the Manhattan (previously the Standard) - Theatre Belasco, in partnership with - Charles Frohman, presented, for the first time - in New York, a tragedy of Chinese character - entitled “The First Born,” by Francis Powers. - It was produced under the stage management - of Belasco, and Powers appeared in its principal - part, _Chan Wang_: notable success. The - tragedy was acted in association with a farce - called “A Night Session,” derived from a - French original by Georges Feydeau. - - 23. The theatrical company that acted “The - First Born” in New York sailed for England,--a - new company taking its place at the - Manhattan. - - November. - 6. “The First Born” was acted at the Duke - of York’s Theatre, London,--where it failed - and was withdrawn after one week. - - Last performance of “The First Born” at - the Manhattan Theatre. Nov. 29.--Transferred - to Garden Theatre, where it was acted - until December 11. - -1898. - --. Close of the third season of “The Heart of - Maryland” at Springfield, Mass. - - March. - 30. Belasco, Mrs. Carter, and the company - which had been acting in “The Heart of - Maryland” sailed for England on SS. St. - Paul. - - April. - 8. Belasco, in partnership with Charles Frohman, - presented Mrs. Carter, at the Adelphi - Theatre, London (her first appearance - abroad), as _Maryland Calvert_, in “The Heart - of Maryland.” - - June. - 25. End of the season of “The Heart of Maryland” - in London. - - September. - 7. Belasco arrived in New York, from England, - on board SS. Majestic. - - December. - 25. Belasco’s adaptation of “Zaza,” from a - French play of that name, by MM. Pierre - Berton and Charles Simon, was acted for the - first time, at the Lafayette Square Opera - House (now, 1917, the Belasco Theatre), - Washington, D. C., Mrs. Leslie Carter - appearing in its central part. - -1899. - January. - 9. “Zaza” was acted for the first time in New - York, at the Garrick Theatre. - - 11. Death of Mrs. Humphrey Abraham Belasco, - at 174 Clara Street, San Francisco, in her - 69th year. Mrs. Belasco was buried at Hills - of Eternity Cemetery, San Mateo, California. - - June. - 5. 150th performance of “Zaza,” observed by - distribution of souvenirs during the evening. - - 17. End of “run” of “Zaza,” and close of the - season at the Garrick: 164 performances had - been given. - - December. - 25. Belasco’s “Naughty Anthony” was produced, - first time, at the Columbia Theatre, - Washington, D. C., with Blanche Bates and - Frank Worthing in its principal parts. - -1900. - January. - 8. Belasco presented his farce of “Naughty - Anthony,” for the first time in New York, at - the Herald Square Theatre. - - March. - 5. At the Herald Square, first performance - anywhere of the tragedy, in one act, by - Belasco, entitled “Madame Butterfly,”--founded - on a story of the same name by John - Luther Long,--Blanche Bates acting in it as - _Cho-Cho-San_ and Frank Worthing as - _Lieutenant B. F. Pinkerton_. - - 21. Close of the Belasco season (“Naughty - Anthony” and “Madame Butterfly”) at the - Herald Square Theatre. - - April. - 5. Belasco, Mrs. Carter, and the theatrical - company to act “Zaza” sailed for England on - SS. St. Paul. - - 16. Belasco, in partnership with Charles Frohman, - presented Mrs. Carter in his play of - “Zaza,” at the Garrick Theatre, London. - - 28. In association with Charles Frohman, Belasco - presented “Madame Butterfly” at the - Duke of York’s Theatre, London: memorable - triumph. - - May. - --. Belasco fell on stairs of the Garrick - Theatre, London, and was seriously injured. - - July. - 28. End of the London engagement of Mrs. - Carter, in Belasco’s “Zaza.” - - August. - --. Belasco and Mrs. Carter sailed for New - York on board SS. -----. - - --. They landed in New York. - -1901. - February. - 5. Belasco, in partnership with Charles Frohman, - presented at the Garden Theatre, for - the first time on any stage, a dramatization - of Ouida’s novel, “Under Two Flags,” by - Mr. Paul M. Potter,--revised by Belasco. - Blanche Bates, making her first appearance - in New York as a star, acted in it as - _Cigarette_. Stage direction of Belasco. - - June. - 1. 133rd performance of “Under Two Flags” - at the Garden Theatre, and close of the season - there. - - September. - 9. At the Hyperion Theatre, New Haven, - Conn., Belasco presented David Warfield as - a star, in “The Auctioneer,”--then first - acted on any stage,--a play built on suggestions - by Belasco, by Charles Klein and Lee - Arthur, and amended by Belasco. - - 23. Belasco presented Warfield in “The Auctioneer,” - for the first time in New York, at - the Bijou Theatre. - - December. - 12. At the New National Theatre, Washington, - D. C., Belasco, for the first time anywhere, - presented his play of “Du Barry,” - with Mrs. Carter in the central part. - - “Du Barry” was to have been given on - Monday, the 9th inst., but difficulty in - handling the elaborate and heavy stage settings - and the need of additional rehearsals - delayed it till the 12th. - - 25. First performance of “Du Barry” in New - York occurred, at the Criterion Theatre. - -1902. - January. - 1. A silver loving cup was presented to - Belasco, on the stage of the Criterion Theatre, - by Mrs. Carter and all the other members - of the “Du Barry” company: Mr. - Charles A. Stevenson made the presentation - speech, and Mr. Belasco replied. - - 14. Belasco, by lease, secured control of the - Republic Theatre, New York. - - 25. Belasco was sued by M. Jean Richepin, - demanding an accounting for the receipts - from representations of “Du Barry,”--on - the ground, as alleged, that Belasco’s “Du - Barry” is, in fact, Richepin’s play of the - same name. - - March. - 13. Judge John J. Freedman, in the Supreme - Court, New York, denied a motion by attorneys - of M. Jean Richepin to strike out - essential clauses from Belasco’s answer in - Richepin’s suit against him, alleging plagiarism - in the play of “Du Barry.” - - The Plaintiff never proceeded in this case, - and it was formally discontinued, in January, - 1908. - - 17. Belasco was severely injured by the fall of - a heavy piece of scenery, during representation - of “Du Barry,” at the Criterion Theatre: - he was struck on the head, badly cut, - and rendered unconscious for a quarter of an - hour. - - April. - 19. Work of reconstruction of the Republic - Theatre was begun: the whole interior of that - theatre was torn out and rebuilt,--a sub-stage - chamber, twenty-five feet deep, being - excavated (which entailed much blasting of - solid rock), a perpetual spring of water - being incidentally tapped, which it was - extremely difficult to dam. - - May. - 31. 165th performance of “Du Barry” at the - Criterion, and close of that theatre for the - season. - - September. - 29. Belasco opened the first Belasco Theatre, - New York (previously the Republic), presenting - Mrs. Carter, in a revival of - “Du Barry.” - - November. - 17. The first performance, anywhere, of “The - Darling of the Gods,” a tragedy of Japanese - life by Belasco and John Luther Long, - occurred at the National Theatre, Washington, - D. C., under the management and stage - direction of Belasco: Blanche Bates, George - Arliss, and Robert Haines acted the chief - parts in it. - - December. - 2. Suit for $20,000 damages for malicious - libel was entered by Belasco against the - writer known as Onoto Watanna (Mrs. - Bertrand W. Babcock), in the Supreme - Court, New York, before Judge James J. - Fitzgerald. - - 3. First New York presentment of “The - Darling of the Gods,” at the first Belasco - Theatre. - -1903. - January. - --. Belasco entered into a contract with Henrietta - Crosman for her appearance as a star - in a dramatization of the novel by Agnes and - Egerton Castle, called “The Bath Comedy.” - - February. - 6. Order for the arrest of Onoto Watanna - (Mrs. Babcock), obtained by Belasco, in his - suit against her claiming $20,000 damage - for malicious libel, was vacated by Judge - David Leventritt,--defendant, in effect, withdrawing - the libel: appeal against vacation of - the order of arrest entered by Belasco’s - lawyers. - - May. - 30. “The Darling of the Gods” was withdrawn - at the Belasco Theatre and that house was - closed for the season,--186 performances having - been given. - - June. - 6. End of tour, under Belasco’s direction, of - Mrs. Carter and a company of 147 other - players, presenting “Du Barry,” at Minneapolis, - Minn.: it had lasted thirty-eight weeks. - - 10. Belasco gave a brilliant reception in honor - of Mrs. Carter, on the stage of the Belasco - Theatre, New York,--which was attended by - several hundred persons of varied social and - artistic distinction. - - September. - 16. The Belasco Theatre was reopened with - a revival of “The Darling of the Gods.” - - 28. Beginning of Warfield’s third tour in “The - Auctioneer,” at the Harlem Opera House, - New York. - - November. - 14. Last performance of “The Darling of the - Gods” at the Belasco Theatre. - - 16. A contemptible outrage was perpetrated at - the Belasco Theatre, New York, when, during - representation of the First Act of “Zaza,” a - process server, employed and instructed by - Mr. A. Hummel, leaped upon the stage and - handed to _Mrs. Leslie Carter_ notice of an - action brought by Miss Eugenie Blair and Mr. - Henry Gressit, against _David Belasco_, praying - for an injunction to stop the latter presenting - “Zaza”! The plaintiffs alleged rights - of ownership of the play by Charles Frohman. - Hummel (firm of Howe & Hummel) was - attorney for C. Frohman as well as for Miss - Blair and Gressit. - - 23. Belasco produced, for the first time anywhere, - at the Lafayette Square Opera House - (now, 1917, Belasco Theatre), Washington, - D. C., his stage version of “The Bath - Comedy,” entitled “Sweet Kitty Bellairs.” - - 24. Suit was brought by Joseph Brooks, in the - Supreme Court, New York, against Belasco, - in an endeavor to establish that he, Brooks, - was a copartner with Belasco in management - and presentation of David Warfield, in the - play of “The Auctioneer.” - - December. - 8. First performance of “Sweet Kitty - Bellairs” in New York,--at the first Belasco - Theatre. - - 11. Judge Scott denied application, by Miss - Blair and Mr. Gressit, for an injunction to - stop Belasco’s presentation of “Zaza.” - - 23. By arrangement with Belasco Herbert - Beerbohm-Tree presented “The Darling of the - Gods” at His Majesty’s Theatre, London, - appearing in it as _Zakkuri_, with George - Relph as _Kara_ and Miss Marie Löhr as - _Yo-San_. - -1904. - January. - 8. Publication, in the newspaper press, of letter - by David Warfield repudiating Joseph - Brooks’ assertion of partnership with Belasco - in the management and presentation of Warfield, - in “The Auctioneer.” - - 10. Warfield’s tour in “The Auctioneer” was - abruptly ended at New Orleans. - - 25. Judge David Leventritt, in the Supreme - Court, New York (First District), refused to - issue a mandatory order, prayed for by - Joseph Brooks, directing David Warfield to - continue to act in “The Auctioneer.” - - February. - 3. Legal action was brought in the Circuit - Court of the United States for the Southern - District of New York by Grace B. Hughes - (otherwise known as Mary Montagu) to - restrain Belasco, Maurice Campbell, and - Henrietta Crosman from further presenting - Belasco’s play of “Sweet Kitty Bellairs,”--Plaintiff - alleging that Belasco’s play was, in - fact, an infringement of one by her, entitled - “Sweet Jasmine.” - - February. - 14. Hon. W. M. K. Olcott was appointed as - Receiver for the play of “The Auctioneer” (as - represented with Warfield in the central part), - in the Brooks-Belasco “partnership” suit. - - March. - 18. The application by Grace B. Hughes for - an injunction against Belasco, _et al._, as - above, was argued before Judge E. Henry - Lacombe. - - 26. Judge Lacombe denied the motion for an - injunction as prayed for by Grace B. - Hughes, holding that there was _no plagiarism_ - by Belasco. This case was finally stricken - from the Calendar, without trial, March 3, - 1913. - - June. - 4. End of the first New York run of “Sweet - Kitty Bellairs,” at the Belasco Theatre. - - July. - 31. Belasco presented “The Darling of the - Gods,” with Blanche Bates and the original - New York company, at the Imperial Theatre, - St. Louis, thus incurring the bitter, active - animosity of the Theatrical Syndicate,--the - Imperial Theatre not being under the control - of that organization. - - September. - 12. Belasco produced, for the first time anywhere, - at the Young’s Pier Theatre, Atlantic - City, N. J., Charles Klein’s play of “The - Music Master,” revised by Belasco--David - Warfield acting in it, as _Herr Anton von Barwig_. - - September. - 16. The Belasco Theatre was reopened with a - revival of “The Darling of the Gods.” - - 28. At the Montauk Theatre, Brooklyn, Mrs. - Carter’s “Farewell Tour” in “Du Barry” - began, under Belasco’s direction. - - 26. First presentation of “The Music Master” - in New York,--at the first Belasco Theatre. - - December. - 26. In Convention Hall (which, having been - shut out of all theatres by the iniquitous - Theatrical Syndicate, he had hired and converted - into a theatre, for one week’s engagement) - Belasco produced, for the first time - anywhere, the tragedy, written by him in - collaboration with John Luther Long, entitled - “Adrea,”--Mrs. Leslie Carter acting the principal - part in it. - -1905. - January. - 11. First performance of “Adrea” in New - York, at the first Belasco Theatre. - - May. - 4. End of the first run of “Adrea” and close - of the Belasco Theatre for the season. - - June. - --. Belasco went to London. - - September. - 20. Belasco reopened the Belasco Theatre with - a revival of “Adrea.” - - October. - 3. At the new Belasco Theatre, Pittsburgh, - Pa., Belasco produced, for the first time anywhere, - his play of “The Girl of the Golden - West,”--Blanche Bates acting the central - character and Frank Keenan and Robert - Hilliard playing the chief supporting - parts. - - November. - 14. First performance in New York of “The - Girl of the Golden West,”--at the first - Belasco Theatre. - -1906. - June. - 23. End of Mrs. Carter’s tour at Williamsport, - Pa.,--in “Zaza”; her last performance under - Belasco’s management. - - November. - 12. Belasco produced his play “The Rose of the - Rancho,”--based, in part, on an earlier one - by Richard Walton Tully, called “Juanita,”--at - the Majestic Theatre, Boston, Mass, (first - time in this form), Frances Starr appearing - in it as _Juanita_, that being her first venture - as a star. - - 27. First New York presentation of “The - Rose of the Rancho” occurred at the first - Belasco Theatre. - - December. - 5. The corner-stone of Belasco’s Stuyvesant - Theatre (1917, the Belasco) was laid by - Blanche Bates. Bronson Howard made a - brief address. - -1907. - September. - 23. Belasco produced, at the Hyperion Theatre, - New Haven, Conn., for the first time anywhere, - a play written by himself in conjunction - with Misses Pauline Phelps and Marion - Short, entitled “A Grand Army Man,”--David - Warfield appearing in it as _Wes’ Bigelow_. - - October. - 16. Belasco opened his Stuyvesant Theatre, - New York,--now, 1917, the second Belasco - Theatre,--presenting Warfield in “A Grand - Army Man.” - - November. - 18. He presented Mr. William De Mille’s “The - Warrens of Virginia,” first time, at the Lyric - Theatre, Philadelphia. - - December. - --. First New York performance of “The Warrens - of Virginia,” Belasco Theatre. - -1908. - February. - 24. Belasco revived “The Music Master” at the - Stuyvesant Theatre. - - May. - 2. Close of the season at the Stuyvesant,--performance - of “A Grand Army Man.” - - September. - 7. William J. Hurlbut’s play of “The Fighting - Hope” was produced by Belasco and - under his stage direction (first time anywhere) - at the Belasco Theatre, Washington, - D. C., Blanche Bates and Charles Richman - acting the principal parts. - - 22. First New York presentation of “The - Fighting Hope,”--at the Stuyvesant Theatre. - - December. - 31. At the Parsons Theatre, Hartford, - Conn., Belasco produced, for the first time - anywhere, the repulsive play of “The Easiest - Way,” by Mr. Eugene Walter--Miss Frances - Starr playing the central part in it. - -1909. - January. - 19. Belasco presented “The Easiest Way,” for - the first time in New York, at the Stuyvesant - Theatre,--“The Fighting Hope” being transferred - to the Belasco. - - February. - 7. Belasco left New York for San Francisco, - to visit his father. - - 12. Arrived in San Francisco. - - 24. A dinner in honor of Belasco was given at - Bismarck Café (now, 1917, the Hofbrau - Café), San Francisco, by former schoolmates - of his at the old Lincoln Grammar School of - that city. - - 27. Festival at the Bohemian Club, San Francisco, - in honor of Belasco. - - March. - 2. He left San Francisco. - - 7. He arrived in New York. - - April. - 29. Announcement made that H. G. Fiske and - Belasco and the Theatrical Syndicate “will - book in each others’ theatres when mutually - agreeable.” - - June. - 1. Marriage of Belasco’s elder daughter, Reina - Victoria Belasco, and Morris Gest, theatrical - manager, at Sherry’s, New York. - - August. - 16. At the Savoy Theatre, Atlantic City, for - the first time anywhere, Belasco produced - “Is Matrimony a Failure?” (adapted by Leo - Ditrichstein from “Die Thür Ins Frei” by - Oscar Blumenthal and Gustav Kadelburg), - Frank Worthing and Jane Cowl acting the - chief parts. - - 23. First New York performance of “Is Matrimony - a Failure?” at the first Belasco Theatre. - - December. - 6. First presentation of “The Lily” (adapted - by Belasco from a French original by MM. - Pierre Wolff and Gaston Leroux) was - effected at the Belasco Theatre, Washington, - D. C., Nance O’Neil and Charles Cartwright - playing the principal parts. - - 23. Belasco presented “The Lily,” for the first - time in New York, at the Stuyvesant Theatre. - -1910. - January. - 17. Belasco produced Mr. E. Walter’s play of - “Just a Wife,” at the Colonial Theatre, - Cleveland, Ohio. - - January. - 31. First New York performance of “Just a - Wife,”--at the first Belasco Theatre. - - July. - --. It was decided to restore to the theatre - known since 1902 as the Belasco its former - name of the Republic Theatre, and to change - the name of Belasco’s Stuyvesant Theatre to - the Belasco Theatre. - - August. - 22. The Republic Theatre was reopened, under - that name, with the first performance of - Winchell Smith’s dramatization of the story - of “Bobby Burnitt.” - - September. - 19. Under the management and stage direction - of Belasco the first presentation in - America was effected, at the Nixon Theatre, - Pittsburgh, Pa., of “The Concert,” adapted - by Leo Ditrichstein from a German original - by Herman Bahr,--Mr. Ditrichstein appearing - in it as a star. - - October. - 10. First New York performance of “The - Concert” occurred at the (second) Belasco - Theatre. - - 24. Belasco produced Mr. Avery Hopwood’s - farce of “Nobody’s Widow” (first time anywhere) - at the Euclid Avenue Opera House, - Cleveland, Ohio,--Blanche Bates acting the - chief part in it. - - November. - 14. First New York presentation of “Nobody’s - Widow” at the Hudson Theatre. - -1911. - January. - 2. First performance of Belasco’s play of - “The Return of Peter Grimm,” at the Hollis - Street Theatre, Boston. David Warfield appeared - in its principal part. - - 27. Marriage of Belasco’s younger daughter, - Augusta Belasco, to William Elliott, actor, - at the Hotel Marie Antoinette, New York. - - February. - 24. Mrs. Elliott, dangerously ill, taken by - Belasco to Asheville, N. C. - - April. - 11. Death of Humphrey Abraham Belasco, at - 1704 Sutter Street, San Francisco, California, - in the 81st year of his age. Buried - at Hills of Eternity Cemetery, San Mateo, - California. - - 17. Belasco produced William C. De Mille’s - play of “The Woman” (first time anywhere) - at the New National Theatre, Washington, - D. C.,--Helen Ware and William Courtleigh - acting the principal parts in it. - - May. - 1. Belasco takes his daughter, Mrs. Elliott, - to Colorado Springs, Col. - - June. - 5. Death of Augusta Belasco, Mrs. William - Elliott, at Broadmoor, Colorado Springs. - - 9. Funeral of Mrs. Elliott at Temple Ahawath - Chesed, New York. Buried at Ahawath - Chesed Cemetery, Linden Hills, Long Island. - - September. - 19. First New York performance of “The - Woman” occurred at the present (1917) - Republic Theatre. - - October. - 18. “The Return of Peter Grimm” was first - presented in New York,--at the second - Belasco Theatre. - - 30. Belasco presented Edward Locke’s play - of “The Case of Becky,” for the first time - anywhere, at the New National Theatre, - Washington, D. C.,--Miss Frances Starr - acting the central character. - - December. - 10. First performance on any stage of Puccini’s - “La Fanciulla del West,”--opera on - Belasco’s play “The Girl of the Golden West,”--at - the Metropolitan Opera House, New - York,--stage direction of Belasco. - -1912. - February. - 19. Legal action was begun in the United States - District Court for the Southern District of - New York, by Abraham Goldknopf, praying - for an injunction to restrain Belasco and - William C. De Mille from further presentment - of their play of “The Woman,” alleging that - play to be, in fact, an infringement of Plaintiff’s - play of “Tainted Philanthropy.” (See - November, _et seq._) - - April. - 20. 254th performance of “The Woman” at the - Republic Theatre, and close of the season at - that house. - - 29. Belasco produced (first time anywhere) - “The Governor’s Lady,” written by himself - in collaboration with Miss Alice Bradley, at - the Broad Street Theatre, Philadelphia, Pa. - - May. - 4. End of the run of “The Return of Peter - Grimm” in New York, and close of the Belasco - Theatre for the season. - - June. - 25. Legal action was brought against Belasco - by Amelia Bachman and George L. McKay, - alleging plagiarism by him, in “The Case - of Becky,” from their play of “Etelle.” - (See May 13, 1913.) - - July. - 31. Trial of Goldknopf suit against Belasco - was begun before Commissioner Gilchrist: - continued, August 5, before Judge George - C. Holt, in United States Circuit Court. - - September. - 9. First New York performance of “The - Governor’s Lady” occurred at the present - (1917) Republic Theatre. - - October. - 1. Belasco presented “The Case of Becky,” - for the first time in New York, at the second - Belasco Theatre. - - November. - 4. At the Empire, Syracuse, New York, - Belasco produced (first time anywhere) the - play by Frederick Hatton and Fanny Locke - Hatton, entitled “Years of Discretion.” - - 26. By permission of the Court Belasco presented, - at the Belasco Theatre, for one - performance only, in the morning, De Mille’s - play of “The Woman” (then filling an engagement - at the Grand Opera House), and in - the afternoon, Mr. Goldknopf’s play of - “Tainted Philanthropy”: Judge Holt adjourned - Court to the Belasco and witnessed - both performances. - - 29. Judge Holt rendered decision in suit by - Mr. Goldknopf against Belasco in favor of - the Defendant,--holding that there is - _no plagiarism_ by Belasco of Goldknopf’s play. - - December. - 10. At the Broad Street Theatre, Philadelphia, - Pa., Belasco presented (first time anywhere - in America) the fairy play of “A Good Little - Devil,” adapted by Austin Strong from - original by Rosemonde Gerard and Maurice - Rostand,--Ernest Lawford and Mary Pickford - acting the principal parts. - - 12. First New York production of “Years of - Discretion” occurred at the Belasco Theatre. - -1913. - January. - 8. The first New York performance of “A - Good Little Devil” was given at the present - (1917) Republic Theatre. - - March. - 3. Grace B. Hughes’ suit against Belasco, - alleging plagiarism in his “Sweet Kitty Bellairs” - from her play of “Sweet Jasmine,” was - stricken from the Calendar of the Circuit - Court of the United States, Southern District - of New York. - - (Same date.) In the suit of A. Goldknopf - against Belasco, as above, final judgment - was entered, dismissing Plaintiff’s complaint - upon the merits. - - May. - 13-14. Suit by Amelia Bachman and George L. - McKay, against Belasco, alleging plagiarism - by him, in his “The Case of Becky,” from - their play of “Etelle,” was tried before Judge - Julius M. Mayer, in the United States District - Court. - - June. - 18. Belasco sailed on board SS. Campania, - for Paris, _via_ Fishguard, Great Britain, _re_ - purchase of Henri Bernstein’s play of “The - Secret.” - - July. - 9. Judge Mayer rendered decision in the suit - of Amelia Bachman and George L. McKay - against Belasco, in favor of the Defendant, - holding that there is _no plagiarism_ in the - play of “The Case of Becky,” and dismissing - Plaintiffs’ complaint upon the merits. - - 15. Final judgment was entered against Amelia - Bachman and George L. McKay, in their suit - as above. This case was appealed: see - April 6, 1914. - - August. - 28. At the Lyceum Theatre, Rochester, - N. Y., Belasco produced (first time anywhere) - the adaptation made by Leo Ditrichstein - of the comedy “Pour Vivre Heureux,” - by MM. André Rivoire and Yves Mirande, - and entitled “The Temperamental Journey,”--Mr. - Ditrichstein appearing in it as a star. - - September. - 4. First New York performance of “The - Temperamental Journey” occurred at the - present (1917) Belasco Theatre. - - October. - 27. Belasco produced (first time anywhere), - at the Euclid Avenue Opera House, Cleveland, - Ohio, a play by Roland B. Molineux, - called “The Man Inside.” - - November. - 11. At the Criterion Theatre the first performance - was given in New York of “The - Man Inside.” - - December. - 8. At the Detroit Opera House, Detroit, - Mich., for the first time anywhere, Belasco - produced his English adaptation of Henri - Bernstein’s French play of “The Secret,” - Miss Frances Starr appearing in the principal - part. - - 28. First New York performance of “The - Secret” at the second Belasco Theatre. - -1914. - April. - 6. The appeal of Amelia Bachman and George - L. McKay, in suit against Belasco, alleging - plagiarism, was argued before the United - States Circuit Court of Appeals for the - Second Circuit. Decision on this appeal was - in favor of Belasco,--affirming Judge Mayer’s - decision, in dismissing Plaintiffs’ case that - there is _no plagiarism_. Opinion by Lacombe, - J., 224 Fed. Rep., page 817. - - N.B. This is the only case against Belasco - which was ever carried to an appeal. - - May. - 4. Belasco presented Frederick Ballard’s play - of “What’s Wrong” (first time anywhere) - at the New National Theatre, Washington, - D. C. - - July. - 27. He produced (first time anywhere) “The - Vanishing Bride,” a farce adapted by Sydney - Rosenfeld from a German original by Leo - Kastner and Ralph Tesmar, entitled “Tantalus.” - Mr. Thomas A. Wise and Miss - Janet Beecher played the principal - parts. - - September. - 28. At Ford’s Opera House, Baltimore, Md., - he presented (first time anywhere) the English - version by Leo Ditrichstein of “The - Phantom Rival,” by Ferenc Molnar, Mr. - Ditrichstein appearing in it as a star. (This - English version was, originally, called - “Sascha Comes Back.”) - - October. - 6. First New York presentment of “The - Phantom Rival” was effected at the present - (1917) Belasco Theatre. - -1915. - January. - 18. For the first time in America, Belasco presented, - at the Belasco Theatre, Washington, - D. C., Edward Knoblauch’s play of “Marie-Odile,” - Frances Starr acting the central part. - - 26. First New York performance of “Marie-Odile,” - at the Belasco Theatre. - - March. - 29. Belasco, in association with Charles Frohman, - revived “A Celebrated Case” in - Boston. - - April. - 5. At the Playhouse Theatre, Wilmington, - Del., Belasco presented (first time anywhere) - the farce of “The Boomerang,” by Winchell - Smith and Victor Mapes. - - 7. Belasco and Frohman presented “A Celebrated - Case” at the Empire Theatre, New - York. - - 26. At the Parsons Theatre, Hartford, - Conn., he produced a play by Henry Irving - Dodge, called “The Love Thought,”--Miss - Janet Beecher and Hardee Kirkland playing - the principal parts in it. - - June. - 28. At the Apollo Theatre, Atlantic City, - N. J., he presented (first time anywhere) a - play called “The Girl,” by George Scarborough. - (This was afterward renamed “Oklahoma,” - and, again, “The Heart of Wetona”: - see January 22 and February 29, 1916.) - Lenore Ulric played _Wetona_, the chief part. - - August. - 10. First New York performance of “The - Boomerang” was given at the present Belasco - Theatre. - - December. - 12. At the Playhouse, Wilmington, Delaware, - Belasco first produced his drama of “Van Der - Decken,” with David Warfield in the character - of that name. - -1916. - January. - 14. Lila Longson began an action at law - against Belasco, Winchell Smith, and Victor - Mapes, in the District Court of the United - States for the Southern District of New - York, alleging that their play of “The Boomerang” - is an infringement of her play of “The - Choice.” - - 20. Belasco presented “Oklahoma” (first called - “The Girl,” later renamed “The Heart of - Wetona”) at the Stamford Theatre, Stamford, - Conn. - - February. - 29. In association with “Charles Frohman” - (Company), he presented “The Heart of - Wetona” at the Lyceum Theatre, for the - first time in New York. - - April. - 17. Belasco produced (first time anywhere) a - farce by Roi Cooper Megrue called “The - Lucky Fellow” (afterward renamed “Seven - Chances”), at the Apollo Theatre, Atlantic - City, N. J. - - May. - At the Apollo Theatre, Atlantic City, - he produced (first time anywhere) a play - called “The Treadmill” (later renamed - “Alias”), made by Willard Mack on the - basis of a story by John A. Moroso - entitled “Alias Santa Claus.” - - August. - 7. “Seven Chances” was produced for the - first time in New York, at the Cohan Theatre. - - September. - 19-21. Suit of Lila Longson against Belasco - _et al._ was tried before Judge William B. - Sheppard, who held that there was no - infringement and dismissed the complaint. - - 25. Entry of final judgment against Lila Longson - and dismissal of her complaint, upon the - merits. - - October. - 16. Belasco produced, for the first time anywhere, - “The Little Lady in Blue,” by Horace - Hodges and T. Wigney Percyval, at the - Belasco Theatre, Washington, D. C. - - 28. Belasco planted two juniper trees, in the - Shakespeare Garden, Cleveland, Ohio, with - public ceremonies. - - December. - 22. First New York performance was given - of “The Little Lady in Blue,” at the Belasco - Theatre. - -1917. - February. - 5. Belasco presented “Alias” (formerly “The - Treadmill”) at the Belasco Theatre, Washington, - D. C. - - March. - 31. --th and last New York performance of - “The Little Lady in Blue” occurred at the - Belasco Theatre. - - April. - 5. Belasco presented (first time anywhere) a - play by John Meehan, called “The Very - Minute,” at the Playhouse, Wilmington, - Del., Mr. Arnold Daly then first appearing - under his management as a star. - - 9. “The Very Minute” was acted for the first - time in New York, at the Belasco Theatre. - Failure. - - May. - ADDED BY J. W. - 7. Last performance of “The Very Minute,” - and close of the Belasco Theatre, for the - 1916-’17 season. - - July. - 3. Belasco officiated as one of the pallbearers - at the funeral of William Winter. - - August. - 25. Belasco produced a play entitled “Polly - With a Past,” written by George Middleton - and Guy Bolton and revised by himself, at the - Stamford Theatre, Stamford, Conn.,--presenting - Miss Ina Claire in the central part.--A - trial performance of this play was given - at Atlantic City, N. J., June 11. - - September. - 6. The first New York performance of “Polly - With a Past” occurred at the Belasco Theatr - - October. - 3. Belasco produced the melodrama called - “Tiger Rose,” by Willard Mack, at the - Lyceum Theatre, New York: trial performance - of this play was given at the Shubert - Theatre, Wilmington, Delaware, April 30, - 1917. Preliminary tour began, September - 21, at - -[Illustration] - - - - - -INDEX TO VOLUME TWO - -_B. = David Belasco._ - - -A - -“About Town” (extravaganza): 9. - -“About Town” (play): 9. - -Actors: eminent, of the Past, singled out for detraction, 310, _et seq._ - -“Adam in Paradise” (play--Italian): 317. - -“ADREA” (tragedy): 68; 69; 121; 126; 129; - writing of, 134; - character of--and story of, epitomized, 138, _et seq._; - truthfulness of, to nature and to fact, 146; - purpose accomplished in, 147; - an honor to its authors, 148; - first performed--first performed in N. Y.--and original cast of, 150; 151; - B.’s determination to present, in Washington, 180; - reception of, in Washington--and B.’s reminiscence of, 181; - B.’s speech at first performance of, 182; - loss on one week’s performance of--and B.’s speech at first - N. Y. performance of, 185; - last new play acted in by Mrs. Carter under B., 186; 247; 336; 423; - sp. performance of, for S. Bernhardt, 451. - -Ainsworth, William Harrison (Eng. novelist: 1805-1882): 335. - -Alva (or Alba), Fernando Alvarez de Toledo, Duke of (1508-1583): 81. - -Anderson, Mary (Mrs. Antonio de Navarro: Am. actress: 1859-19--): 423. - -Arliss, George (George Arliss-Andrews: Eng. actor: 1868-19--): - as _Zakkuri_, 81. - -Arnold, Matthew (Eng. poet, critic, etc.: 1822-1888): _re_ - the Theatre, 160; 161. - -Arthur, Lee (Lee Arthur Kahn: Am. playwright: 18-- - 19--): 11; 12; 325. - -Assignation,” “The (play): 313. - -AUCTIONEER,” “THE (play): written on B.’s plan and to his - order--B.’s designation of--revised by B.--first produced--and - Warfield on original quality of, 11; - first produced in N. Y.--described and critically - considered--Warfield’s performance in, 12, _et seq._; - original cast of, 15; - first N. Y. “run” of--tour--profits from, etc., 16; - abstract of B.’s testimony _re_, in conflict with Theatrical - Trust, 17, _et seq._; - “booking arrangement” _re_, with A. Erlanger, 18; 19; 20; 22; 23; - seasons of--and profits from, 24; - receivership applied for--and granted--Warfield closes - tour in, etc., 25, _et seq._; 27; 49; 124; 172; 386. - -Authorship, dramatic: author’s views of, 314. - -“Avare” (play): 217. - - -B - -Babcock, Winnifred Eaton (Mrs. Bertrand W. Babcock--Onoto Watanna: - Am. story-writer: 1879-19--): - charges plagiarism against B.--arrested - for libel--retracts, 88, _et seq._ - -Bachman, Amelia (amateur Am. playwright): 322; 323. - -Bahr, Hermann (Aust. play writer and critic: 1863-19--): 290; 291. - -Banker’s Daughter,” “The (melodrama): 319. - -Barker, H. Granville (Eng. actor, playwright, - th. man., and stage man.: 1877-19--): 247; 248. - -Barnes, W. (Am. lawyer): 319; 320. - -Barrett, Lawrence P. (Am. th. man. and actor: - 1838-1891): 48; 66; 153; 214; 428; - B.’s view of, 449. - -Barry, Thomas (Am. th. man. and actor): 153. - -BATES, BLANCHE (Mrs. Milton F. Davis--Mrs. George Creel: - Am. actress: 1872-19--): - B. launches as star, 1; - qualities of, 3; - her personation of _Cigarette_, 5; 48; 49; 51; - her personation of _Yo-San_, 79; - quality of, as actress, 80; 86; - refutes charge that B. “stole” her services, 87; 94; 108; 112; 114; - telegrams to, by B., _re_ “The Darling of the Gods,” 188; - telegram to, by B. F. Roeder, _re_ same, 189; - telegram to, by B., _re_ same, 190; - letter to, by B., _re_ “benefits,” etc., 193; - letter to, by B., _re_ “The Girl of the Golden West,” 194; - as _The Girl_, 199; - her performance of _The Girl_ critically considered, 200; - last important performance of--acts in “The Fighting Hope,” 208; - acts in “Nobody’s Widow,” 209; - author’s wish that B. might resume management of, 213; 214; - lays cornerstone of B.’s Stuyvesant Th., 235; 236; 260. - -Bates, Mrs. Frank Mark (Frances Marion Hinckley--Mrs. Charles L. Lord: Am. - actress: 1848-1908): letter to, by B., _re_ - “The Girl of the Golden West,” 192. - -Bath Comedy,” “The (novel): 94; 96--and dramatized, - see “Sweet Kitty Bellairs.” - -Beach, Hon. Miles (Judge, N. Y.): 321. - -“Becket” (tragedy): 194. - -Beckford, William (Eng. novelist: 1760-1844): 74. - -Belasco, Augusta (Mrs. William Elliott): - at laying of cornerstone of B.’s Stuyvesant Th., 236; - marriage of, 294; - removed to Asheville--then to Colorado Springs--and death, - funeral, and burial of, 296; - closeness of, and her father--and B.’s recollections of, - and the writing of “Peter Grimm.” 297. - - BELASCO, DAVID (American theatrical manager, playwright, - stage manager, actor, dramatist, 1853-19--): - plans to star B. Bates--and selects “Under Two Flags,” 1; - employs P. M. Potter--and produces “U. T. F.,” 2; - beauty of that production, 4; - turns his attention to starring Warfield--negotiation of Warfield - with--same engaged by, and contract between and same--issue - of partnership with, 7; - personal relations of, with Warfield, and early recollection of same, 8; - position of Warfield when B. undertook management of, 10; - plans “The Auctioneer” for Warfield--has it written--rewrites and - first produces same, 11; - Warfield on work of B. on that play, 12; - Warfield’s debt to B.--and probable course of, without his direction, 14; - B.’s profits from “The Auctioneer” reduced--beginning of - his conflict with “The Theatrical Trust,” 16; - abstract of his sworn testimony _re_, A. Erlanger, the Trust, _et al._, 17, - _et - seq._; - compelled to submit to terms of Erlanger--and evidence to - substantiate B.’s statements, 19; - irreconcilable contradiction in the testimony of B. and of - Erlanger--and same commented on--author’s reasons for - accepting testimony of, 20, _et seq._; - B. quoted on threat by Erlanger, 22; - decision against, in favor of J. Brooks--same appealed and - technical grounds of that decision, 23; - Warfield refuses to act except under management of, 25; - Warfield’s second public statement in support of, 27; -early and characteristic trend of his mind, 28, _et seq._; - his selection of du Barry “not surprising,” 29; - seeking a new part for Mrs. Carter--selects _Queen - Elizabeth_--visits England, 30; - meets J. Richepin, through Miss E. Marbury--visits them at Versailles--and - his account of the “Du Barry” contract, etc., 31, _et seq._; - rejects Richepin’s impracticable play--writes “Du Barry” - himself--and his comments on the historic character, 33, _et seq._, - quality of his “Du Barry” and that play described and - critically examined, 34, _et seq._; - B. sued by Richepin--complaint and reply, etc.--and - suit at last discontinued, 42; - his reason for not taking “Du Barry” to London, 44; - comment on reconciliation with Richepin, 45; - loving-cup presented to, by “Du Barry” Co., etc., 46; - extraordinary progress of, 47; - position of, 48; - high ambition of--need of his own th.--and danger from Trust, 49; - business proposal to, by O. Hammerstein, 50; - same accepted--leases the Republic Th.--and stipulations of contract, 51; - comment by, _re_ high rent--dangerously hurt, 52; - rebuilds the Republic Th., 53, _et seq._; - “smites a rock” and taps a perpetual spring, 54; - interview of, and holder of mortgage on the th.--the first - Belasco Th. described, 55, _et seq._; - opening of his first th.--speech of, on that occasion, etc., 60, _et seq._; - souvenir published by, 66; - disparaged by biographer of Mark Twain and defended - by author, 67, _et seq._; - “The D. of G.” created by B.--and letter from, to author, - quoted, 69; - his plans for Mrs. Carter--reasons for opening with - “Du Barry”--and his immense investment in, 70; - “The D. of G.” based on his “The Carbineer”--collaboration - with J. L. Long--and “The D. of G.” first produced by, 71, _et seq._; - his tragedy of “The Darling of the Gods,” described and - critically considered, 73, _et seq._; - dramatic effects originated by B., Irving, Daly, etc., 82; - his interesting recollection of creating scenic effect in - ‘The D. of G.,” 83, _et seq._; - immense cost to, of that play--and his small profit from--seeking - an American Gilbert and Sullivan--engages Miss L. Russell, 85; - accused of “stealing” stars, 86; - and vindicated--is accused of plagiarism, 87; - is libelled--his patience exhausted, causes arrest of O. - Watanna--sues for $20,000 damages--and contemporary - statement by, 88, _et seq._; - libel against, withdrawn, 90; - contemptible outrage against, perpetrated by order of A. Hummel, etc., 91; - feeling of, toward C. Frohman--and significant note from same to B., 92; - author’s comment on--and Judge Dittenhoefer’s comment - on the Hummel-Frohman-Blair-Gressit outrage, 93; - his agreement with E. and A. Castle--dramatizes - “The Bath Comedy”--and engages Miss H. Crosman, 94; - produces his “Sweet Kitty Bellairs”--harassed by Brooks - suit--and terse statement by, 95; - his “Sweet Kitty Bellairs” described and critically considered, 96, _et seq._; - sued by Grace B. Hughes, alleging plagiarism--gross - injustices to B.--suit decided in his favor--author’s - comments _re_ same, 104, _et seq._; - letters of, to E. Castle, 106, _et seq._; - his “The D. of G.” produced in London--mean disparagement of, 109; - glowing tribute to, by H. Beerbohm-Tree, 110; - abortive arrangement to produce “Peter Grimm” in London, 111; - strenuous work of--comment by, on his disposition--statement _re_ policy - of, by B. F. Roeder, 112; - “open war” with the “Trust,” 113; - writing of “The Music Master”--B.’s the animating mind - in that work, 114, _et seq._; - his reminiscence of “The M. M.,” 118, _et seq._; - his speech on first night of “The M. M.” in N. Y., - 121; letter of, _re_ “The M. M.,” to C. Klein, 122; - author on B.’s impressions _re_“one-part actors,” etc., 123, _et seq._; - subjected to “a peculiarly impudent and contemptible persecution,” 126; - claim of J. Brooks against, disallowed by Judge Leventritt, 127; - his esteem for Warfield--his views _re_ “The M. M.,” 128; - letters of, to B. Bates, to D. James, Jr., 129; - letter of, to P. Robertson, 130; - letter of Robertson to B., 132; - comment _re_, by author, 133; - his method of collaboration, 134; - letter of J. L. Long to, _re_ “Adrea,” 135; - letter of, to J. L. Long, _re_ “Adrea”--and character - of his “Adrea”--and story of, etc., considered, 136, _et seq._; - purpose of, in same--and fulfilled, 147; - climax of his conflict with the Syndicate--and custom - of B., _re_ first performance of new plays, 151; - and the Theatrical Syndicate, 152, _et seq._; - services of, to Public and Theatre, 152; - imperishable record of--and unique service rendered by, 153; - efforts of, to present plays in Washington, 153; - situation of, under Syndicate domination, 169; - treatment of, by Syndicate, in 1904, 170; - S. Untermyer on Erlanger and Syndicate _re_ Belasco, 178; - feeling of, about Washington--and theatres there closed to, 179; - hires Convention Hall there--and converts into a theatre, 180, _et seq._; - letter of, to “Washington Post,” 182; - his reminiscence of first performance of “Adrea,” 183; - a card to the public--and speech by, on that occasion, 184; - immense loss on Washington engagement of “Adrea”--and - speech by, in N. Y., 185, _et seq._; - professional association of, and Mrs. Carter ended, 187; - characteristic messages from, 188, _et seq._; - goes to England--1905, 190; - letter from, to “London Referee,” 191; - alliance of, with Mme. Schumann-Heink arranged--and - abandoned--his regret _re_--and letter of, to B. Bates, 192; - letter of, to J. L. Long, 193; - letters of, _re_ “The Girl of the Golden West,” to Mrs. Bates and to B. Bates, - 194; - letter of, to F. E. Shrader, 195; - tribute of, to memory of H. Irving, 196; - first production of his “The Girl of the Golden West”--and - same critically considered, 197, _et seq._; - reminiscence of, and his father, suggesting central incident - of “The Girl of the Golden West,” 202, _et seq._; - comment on technical merits of his production of that play, 205, _et seq._; - pleasing device used by, in that play, 207; - professional association of, and B. Bates ended, 208, _et seq._; - significant comment of, _re_ unappreciated work he has done for other writers, 210; - letter from G. Puccini to, and writing of opera by same on “The Girl of the Golden West,” 214, _et - seq._; - interest of, in that opera--and reminiscence of, about, 216; - refuses all payment for services to the Metropolitan Opera Company--acknowledgment by same to--and cherished gift by same - to, - 217; - his alliance with the Messrs. Shubert--how arranged, etc., 218; - foolish statement _re_, by L. Shubert--and author’s comment on same, 219; - narrow escapes of, from violent death, 220; - sees F. Starr for first time, 221; - informing reminiscences of, about Miss Starr, 222, _et seq._; - stipulation on which he accepted “The Rose of the Rancho,” 224; - that play, as revised and altered by him, a notable success--and - same critically considered, 225, _et seq._; - unerring skill of, in use of “the element of natural accessories,” 233; - significant statement of, _re_ lighting-effects in “The Rose of the Rancho,” - 234; - projects the second B. Theatre (the Stuyvesant), 235; - laying of cornerstone of same--ceremonies--address by B. Howard, etc., 236, _et - seq._; - his Stuyvesant Theatre and his studio and collections in same described, - 241, _et seq._; - conspicuous part played by, in development of the art of stage lighting, - 244, _et seq._; - important statement by, _re_ the same, 247, _et seq._; - opening of his Stuyvesant Theatre--and his play of “A Grand Army Man” critically considered, 249, - _et - seq._; - speech of, at opening of Stuyvesant Theatre, 255; - he accepts “The Passing of the Third Floor Back” for D. Warfield and the - opening of the Stuyvesant Theatre--and is unjustly treated by J. K. Jerome, 257, - _et - seq._; - produces “The Warrens of Virginia,” 260; - recollections of, about M. Pickford--and produces “The Easiest Way,” 267; - his last visit to his father--honors to, in S. F.--and touching reminiscence of, _re_ same, 271, - _et - seq._; - return of, to N. Y.--and practical surrender of Theatrical Syndicate to, - in conflict with, 274, _et seq._; - author’s view _re_ association of, with Syndicate, 276; - early statement to author of purpose, _re_ Syndicate, 277; - statement by L. Shubert _re_, and Syndicate, 278; - unwarranted and silly attack on, by Mrs. Carter, 279; - and dignified repulsion of same by--his proposal for a farewell tour by Lotta - declined, - 280; - his productions in the season of 1909-’10, 281, _et seq._; - comment by, on Jane Cowl--“Le Lys” adapted and produced by, 283; - purpose of, in that adaptation, 286; - production of “Just a Wife” made by, 287; - period of his management of first B. Theatre--changes names of same and Stuyvesant Th.--produces “The - Concert,” - 289; - letter of, to author, _re_ death of daughter, quoted from, 293; - marriage of daughter--and death of--death and funeral of father, 294; - reasons for early opposition to daughter’s marriage--wedding of same and - his gift to, 295; - fight for life of daughter--removes same to Asheville--to Colorado Springs--death - of, - 296; - closeness of, and younger daughter--his recollection of daughter, and of - writing of “The Return of Peter Grimm,” 297; - marriage of his elder daughter, 298; - fragmentary and unrevised critical notes, _re_ “Peter Grimm,” 298; - his “The Return of Peter Grimm” described and critically considered, 299, - _et - seq._; - his authorship of “Peter Grimm” questioned--and quality of detractors of - B., 305; - letter of, repudiating collaboration in “Peter Grimm”--produces “The Woman,” - 306; - accused of plagiarism, 309; - the whole subject of accusations of plagiarism against Belasco critically examined and refuted, 310, - _et - seq._; - debt of other playwrights to, 324; - playwrights who have profited by, specified by name, 325; - exceptional letter of thanks to, from G. Scarborough, 326; - THE DRAMATIC WORKS of, catalogued, 327, _et seq._; - a study of his quality and achievement as a dramatist, incompleted, 332, - _et seq._; - quality of, as man--labor of, and opposition to, etc., 334, _et seq._; - constitution of mind of, compared to Ainsworth, 335; - rank of, as dramatist--and not an imitator, 336; - trial of A. Goldknopf’s suit against, and De Mille, 337, _et seq._; - proposes a unique demonstration--and the court acquiesces, 338; - gives comparative performances of “The Woman” and “Tainted Philanthropy”--and court decides in favor of - B., - 341; - his comments on, 342; - produces “The Case of Becky”--same, in N. Y.--and the writing of, 343; - his reminiscence of that play, 345; - delighted by success of--and sued for “plagiarism” in, 346; - vindicated in court--and decision quoted, 347; - produces “A Good Little Devil,” 348; - beautiful accoutrement of same, 349; - reasons for producing “The Secret”--and his estimate of, 351, _et seq._; - produces “Marie-Odile”--his estimate of, 356; - reconciliation of, and C. Frohman, 361, _et seq._; - joint productions with C. Frohman projected--and they revived “A Celebrated - Case,” - 363; - his watchfulness of plays and players--estimate of L. Ulric, 365; - his rule as to seeing actors--a rehearsal for Miss Ulric--and impression - on, made by, 368; - produces “The Girl” for Miss Ulric, 369; - rewrites same with G. Scarborough--and presents as “The Heart of Wetona,” with Miss - U., - 370; - produces “What’s Wrong”--“The Vanishing Bride”--“The Love Thought”--“Alias,” - 374; - produces “The Governor’s Lady,” 377; - produces “Years of Discretion,” 381; - produces “The Temperamental Journey,” 383; - revives “The Auctioneer,” 386; - his endeavor to assist R. B. Molineux, 387, _et seq._; - his painful experience with Molineux, 390; - compelled to order Molineux out of th., 391; - his visits to Chinatown, 394; - characteristic and illuminative letter by, 395, _et seq._; - his admonition to Stage aspirants--a letter, 398, _et seq._; - produces “The Boomerang,” 407; - and his view of that play, 408, _et seq._; - letter of O. K. Kahn to, _re_ “The B.,” 409; - produces “Seven Chances,” 411; - produces “The Little Lady in Blue,” 413; - letter of W. W. to, _re_ same, 414; - produces “The Very Minute,” 416; - SUMMARY OF HIS CHARACTER AND CAREER, 418, _et seq._; - vitality and influence of, 421; - aspersion of--and defended by author--his devotion to the Th., 422; - works by which he will be remembered, 423; - view of the stage to which he subscribed--and administration of “his great - office,” - 427; - place among th. managers, 428; - quality of, as th. man., 430; - how contrasted with C. Frohman--characteristic instance of his placability and - generosity, - 433; - reasons for his greatness as stage man., 434; - his understanding of actors--source of weakness in, 435; - attitude of, in his th.--and most conspicuous associate of, in conduct of - same, - 437; - personal peculiarities, 439; - variable aspect of--and precious mental advantage possessed by, 440; - great Shakespeare project proposed to, by author, 441; - his favorable attitude toward, 443; - a “Shakespeare Trilogy” outlined to, by author, 445; - project enthusiastically adopted by, 447; - temporarily abandoned, because of death of W. W., see _ante_, 441; - his estimates of old actors--and glowing tribute of, to S. Bernhardt--a letter, 449, - _et - seq._; - brief extracts from his correspondence, 452, _et seq._; - produces “Van Der Decken”--and same considered, 459, _et seq._; - produces “Polly with a Past,” after revising it, 463; - produces “Tiger Rose,” after revising, with L. Ulric in chief part, 465, - _et seq._; - CHRONOLOGY OF THE LIFE OF DAVID BELASCO, 471, _et seq._ - -Belasco, Frederick (Am. th. man.: 1862-19--): 130. - -Belasco, Humphrey Abraham (father of D. B.: 1830-1911): - reminiscence by, the origin of chief passage in “The Girl of the - Golden West,” 200, _et seq._; - B.’s last visit to, 271; 272; - death of--funeral--and burial, 294. - -Belasco, Reina Victoria (Mrs. Morris Gest): - at laying of the cornerstone of B.’s Stuyvesant Th., 236; - wedding of, 298. - -Belasco Theatre, the first: 52, _et seq._; - described, 55, _et seq._; - opened with revival of “Du B.”--and B.’s speech on opening night, 60, _et - seq._; - first programme at, 62. - -Belasco Theatre, the second (originally David Belasco’s Stuyvesant Th.): - projected, 234; - cornerstone laid, 235; - address by B. Howard on laying of same, 236; - B.’s recollections re occasion, 237, _et seq._; - situation of--and described, 238, _et seq._; - cost of, 240; - B.’s studio in, 241, _et seq._; - opened, 249; - spirited speech by B. on opening of, 255. - -Belleforest, ----: 317. - -“Belle Lamar” (melod.): 265. - -Belle of New York,” “The (extravaganza): 9. - -Belle Russe,” “La (melod.--B.’s): 312. - -“Belphégor; or, The Mountebank” (melod.): 115; 118. - -Benrimo, J. Henry (Am. actor): 188; 189. - -BERNHARDT, SARAH (Sarah Frances--Mme. Jacques Damala: Fr. actress: 184[4?]-19--): - 9; - forced by the Th. Syndicate to act in circus tent, 155; - author on--and views of--disagrees with B. _re_, 448; - B.’s tribute to--a letter, 449, _et seq._; - message to from B.--and reply by, 451; 452. - -Berton, Pierre (Fr. journalist and playwright: 1840-1912): 325. - -Bickerstaff, Isaac (Eng. dramatist: _cir._ 1735: _cir._ 1812): 313. - -Bieber, Sidney (fire marshal and politician: 1874-1914): helps B., 178. - -Bigelow, Wallis & Colton (architects): 59. - -Bimberg, Meyer R. (died, 1908): 235. - -Blair, Eugenie (Am. actress): 92. - -Blumenthal, Oscar (Ger. dramatist: 1852-19--): 281. - -“Bobby Burnitt” (story): 289. - -Bolton, Guy (Am. playwright): 325. - -Bond, Frederick (Am. actor and th. man.): 221. - -BOOMERANG,” “THE (farcical comedy): 323; 373; 406; - produced--and critically considered, 407, _et seq._; - B.’s view of, 408; - letter to B. from O. H. Kahn, _re_, 409; - cast of, 410. - -Booth, Barton (Eng. actor: 1681-1733): unjustly stigmatized, 310. - -BOOTH, EDWIN THOMAS (Am. actor and th. man.: 1833-1893): 48; 49; - troublesome experience of, when building Booth’s Th., 54; 153; 161; - unjustly stigmatized, 311. - -BOUCICAULT, DION (Dionysius Lardner Boucicault [originally Bourcicault]: Irish-Am. dramatist, actor, and th. man.: 182[2?]-1890): 153; 265; 268; - 313; - 314. - -Bourchier, Arthur (Eng. actor and th. man.: 1863-19--): 128. - -Boyesen, Hjalmar Hjorth: 325. - -Bradley, Alice (Am. playwright:) 325. - -Brady, William A---- (Am. th. man.: 1865-19--): 9; 429. - -Bronze Horse,” “The (spectacle): 82. - -Brooks, Joseph (Am. th. man. and agent: 1849-1916): 19; 20; 22; 23; 24; 25; - 26; - suit of, against B. begun, 95; 126; 127. - -Brown, John: 216. - -Burnham, Charles (Am. theatre prop.: 18-- -19--): quoted, _re_ commercialism of the - drama, - 159. - -Burton, William Evans (Eng.-Am. actor, writer, and th. man.: 1804-1860): 151. - -Bush Street Th., S. F.: Warfield an usher at, 8. - -Byron, George Gordon, sixth Lord (the poet: 1788-1824): 35; 318. - - -C - -Caldwell, James H. (Am. th. man.: 1793-1863): 150. - -California Th., S. F.: first attempt in Am. to light stage by electricity made - at, - 245. - -Campbell, Maurice (Am. th. agent): 321. - -“Campdown Races” (song): 206. - -Cannon, Hon. Joseph Gurney (Congressman: 1836-19--): helps B., 178. - -“Caprice” (play): 320. - -Carabiniere,” “Il (play--It.): 71. - -Carbineer,” “The (play--B.’s) : 71. - -Carpenter, E. C.: 68. - -CARTER, MRS. LESLIE (Caroline Louise Dudley--Mrs. William Louis Payne: Am. - actress: 186[4?]-19--): 1; 6; 29; 30; 31; - her performance of _du Barry_, 37; - her method--developed by B., 38; - B.’s reason for not taking her to London in “Du B.,” 44; 45; 48; 50; 51; - B.’s tribute to, 61; - production of “Kassa” by, 68; 69; 70; - end of extraordinary tour of, under B.’s direction, 90; 91; 112; 114; 126; - her impersonation of _Adrea_ critically considered and qualities of specified, 148, _et seq._; 182; 184; - 185; - 184; - marriage of--professional association of, and B. ended--_Adrea_ her best - performance--and qualities of it, 185; 186; 187; 277. - -Caruso, Enrico (It. singer: 1874-19--): 214. - -CASE OF BECKY,” “THE (play): 320; 322; - produced--and writing of, 343; - described and considered, 344; - B.’s recollections _re_, 345; - cast of--unexpected success of--plagiarism charged in, 346; - B. vindicated _re_ same--decision quoted, 347. - -Castle, Agnes (Mrs. Egerton Castle): 94. - -Castle, Egerton (Eng. novelist and newspaper man: 1858-19--): 94; - B.’s letters to, _re_ “Sweet Kitty Bellairs,” 106, _et seq._ - -“Cataract of the Ganges” (“The Ganges”): 82. - -“Catherine” (play): burlesque of, 10. - -Catherine the Second, Empress of Russia (1729-1796): 29. - -Celebrated Case,” “A: 363; - first produced, 363; - considered, 364; - revived by B. and C. Frohman--cast of, 365. - -“Charles I.” (drama): 264. - -Children of the Ghetto,” “The (play): 87. - -Chimney Corner,” “The (play): 249. - -Chester, George Randolph (Am. writer: 1869-19--): 289. - -Choice,” “The (play): 323. - -Chronicle,” “The S. F. (newspaper): 133. - -Cid,” “Le (play--Fr.): 317. - -City Directory,” “The (farce): 9. - -Civinni, C. (It. librettist): 213. - -Claire, Ina (Am. actress and mimic): B.’s attention directed to--and first - appearance under, 464; - quality of, revealed in _Polly Shannon_, 465. - -Clarke, John Sleeper (Am.-Eng. actor and th. man.: 1833-1899): 153. - -Clemens, Samuel Langhorne (Mark Twain: Am. author: 1835-1910): 67. - -“Coal Oil Tommy” (song): 206. - -Cohan, George M. (Am. actor, th. man., and playwright: 1878-19--): 430. - -Cohan & Harris (Am. th. mang’s.): 289. - -Collins, William Wilkie (Eng. novelist and dramatist: 1824-1889): 164; 234; - comment on his “No Name,” 286. - -Colman, John (Eng. th. man. and dram.: 1732-1794): 313. - -Comedy of Errors,” “The: 317. - -CONCERT,” “THE (farcical comedy): adapted by L. Ditrichstein and produced by - B., - 289; - theme of--and critically considered, 290, _et seq._; - cast of, 290. - -Congreve, William (Eng. dramatist: 1670-1729): 313. - -Conners, “Chuck”: 395; 396; 397; 398. - -Convention Hall, Wash., D. C.: converted by B. into a theatre, 178, _et seq._ - -Cooper, James Fenimore (Am. novelist: 1789-1851): 164. - -Cope, John W. (Am. actor: ---- - 19--): 233. - -“Coriolanus”: 318. - -Corneille, Pierre (Fr. dramatist and poet: 1606-1684): 313; 317. - -Couldock, Charles Walter (Eng.-Am. actor: 1815-1896): 249. - -Courtleigh, William (Am. actor: 1869-19--): 190. - -Cowl, Jane (Mrs. Adolph Klauber: 18-- - 19--): B. comments on, 283. - -Crabbe, George (Eng. poet and clergyman: 1754-1832): 318. - -Crews, Laura Hope (Am. actress): excellent performance by, 406. - -Cricket on the Hearth,” “The (play): 123. - -CRITICASTERISM, “eunuchs of”: Goldsmith quoted _re_, 304; - author on, and authorship of “Peter Grimm,” 305. - -CROSMAN, HENRIETTA (Mrs. Maurice Campbell: 1865-19--): 35; - engaged by B., 94; - her personation of _Kitty Bellairs_, 100, _et seq._; 103; 108; 321. - -Crushed Tragedian,” “The (satirical farce): 123. - - -D - -DALY, AUGUSTIN (Am. journalist, th. man., dramatist, and stage man.: 1838-1899): 48; - 49; - 61; - opponent of the Th. Syndicate, etc., 154; 161; 244; 269. - -Dampier, Captain William (Eng. buccaneer and explorer: 1652-1712): 317; 318. - -DARLING OF THE GODS,” “THE (tragedy): 68; - its existence due solely to B., 69; - founded on B.’s early adaptation of “Il Carabiniere,” 71; - first productions of--and original cast of, 72; - described and critically considered, 73, _et seq._; - beauties in production of, 80; - fine acting, 81; - B.’s recollection of creating scenic effects in “The D. of G.”--the River of Souls, etc., 83, - _et - seq._; - Tree’s impression _re_ same, on reading description, 84; - B. accused of plagiarism in connection with, 88, _et seq._; - 186th performance of, 90; 91; 94; - produced in London, 108, _et seq._; - B. breaks with Syndicate over--and presents independently in St. Louis, 113; 129; 170; 181; 247; - 312; - 333. - -Davenant, Sir William (Eng. soldier, th. man.: 1605-1668): 419. - -Davenport, Edward Loomis (Am. actor and th. man.: 1815-1877): 214. - -“David Garrick” (comedy): 123. - -Dean, William (gen. st. man. for B.: 1868-1913): 222; 223; 224. - -de Belleval, Comte ----: on character and person of du Barry, 34. - -de Bergerac, Savinien Cyrano (Fr. novelist, dramatist, duellist, soldier, and poet: - 1620-1655): - 317. - -Defoe, Daniel (Eng. author: 1659 [or 60?]-1731): 318. - -“Delicate Ground” (satirical farce): 290. - -De Mille, Cecil Blount (Am. actor and playwright: 1881-19--): 306. - -DE MILLE, HENRY CHURCHILL (am. Playwright: 1850-1893): 260; 320; 321; 325. - -DE MILLE, WILLIAM CHURCHILL (Am. playwright: 1878-19--): 260; - B.’s production of his “The Woman,” 306, _et seq._; 322. - -Destinn, Emmy (Aust. singer: 18-- - 19--): 214. - -de Valois, Marguerite (1492-1549): 29. - -Dewey, George (Admiral of the Navy, U. S.: 1837-1917): at first performance of “Adrea,” - 183; - 185. - -Dickens, Charles, Sr. (the novelist and dramatist: 1812-1870): 162. - -Discovery,” “The (play): 313. - -DITRICHSTEIN, LEO (Aust.-Am. actor and playwright: 1867-19--): - his adaptation of “Die Thür ins Freie,” 281; - adopts “The Concert,” 289; - his adaptation, “The Concert,” critically considered, 291, _et seq._ - -Dittenhoefer, Hon. Abram Jesse (Am. lawyer: 1836-19--): 51; - statement by, _re_ outrage at Belasco Th., 93; 320. - -“Divorçons” (comedy): 290. - -“Dolce” (play): 68. - -“Don Juan” (poem): 35. - -Dragon-Fly,” “The (play): 68. - -DRAMATIC MIRROR,” “THE N. Y. (th. newspaper): H. G. Fiske’s arraignment of - Th. Syndicate in--and Syndicate suit against, 175, _et seq._; 320. - -Dryden, John (Eng. poet, dramatist, etc.: 1633-1701): 313. - -“Du Barri” (play--Richepin’s): produced in London--and a failure, 44. - -DU BARRY, COUNTESS (Marie Jeanne Bécu: Fr. courtesan: 1746-1793): 29; - influence of--slaughtered, 30; 31; - B. on character of--author on same, 33; - Voltaire on--and Comte de Belleval on character and person of, 34; 35; - execution of, 36; 42. - -“DU BARRY” (play--B.’s): 32; - quality of--and described and critically considered, 34, _et seq._; - first produced--and same in N. Y., 38; - C. Frohman refuses “a half-interest” in--B., and author, on production of, - 39; - splendid setting of--and original cast of, 40; - Richepin’s lawsuit against B. _re_, 42, _et seq._; - that lawsuit discontinued, 44; - ceremonies, and speech after New Year’s performance of, 45, _et seq._; 47; - 48; - reason for presenting at Criterion Th., 50; 52; - revived for opening of the first Belasco Theatre, 60; - souvenir programme of, 62; - souvenir book about, 66; - immense investment in, 70; 89; 91; 108; 181; 320; 321. - -Dunlap, William (Am. th. man. and historian: 1766-1839): 150. - -Dunn, Emma (Am. actress): in “The W. of V.,” 265. - - -E - -EASIEST WAY,” “THE (play): quality of, 267; - critical strictures on, 268; - author’s attitude toward, 269; - perfection of production of, 270; 423. - -Edwardes, George (Eng. op. and th. man.: 18-- - 19--): 128. - -Effects, dramatic: creation of--and representative, cited, 82; - B. on, in “The M. M.,” 119. - -Elliott, William (Am. actor and th. man.: 18-- - 19--): meeting of, and B.’s daughter--their - marriage, - 294; - same at first opposed by B., 295. - -Elizabeth, Queen of England (1533-1603): 30; 31. - -English Gentleman,” “An (play): 123. - -ERLANGER, ABRAHAM LINCOLN (Am. speculative th. man. and th. “booking agent”: 1860-19--): abstract of B.’s testimony _re_, and the Theatrical Syndicate, 17, - _et - seq._; - his _flat denial_ of B.’s testimony, 20; - author’s reasons for not believing “the things he swears to,” 21; - B.’s statement _re_ threat of, quoted, 22; 154; 155; - statement by, _re_ early th. man’s., actors, the Th. Syn., etc., quoted, - 156; - course of, _re_ B.’s booking of “The D. of the G.” in St. Louis, 168, _et - seq._; - H. G. Fiske’s allegation against, 174; - power of--S. Untermyer’s arraignment of--and author’s opinion of it, 176, _et seq._; - 113; - 278. - -Eudoxia, Roman Empress (---- - 462): 146. - -Euripides: 317. - -“Etelle” (play): 322. - - -F - -Fanciulla del West,” “La (opera--on “The Girl of the Golden West”): produced, - 214; - original cast of, 215. - -Farquhar, George (Eng. dram.: 1678-1707): 313. - -Fielding, Henry (Eng. novelist and playwright: 1707-1754): 313. - -Fields, Charles J.: 274. - -FIGHTING HOPE,” “THE (melod.): produced by B., 206; - cast of, 207; - “rectified” by B.--critically considered, 208, _et seq._ - -Fiske, Harrison Grey (Am. journalist and th. man.: 1867-19--): 49; - conflict of, with Th. Syndicate, 154; - his arraignment of Th. Syndicate--and is sued by, 175; - his answer to suit, 176; - Syndicate suit against, discontinued--and author’s comment thereon, 177, - _et seq._; 275; 320. - -Fiske, Minnie Maddern (Mrs. Harrison Grey Fiske: Am. actress: 1865-19--): 49; - 154. - -Fitzgerald, Hon. James J. (Judge, N. Y.): decision of, against B., quoted--and author on same, 23, - _et - seq._ - -Flying Dutchman,” “The (play on--by B.): 300. - -Flying Scud,” “The (melod.): 221. - -Forbes-Robertson, Sir Johnston (kt., cr. 1913: Scotch-Eng. actor, th. man., and playwright: - 1853-19--): - 260. - -Ford, James Lauren (Am. journalist and story writer: 1854-19--): 66. - -Ford, John T. (Am. th. man.: 1829-1894): 153. - -“Forget-Me-Not” (melod.): 312. - -Forrest, Edwin (Am. actor: 1806-1872): 214. - -Freedman, Hon. John Joseph (Judge, N. Y. Sup. Ct.: 1835-19--): decision of, for B., against - Richepin, - 44. - -FROHMAN, CHARLES (Am. spec. th. man.: 1860-1915): 1; 19; - refuses “a half-interest” in B.’s “Du Barry,” 39; 49; - not exempt from B.’s arraignment of Th. Syn., 50; - significant letter of, to B., 92; 93; 156; - statement by, _re_ alleged purpose in formation of the Th. Syn., quoted, - 158; 171; 191; 361; - reconciled with B.--and death of, 362; - revives “A. C. C.” with B., 363; 429; 430; - brief sketch of character of, 431; - not a true th. man.--quality of, revealed, 432; - relative rank of, contrasted with B., 433. - -Frohman, Daniel (Am. th. man.: 1839-19--): 432. - -Fyles, Franklyn (originally, Franklin Files: Am. journalist and playwright: - 1847-1911): - 325. - - -G - -Gall, Charles F.: 274. - -Galland, Bertha (Am. actress: 1876-19--): 103. - -Gallinger, Hon. Jacob H---- (U. S. Senator: 1837-1918): helps B., 178. - -“Gallops” (play): 221; 224. - -Garrick, David (Eng. actor, th. man., and dramatist: 1716-1779): inspiration of dramatists of era - of, - 147; - unjustly stigmatized, 310; 419. - -Gatti-Casazza, Giulio (It. op. man.: 1869-19--): 214; 215. - -Gay Lord Quex,” “The (play): 269. - -Gest, Morris (Rus.-Am. th. man.): marriage of, to B.’s daughter, 298. - -Gilbert, John Gibbs (Am. actor and st. man.: 1810-1889): 249. - -Gilbert, Sir William Schwenck (Eng. dramatist and poet: 1836-1911): 85. - -Gilfert, Charles (Ger.-Am. th. man.: 1787-1829): 152. - -Gillette, William Hooker (Am. actor and playwright: 1855-19--): 192. - -Girl I Left Behind Me,” “The (melod.): 312; 333. - -GIRL OF THE GOLDEN WEST,” “THE (melod.): 67; 129; - letter to Mrs. Bates--and another to B. Bates, _re_, 194; - first performance of--and story of, epitomized and critically considered, 197, - _et - seq._; - original cast of, 201; - great dramatic merit of chief passage in--and origin of same, 202, _et seq._; - production of, “a masterpiece of stagecraft”--and wonderful storm in, described, 205, - _et - seq._; - success of, 208; - selected by Puccini as subject for opera--and that opera produced, 214; - cast of Puccini’s opera about, 215; - B.’s reminiscence of operatic production of, 216; - tribute to B. _re_ opera production of, 217; 260; 336. - -Gladstone, William Ewart (Eng. statesman: 1809-1898): 163. - -Goelet, Robert Walton (Am. capitalist: 1880-19--): 216. - -Goethe, Johann Wolfgang von (Ger. poet, th. man., etc.: 1749-1832): 239. - -Goldknopf, Abraham: his assertion that “The Woman” was stolen from his “Tainted Philanthropy,” - 309; - 322. - -Goldsmith, Oliver (Eng. poet, dramatist, etc.: 1728-1774): 239; - quoted, _re_ eunuchs of criticasterism, 304. - -GOOD LITTLE DEVIL,” “A (extravaganza): 267; - produced--and considered, 348, _et seq._; - cast of, 349. - -Gordon, Mackenzie, 274. - -GOVERNOR’S LADY,” “THE (play): 373; - produced--described and considered, 377, _et seq._; - cast of, 380. - -“Grandfather Whitehead” (play): 249. - -GRAND ARMY MAN,” “A (drama): 124; - writing of--first produced--and classification of, 249; - story of, described and critically considered, 250, _et seq._; - Warfield’s impersonation in, 250; - cast of, 256; 259; 423. - -Greene, Clay M. (Am. playwright: 1850-19--): 325. - -Greenberg, Joseph: 274. - -Gressit, Henry (Am. th. man.): 92. - -“Guillaume Tell” (opera--It.): 317. - -Gunter, Archibald Clavering (Am. novelist and playwright: 1848-1907): 324. - - -H - -Hackett, James Henry (Am. actor and th. man.: 1800-1871): 150. - -Hamblin, Thomas Sowerby (Eng. Am. actor and th. man.: 1801-1853): 419. - -Hammerstein, Oscar (Ger.-Am. spec. th. and op. man.: 1847-19--): oppressed - by Th. Syndicate--and offers th. to B., 50; 51; 52; 55. - -Hare (Fairs), Sir John (kt., cr. 1907: Eng. actor and th. man.): 14. - -Harris, Henry B. (Am. sp. th. man.: 18-- - 1912): 429. - -Harris, William (Am. th. man.: 1845-1916): 429. - -Harte, Francis Bret (Am. poet and journalist: 1839-1902): 66; 203. - -Hartman, Louis (el. expert): 245. - -HAYMAN, AL. (Am. spec. th. man. and th. proprietor: 18[52?]-1917): 19; 156; - Fiske’s allegation against, 176; 191; 429. - -HEART OF MARYLAND,” “THE (melod--B.’s) : 47; 67; 151. - -Heart of Mid-Lothian,” “The (play): 253. - -HEART OF WETONA,” “THE (melodrama): 368; 369; - produced and critically considered, 372; - cast of, 373. - -“Hearts of Oak” (melod.): 312. - -Heir-at-Law,” “The (comedy): 123. - -Henry the Eighth, King of England (1457-1547): 242. - -Herald,” “The N. Y. (newspaper): 158. - -Herne, James A[lfred] (James Ahearn: Am. actor, playwright, and stage man.: - 1839-1902): - 325. - -Hoadley, Rev. John (Eng. dramatist: 1711-1776): 313. - -Holinshed, Raphael (Eng. historian: 1520-1580): 317; 318. - -Holland (Joseph, Jr.) Benefit: 193. - -Holmes, Oliver Wendell (Am. poet, author, physician, lawyer: 1809-1894): 36; - 62. - -Holt, Hon. Henry Winston (Am. judge, 18th Jud. Dist., Va.: 1864-19--): 322. - -“Home” (comedy): 123; 221. - -Homer: 317. - -Hopwood, Avery (Am. playwright: 1884-19--): 207; 325. - -Horace: 317. - -Howard, Bronson (Am. dramatist: 1843-1908): speech of, at laying cornerstone of B.’s Stuyvesant Th., 236; - 319; - 325. - -Howe & Hummel (attorneys): 42. - -Hughes, Grace B. (Mary Montague): suit of, against B.--and decision against her, 104, _et - seq._; - 321. - -Hummel, Abraham (lawyer): attorney against B.--and imprisonment--disbarment of, 42; 44; 91; - 92; - 93. - -Hurlbut, William J. (Am. playwright): 206; 325. - - -I - -Illington, Margaret (Mrs. Daniel Frohman--Mrs. Edward J. Bowes: Am. actress: - 1881-19--): - 90. - -“In Gay New York” (extravaganza): 9. - -Inspector,” “The (play): 9. - -Iroquois Theatre, Chicago: destruction of--and lawsuit growing out of comment thereon, 173, - _et - seq._ - -IRVING, SIR HENRY (kt., cr. 1895: Eng. actor and th. man.: 1838-1905; originally, John Henry Brodribb): - 82; - 161; - B.’s tribute to memory of, 196, _et seq._; 216; - unjustly stigmatized, 311; 428; 429. - -“IS MATRIMONY A FAILURE?” (farcical comedy): produced by B.--and, critically - considered - 281; - cast of--and J. Cowl’s performance in, 283. - - -J - -“Jack Sheppard” (novel): 336. - -Jackson, Helen Hunt (Helen Maria Fiske, Mrs. Edward Bissell Hunt, Mrs. William S. Jackson: Am. novelist and poet: - 1831-1885): - 226. - -James, David, Jr. (Eng. actor): letter of B. to, 128; 129. - -Japanese Nightingale,” “A (story): 88; - dramatization of, produced, 90. - -Jefferson, Joseph (the fourth: Am. actor, playwright, and stage manager: 1829-1905): - 14; - performances by, 123; 124; 214. - -Jerome, Jerome Klapka (Eng. novelist and dramatist: 1859-19--): injustice of, to B., 257; - 258; - 259. - -“Jesse Brown; or, The Relief of Lucknow”: 312. - -Jilt,” “The (play): 221. - -Journal of a Modern Lady,” “The (satire): 316. - -“Just a Wife” (play): 281; - authorship of--and critically considered, 287, _et seq._; - cast of, 289. - -Justinian (Roman Emp.: 483-565): 144. - - -K - -Kadelberg, Gustav (Ger. dramatist: 1851-19--): 281. - -Kahn, Otto Hermann (Am. banker and th. patron: 1867): 216. - -“Kassa” (play): 68. - -Kean, Charles John (Eng. actor, th. man., and st. man.: 1811-1868): 420. - -Keenan, Frank (Am. actor): 203; - in “The W. of V.,” 265. - -Kemble, John Philip (Eng. actor, th. man., and dramatist: 1757-1823): unjustly stigmatized, - 310; - 419. - -Kendal, Madge (Margaret Robertson, Mrs. William Hunter Kendal [Grimston]: Eng. actress and th. man.: - 1849-19--): - 268. - -Kendal, William Hunter ([Grimston] Eng. actor and th. man.: 1843-1917): 268. - -“King Henry VIII” (play--S.’s): 318. - -KLAW & ERLANGER (Am. speculative th. mang’s. and booking agents): 17; 18; 19; 20; 22; - 23; - 24; - accusation against, by Warfield, 26; 89; - they produce “A Japanese Nightingale,” 90; 126; 156; 157; 172; - libel suit of, against “Life”--cause of--lost by--and significance of decision against, 174; 175; 176; - 191; - 275. - -Klaw, Marc (Am. spec. th. man.: 1858-19--): 22; 429. - -Klein, Charles (Am. dramatist: 1867-1915): engaged by B. to work on “The Auctioneer,” - 11; - 12; - engaged by B. to work on “The M. M.,” 114; - letter of B. to _re_ “The M. M.,” 122; 325; 341. - -Knoblauch, Edward (Am.-Eng. dram.: 1874-18--): B.’s pride in producing his - “Marie-Odile”--and that play considered, 356, _et seq._ - - -L - -Lacombe, Hon. Emile Henry (Judge, U. S. Cir. Ct: 1846-19--): decision by, for B., in G. B. Hughes’ “plagiarism” suit, 104; 105; - 321; - 324. - -“Lalla Rookh” (poem): 74. - -Lancashire Witches,” “The (novel): 336. - -“Lend Me Five Shillings” (farce): 123. - -Leroux, Gaston (Fr. dramatist): 283. - -Leslie, Henry (Eng. dramatist: 1829-1881): 312. - -Leventritt, Hon. David (Judge, N. Y. Sup. Ct.: ---- -19--): grants receivership for “The - Auctioneer,” - 25; - refuses mandate against Warfield, 27; 28; 90; - decision of, in favor of B., 127. - -Levinsky, Arthur L.: 274. - -Liebler & Co. (Am. spec. th. mang’s.): 87. - -“Life” (N. Y. weekly): cartoon in, _re_ burning of Iroquois Th.--and lawsuit against, by K. & - E., - 172. - -LILY,” “THE (play): 281; - adapted from Fr. by B.--produced--and critically considered, 283, _et seq._; - cast of, 287. - -Lincoln Grammar School, S. F.: 271; 272; 273. - -LITTLE LADY IN BLUE,” “THE (play): story of--and produced, 413; - letter about, by W. W., 414; - cast of, 416. - -Livy: 317. - -Locke, Edward (Am. playwright): 325; 343; 347. - -Löhr, Marie (Mrs. Anthony Leyland Val Prinsep: Eng. actress: 1890-19--): acts _Yo-San_ in - London, - 109. - -LONG, JOHN LUTHER (Am. novelist and playwright: 1861-19--): 67; - a collaborator with B.--and plays associated with, 68; 69; - collaboration with, in a Japanese tragedy proposed by B., 71; 89; - writes “Adrea” with B., 134; - letter of, to B., _re_ “Adrea,” 135; 185; - letter to, by B., 193; 325. - -Longson, Lila: 323. - -“Lord Dundreary” (“Our American Cousin”): 123. - -Louis the Fifteenth (King of Fr.: 1710-1774): 29; 30; 35. - -Lucretius, 317. - -Ludlow, Noah Miller (Am. th. man.: 1795-1886): 152. - -“Lycidas” (poem): 314. - -Lys,” “Le (play): 283--and see Lily,” “The. - - -Mc--M - -McBride, J. J.: 274. - -McCullough, John Edward (Ir.-Am. actor and th. man.: 1832-1885): 48; 153; 420; - 428. - -McKay, George L.: 322; 323. - -“Macbeth”: 162; 318. - -Mack, Willard (Am. actor and playwright): 325. - -Mackaye, James Steele (Am. actor, th. man., playwright, inventor, etc.: 1842-1894): - 244. - -“Madame Butterfly” (tragedy--B.’s): -68; 71; - effect in, devised by B., 82. - -“Magda” (play): 268. - -Maguire, Thomas (Calif. th. man.: died, 1896): 319. - -MAN INSIDE,” “THE (play): 387; - reason of B.’s interest in, 389; - critically considered, 392, _et seq._; - produced--and cast of, 393. - -Managers, theatrical: accomplishment by early, 152. - -Mansfield, Richard (Am. actor: 1854-1907): 48; 82; 268. - -Mapes, Victor (Am. journalist and playwright: 1870-19--): 323. - -Marbury, Elisabeth (Am. play broker): suggests part for Mrs. Carter--and brings B. and Richepin together, - 31; - 259. - -Margaret, Queen of Scotland: 29. - -“MARIE-ODILE” (play): method of lighting used in, by B., 248; - produced--and critically considered, 356, _et seq._ - -Mariner’s Compass,” “The (melodrama): 312. - -Marks, Prof. Bernhard: 272; 274. - -Matthews, Fannie Aymar: 320. - -Maude, Cyril (Eng. actor and th. man.: 1862-19--): 128. - -“May Blossom” (melod.): 67; 320. - -Mayer, Hon. Julius M. (Judge U. S. Dist Ct: 1865-19--): 322; 323. - -Merry Whirl,” “The (extravaganza): 9. - -Middleton, George (Am. playwright): 325. - -Miller, Charles A.: 274. - -Millionaire’s Daughter,” “The (melod.): 319. - -Milton, John (the poet: 1609-1674): 314; 317. - -“Mr. Bluebeard” (extravaganza): 172. - -Modjeska, Mme. Helena (Helen Opid--Mrs. Gustave S. Modrzejewska--Mrs. Charles [Karol] Bozenta Chlapowska: Polish-Am. actress: 1840-1909): - 268; - 431; - B.’s view of, 449. - -Molière, Jean-Baptiste Poquelin de (Fr. actor, th. man., and dramatist: 1712-1763): 239; 313; - 314; - 317. - -Molineux, Roland Burnham (chemist and playwright: 18-- -1917): charged with - murder, - 387; - trials of--and acquitted, 388; - B. appealed to by his parents and agrees to read play by, 389; - revises his play--and distressing experience with, 390; - creates disturbance--and ordered out of th.--death of, 391; 392; 395. - -Moore, Eva (Mrs. Henry V. Esmond [Henry V. Jack]: Eng. actress: 1870-19--): - 103. - -Moore, Thomas (Ir. poet: 1779-1852): 74; - quoted, _re_ “plagiarism,” 311. - -Morse, Salmi (Samuel Morse: Ger.-Am. playwright: 1826-1883): 247. - -Morton, Paul (Secy. Navy, U. S. A., railroad man): 183. - -Murphy, Mark (actor): 9. - -Murphy, Thomas (dramatist): 313. - -MUSIC MASTER,” “THE (play): 8; - B. employs C. Klein to work on, 114; - first produced--authorship of--and described and critically considered, 115, - _et - seq._; - B.’s recollections _re_ writing and early performances of, etc., 118, _et - seq._; - original cast of, 120; - B.’s speech on first night of, in N. Y., 121; - letter by B. about, 122; - amazing record of, 125; 126; - Brooks’ claim _re_--and decision in favor of B., 127; - B.’s feeling about, and Warfield, 128; 192; 254. - - -N - -New Magdalen,” “The (play): 312. - -Newnes, Sir George (bart. cr. 1895: publisher: 1851-19--): 128. - -Nicholson, Donald G. (Am. journalist): 160. - -Nickinson, John (Can. actor): 249. - -Nirdlinger, Samuel Frederick (known as S. F. Nixon: Am. spec. th. man.: 1848-19--): 19; - 156; - 429. - -Nixon & Zimmermann (Am. spec. th. mang’s.): 191. - -Nixon, S. F.: see Nirdlinger. - -“NOBODY’S WIDOW” (farce): produced--and cast of, 207; - critically considered, 209, _et seq._ - -“No Name” (novel): 286. - -Nutmeg Match,” “A (farce): 9. - - -O - -“Ode on Immortality,” etc. (Wordsworth’s): 314. - -“O’Dowd’s Neighbors” (farce): 9. - -Olcott, Hon. William Morrow Knox (Am. lawyer: 1862-19--): made - receiver for “The Auctioneer,” 25; 27. - -“Old Dog Tray” (song): 206. - -“Old Friends”: literary recollections by W. W., 314. - -“Olivia” (play): 253. - -O’Neil, Nance (Gertrude Lamson: Am. actress: 1874-19--): characterized, as - actress--and her performance in “The Lily,” 286. - -Only Levi,” “The (title): 11; - see Auctioneer,” “The. - -Opera Singer,” “The (play, unfinished by B.): 192. - - -P-(Q) - -Paine, Albert Bigelow (Am. writer: 1861-19--): disparagement of B. by--and - comment thereon by author, 67, _et seq._ - -PALMER, ALBERT MARSHALL (Am. th. man.: 1839-1905): 48; 61; 268; 319; 320. - -Parisian Romance,” “A (play): 268. - -Parsons, Theophilus (Am. lawyer: 17-- -18--): expounds Swedenborgian views - _re_ death, to author, 299. - -Passing of the Third Floor Back,” “The (play): B. causes to be written, 257, - _et - seq._ - -Passion Play,” “The: in S. F., 247. - -“Patrie” (melod.): 81. - -Payne, William Louis (th. agent): marriage of, and Mrs. Carter, 187. - -“Peter Grimm”: see Return of Peter Grimm,” “The. - -PHANTOM RIVAL,” “THE (play): 248; 402; - critically considered, 403, _et seq._; - produced--and cast of, 406. - -Phelps, Pauline (Am. playwright): 249; 256; 259; 325. - -Pickford, Mary (motion picture perf.): 266. - -“Pizarro” (tragedy): 82. - -Placide, Henry (Am. actor: 1810-1870): 14; 249. - -PLAGIARISM: decision _re_, for B., 104; - charges of, against B.--and whole subject thereof examined in detail, 310, - _et - seq._; - C. Reade quoted _re_, 315, _et seq._ - -Plautus: 317. - -Plutarch: 318. - -Polk, Willis: 274. - -“POLLY WITH A PAST” (farce): 325; - considered, 462; - first produced, 463; - cast of--performances in, 464. - -Pompadour, Jeanne Antoinette Poisson Le Normant D’Étioles, Marquise de (Fr. courtesan and political intrigante: - 1721-1764): - 29. - -Poor Gentleman,” “The (comedy): 124. - -“Pop Goes the Weasel” (song): 206. - -Porter’s Knot,” “The (play): 249. - -Post,” “The Washington (newspaper): letter to, by B., 180. - -Potter, Mrs. James Brown (Cora Urquhart: Am.-Eng. actress and th. man.: 1859-19--): produces “Du Barri” in London--and fails in - same, - 44. - -Potter, Paul Meredith (Am. journalist and playwright: 1853-19--): employed - by B. to make ver. of “Under Two Flags,” 2; 325. - -Price, Edward D. (Am. th. agent): 130. - -Pride of Jennico,” “The (novel): 94. - -Puccini, Giacomo (It. composer: 1858-19--): seeking characteristic subject - for “American” opera, 213; - selects B.’s “The Girl of the Golden West”--letter from, to B.--and writes “La Fanciulla del - West,” - 212; - the same produced, 214; 216. - - -R - -Rachel, Mlle. (Rachel Félix: Fr. actress: 1820-1858): M. Arnold’s admiration - of, - 160. - -Racine, Jean (Fr. dramatist and poet: 1639-1699): 239; 314. - -“Ramona” (novel): 226; 231. - -Reade, Charles (Eng. novelist, dramatist, and th. man.: 1815-1884): quoted - _re_ plagiarism, 315; 316; 318. - -Redding, Joseph D.: 274. - -Referee,” “The London: letter to, by B., 191. - -Regular Fix,” “A (farce): 124. - -Reinhardt, Max (Ger. actor, th. man., and stage man.: 1873-19--): 247. - -Relph, George (Eng. actor): 109. - -“Repka Stroon” (play--B.’s): 187. - -Republic Theatre, N. Y.: that name restored to first Belasco Th., 289. - -RETURN OF PETER GRIMM,” “THE (play--B.’s): 67; - Tree arranges to produce in London, 111; 124; - stage lighting in, 247; - fragmentary, unrevised notes on, 298; - critically described and considered, 299, _et seq._; - first produced--and first time of, in N. Y.--cast of, 304; - B.’s sole authorship of, questioned, 305; - and letter by B., maintaining his claim, 306; 336. - -RICHEPIN, JEAN (Fr. poet, novelist, and dramatic author: 1849-19--): introduced to B.--proposes to write play about du - Barry, - 31; - resultant play by, unsatisfactory to B.--and “advance royalties” paid to, - 32; - his play rejected by B., 33; - his “Du Barry” lawsuit against B., 42, _et seq._; - decision against, in same suit--and his “Du Barri” produced in London, 44; - 321. - -Richman, Charles J. (Am. actor: 1870-19--): 233. - -Rivals,” “The (comedy): 123. - -Robertson, Peter (Am. journalist: 1847-1911): letter of B. to, 130; - letter of, to B., 132; 325. - -Robertson, Thomas William (Eng. actor and dramatist: 1829-1871): 221. - -“Robinson Crusoe” (romance): 317; 318. - -ROEDER, BENJAMIN FRANKLIN (general business manager for David Belasco): 19; 20; 66; 112; 114; 188; - 190; - 259; - beginning of association with B., 437; - B.’s tribute to, 438; - author’s comment on, 439. - -Rogers, ---- (explorer): 317; 318. - -Rogers, Samuel (Eng. poet: 1763-1855): 36. - -“Rosalie, the Prairie Flower” (song): 206. - -ROSE OF THE RANCHO,” “THE (melod.--B.): 212; - origin of--B.’s stipulation _re_, 224; - first produced--quality of--B.’s purpose in, 225; - resemblance of, to “Ramona”--and synopsis of, 226, _et seq._; - critically considered, 229, _et seq._; - cast of, 231; - Miss Starr’s performance in, 232, _et seq._; - B.’s recollections _re_ “lighting effects” in, 234; 235; 260; 273; 294. - -Russell, John H. (Am. th. man.): 9. - - -S - -Salvini, Tommaso (It. actor and th. man.: 1829-1916): 9; - B.’s estimate of, 449. - -“Sam” (farce): 123. - -Sardou, Victorien (Fr. dramatist: 1831-1908): 312. - -Savoy Th., London: first th. lighted by electricity, 245. - -Scarborough, George (Am. playwright): 325; - letter of, to B., 326. - -Schiller, Johann Christoph Friedrich von (Ger. poet, dramatist, and philosopher: - 1759-1805): - 239. - -Schley, Winfield Scott (Admiral, U. S. N.: 1839-1911): 183; 185. - -Schrader, Frederick Franklin (Am. journalist: 1857-19--): letter to, from B., - 195. - -School for Scandal,” “The (comedy): 105; 311. - -Schumann-Heink, Mme. Ernestine (Ger.-Am. opera singer: 1861-19--): proposes that B. undertake her management and introduce her on dramatic stage--play planned for, - etc., - 192. - -Scott, Hon. Francis Markoe (Judge, N. Y. Sup. Ct.): 94. - -Scott, Sir Walter (the poet and novelist: 1771-1832): 164; - remark of, _re_ originality, 313; 317; 318. - -Seaver, William (Am. journalist: died, 1883): 133. - -Second Mrs. Tanquerey,” “The (play): 268. - -SECRET,” “THE (play): B.’s reasons for producing, 350; - qualities of--and critically considered, 352; - performance of--cast of, 355. - -Secret Orchard,” “The (novel): 94. - -“SEVEN CHANCES” (farce): 373; 410; - described--produced--considered, 411; - cast of, 412. - -Shakespeare, William: 239; 313; 317; 318. - -“Shenandoah” (melod.): 92. - -Shepherd, Hon. William Bostwick (Judge, N. Dist. Fla.: 1860-19--): 323. - -SHERIDAN, RICHARD BRINSLEY BUTLER (Ir.-Eng. dramatist, th. man., orator, etc.: 1751-1816): - 105; - 239; - defended against charge of plagiarism, 311; 313; 314. - -Shiels, John Wilson, M. D.: 273; 274. - -Short, Marion (Am. playwright): 249; 256; 258; 325. - -Shubert, Lee (Am. spec. th. man.: 1875-19--): statement by, _re_ Syndicate, B., and Fiske, - 278; - 429. - -Shubert, Sam. S. (Am. th. man.: 1873-1905): arranges alliance with B.--and - B.’s recollection and estimate of, 216; - death of, 217. - -Shubert, the Messrs. Sam. S. & Lee, Inc. (Am. spec. th. mang’s.): B.’s alliance - with, - 218. - -Simon, Charles (Fr. journalist and playwright: 1850-1910): 325. - -Simpson, Edmund (Am. th. man.): 150. - -Singers, operatic: true histrionic impersonation not possible to, 214. - -Smith, Mark, Sr. (Am. actor: 1829-1884): 250. - -Smith, Winchell (Am. playwright: 1872-19--): 289; 323; 325. - -Smyth, William G. (Am. th. agent): 113. - -Sothern, Edward Askew (Eng. actor: 1826-1881): performances by, 123. - -Sophocles: 314. - -Stage aspirants: B.’s admonition to, 398, _et seq._ - -Stage: characteristics of, in the Present, 290; - view of, author’s--and subscribed to by B., 427. - -Stage lighting: in “The Rose of the Rancho,” 234; - pioneer achievements in, 244; - B.’s study of--and influence on, 245; - in “Peter Grimm,” 247. - -Star Dreamer,” “The (novel): 94. - -STARR, FRANCES GRANT (Am. actress: 1886-19--): 212; 294; - birth--first appearance of, on stage--first seen by B., 221; - B.’s recollection of--and his engagement of, 222, _et seq._; - first appearance of, under B., 224; - performance of, in “The R. of R.,” 232, _et seq._; 235; - presented in “The Case of Becky”--and B.’s recollections _re_, 345; - method used by, in, 346; - B. casts, as _Gabrielle_, in “The Secret,” 352; - her performance of, 355; - as _Marie-Odile_, 360; 416. - -Steele, Sir Richard (Eng. dramatist: 1672-1729): 313. - -Stevenson, Charles A. (Am. actor): presents loving cup to B., on behalf of - “Du Barry” Co., 46. - -Stuart, Mary, Queen o’ Scots (1542-1587): 28. - -Stuyvesant Theatre, David Belasco’s: name changed to Belasco (_q.v._), 289. - -Sudermann, Hermann (Ger. dramatist and novelist: 1857-19--): 268. - -Sullivan, Sir Arthur Seymour (Eng. musical composer: 1842-1900): 85. - -“Sweet Jasmine” (play): 331. - -“SWEET KITTY BELLAIRS” (comedy--B.’s): first produced--and in N. Y., 95; - described and critically considered, 96, _et seq._; - original cast of, 102; - various productions of, 103; - B. accused of plagiarism in connection with--trial of suit--and B. vindicated, etc., 104, - _et - seq._; - letters _re_, 106, _et seq._; 111; 320; 321. - -Swift, Jonathan (Dean of St. Patrick’s, Dublin: satirist: 1667-1745): 316. - -SYNDICATE, THE THEATRICAL (or “Trust”): beginning of B.’s conflict with, 16; - abstract of B.’s testimony _re_ A. Erlanger and, in lawsuit by J. Brooks, etc., 17, - _et - seq._; - membership of, 19; - menace of, to B., 49; - same, 50; 112; - B. breaks with, over “The D. of G.,” 113; 128; 129; 130; 133; - climax of B.’s conflict with, reached, 151; - an examination of the whole subject of, 152; - value of B.’s opposition to, 153; - fight against, by Mr. and Mrs. H. G. Fiske--Daly opposed to, 154; - B. opposed by--Mrs. Fiske, Mme. Bernhardt, and--strove to exclude B. from Washington--and general ignorance - concerning, - 155; - what it was--composition--methods, 156; - substance of pretensions of, epitomized, 157; - A. L. Erlanger on, _re_ early th. mang’s., actors, etc., quoted, 158; - author begins to be conscious of oppugnant influence of, in “N. Y. Tribune,” - 161; - provisions of the covenant binding members of, 167, _et seq._; - specific instance of oppression of B. by, 170; - divergent views of, set forth, 172, _et seq._; - H. G. Fiske’s arraignment of, in “N. Y. Dramatic Mirror”--and sues Fiske - for libel, claiming $100,000 damages, 175; - Fiske’s answer to that suit, 176; - accusations _made_ against not _proved_--and reasons for believing Fiske’s accusations true, 177, - _et - seq._; - Washington closed against B. by, 179; - denounced by B. in speech, 185; 189; 191; 195; - surrenders, 274; - arrangement of, and Fiske and B., 275; - author’s view, _re_, 276; 277. - - -T - -“Tainted Philanthropy” (play): 309; 322. - -Taylor, James J.: 274. - -Taylor, Howard P. (Am. journalist, playwright, etc.): 320. - -TEMPERAMENTAL JOURNEY,” “THE (satirical farce): produced--theme of--and - critically considered, 383, _et seq._; - cast of, 385. - -Tennyson, Alfred, first Lord (the poet: 1809-1892): 29; 239. - -Thackeray, William Makepeace (Eng. novelist: 1811-1863): 162. - -Theatre: first lighted by electricity, 245. - -Theodora (Rom. Empress): 144. - -Ticket-of-Leave Man,” “The (play): 8. - -“TIGER ROSE” (melod.): 325; - how written--first produced, 465; - story of, 466, _et seq._; - L. Ulric in, 469. - -Tosca,” “La (melod.): 81; 319. - -Toscanini, Arturo (It. musical conductor: 18-- -19--): 213; 214; 215. - -TREE (SIR HERBERT BEERBOHM-TREE, kt.: Eng. actor and th. man.: 1853-1917): - produces “The D. of G.” in London--and acts _Zakkuri_, 109; - speech of--and tribute to B., 110; - arranges to produce “The Return of Peter Grimm” in London--sudden death of, - 111; - 138. - -Tribune,” “The N. Y. (newspaper): author begins to be conscious of power of Th. Syndicate - in, - 161. - -Tully, Richard Walton, (Am. actor, playwright, and th. man.: 18-- - 19--): - 224; 325. - -“Twelfth Night”: effect in, devised by A. Daly, 82. - -Tyler, George Crouse (Am. sp. th. man.: 1867-19--): 429. - - -U - -ULRIC, LENORE (Am. actress: 189- - 19--): 325; - B.’s opinion _re_, 366; - birth--childhood--early appearances of, 367; - impression made by, on B., at rehearsal, 368; - in “The Girl,” 369; - “The Heart of Wetona” produced with, 370; - her performance of _Wetona_, 372; - her performance of _Rose Bocion_, in “Tiger Rose”--and qualities of, 469; - 470. - -“Under Two Flags” (melod.): B. determines to revive, 1; - quality of--and B.’s production of, 2, _et seq._; - cast of, 6; 204. - -Untermyer, Samuel (lawyer: 1858-19--): on contradictory testimony of B. and - Erlanger, - 21; - his arraignment of Erlanger and the Th. Syndicate--and author’s opinion thereof, 178, _et - seq._; - 179. - - -V - -Valentinian (Rom. Emp.: 321-375): 146. - -“Van Der Decken” (drama--B.’s): 67; 124. - -Vanishing Bride,” “The (play): 373; - produced--and B.’s reasons for discarding, 374; - cast of, 375. - -“Vathek” (“The History of the Caliph Vathek”: romance): 74. - -VERY MINUTE,” “THE (play): author’s comments _re_, 416; - first produced--and cast of, 417. - -Villiers, Barbara (---- - ----): 29. - -Virgil: 317. - -Voltaire, Jean François Marie Arouet (Fr. philosopher, dramatist, etc.: 1694-1778): on du Barry, - 34; - 316. - - -W - -Wallace, Hon. William James (Judge, U. S. Cirt. Ct.: 1837-19--): 174. - -Wallack, James William (the Elder: Eng.-Am. actor and th. man.: 1795-1864): - 150. - -WALLACK, LESTER (John Johnstone Wallack: Am. actor, th. man., and dramatist: 1820-1888): 48; 49; 61; 151; 159; - 268; - 420. - -Walter, Eugene (Am. journalist and playwright: 1876-19--): 267; - writes “Just a Wife”--and preoccupation of mind of, 287; 325; - his “The Easiest Way,” 268. - -WARFIELD, DAVID (Am. actor: 1866-19--): 6; - engaged by B.--and stipulations of their contract, 7; - B.’s recollections of, in youth--birth of, and sketch of career of, 8, _et - seq._; - probable standing of, without B.’s direction, 10; - “The Auctioneer” written for--and appearance of, in same, 11; - comment on, by B., 13; - B.’s estimate of, and author’s, as an actor--immense obligation of, to B.--as _Simon Levi_, 14; 16; 17; 18; 19; - 22; - 24; - refuses to act in “The A.,” except under management of B.--statements by--and judicial cognizance of same taken, 25, - _et - seq._; - mandatory injunction to, denied, 27; - long period of idleness through fidelity to B., 28; 48; 49; 51; 86; - refutes charge that B. “stole” his services, 87; 112; - B. engages C. Klein to work on “The Music Master” for, 114; - wisdom of devising _von Barwig_ for, 117; - his performance of that part, 118; 119; 120; - B. on, as _von Barwig_--not a “one part” actor, 123; - plays acted in by, 124; - amazing record of, in “The M. M.,” 125; - B.’s feeling about, and “The M. M.,” 128; 172; 192; 235; - felicitous vehicle for, 250; - his treatment of situations in “A G. A. M.,” 253; - his impersonation in “A G. A. M.”--and quality of, as actor, 254; 255; - “The Passing of the Third Floor Back” for, 257; 258; 259; - his only approaches to realm of imagination, 300; - his personation of _Peter Grimm_, 302; - quality of that performance, 303; 306. - -Warren, William, Jr. (Am. actor: 1812-1888): 14; 249. - -Warren, William, Sr. (Eng.-Am. actor and th. man.: 1767-1832): 152. - -WARRENS OF VIRGINIA,” “THE (melod.): first produced--story of--and critically - considered, - 260; - cast of, 266; - B.’s recollections of, 267. - -“Washington Life” (play): 321. - -Weber & Fields (Am. vaudeville mang’s.): 7; 10; 87. - -Wemyss, Francis Courtney (Eng.-Am. th. man.: 1797-1859): 152. - -“What’s Wrong” (play): 373; - produced, 374; - cast of, 375. - -Wife,” “The (play--Knowles’): 320. - -Wife,” “The (play--B.’s): 321. - -Wills, William Gorman (Ir.-Eng. poet, dramatist, and novelist: 1830-1891): - 93; 264. - -Winthrop, Henry Rogers: 216. - -Wood, William B. (Am. actor, th. man., and th. historian: 1779-1861): 152. - -“Woodcock’s Little Game” (farce): 124. - -Woodes, ---- (explorer): 317; 318. - -Woods, Al. H. (Am. spec. th. man.: 18-- -19--): 430. - -Wolff, Pierre (Fr. dramatist: 18-- -19--): 283. - -WOMAN,” “THE (melod.): B. works on--and produces, 306; - characterized--described--critically considered, 307, _et seq._; - cast of--and A. Goldknopf’s charge of plagiarism in, 309; 320; 322. - -Wooing of Wistaria,” “The (story): 88. - -Woolsey, Col. Charles W.: 296. - -Wordsworth, William (Eng. poet: 1770-1850): 314. - -Worthing, Frank (George Francis Pentland: Scotch-Am. actor: 1866-1910): admirable performance - by, - 282. - -Wycherley, William (Eng. dramatist: _cir._ 1640-1716): 313. - - -(X)-Y-Z - -Yaco (or Yakko), Mme. Sada (Mrs. Otto Kawakani: Japanese actress): 109. - -“YEARS OF DISCRETION” (satirical farce): produced--and theme of, 281; - cast of, 282. - -“Young April” (novel): 94. - -Young, Waldemar: 274. - -Young, William (Am. dramatist): 325 - -Zangarini, G. (It. librettist): 213. - -“Zaza” (play--B.’s): 43; - revival of--and outrage on first night of, 91, _et seq._; 92; 269; 270; 423. - -ZIMMERMAN, J. FREDERICK, Sr. (Am. spec. th. man.: 18-- -19--): 19; 156; - H. G. Fiske’s allegation against, 176; 429. - - -FOOTNOTES: - -[1] And, preëminently, William Winter, who was not only the friend -but in many instances the guide, adviser, and assistant of all those -managers, as well as of many others: no other single person has ever, -directly and indirectly, exerted a greater or more unselfish influence -for the good of the Theatre than that of Winter.--J. W. - -[2] Whence derived I do not know: obviously, it was not written by Mr. -Winter,--but it is accurate.--J. W. - -[3] The first recorded instance of a theatre lighted throughout by -electricity is that of the Savoy, in London, 1882,--but I think it -probable that practical stage lighting by electricity had been achieved -in this country at an earlier date. Electric light was used to illumine -a cyclorama in Paris, France, as early as 1857,--but that, of course, -was light from a primitive arc lamp. - -[4] At which time Mr. H. Granville Barker was two years old!--J. W. - -[5] In the original cast: this character was cut out of the play before -the New York opening. - -[6] Several other names could appropriately be added to that -list--notably, those of Willard Mack (whose play of “Tiger Rose” owes -its extraordinary success entirely to the revision and stage management -of Belasco and the remarkably interesting and sympathetic acting of -Miss Lenore Ulric), George Middleton, and Guy Bolton. Messrs. Middleton -and Bolton figure as authors of “Polly with a Past,”--which, though it -is an extremely slender farce, was one of the few substantial successes -of the current (1917-’18) theatrical season: it was entirely reshaped -and made practicable by Belasco.--J. W. - -[7] Lester Wallack’s last appearance on the stage occurred May 29, -1886, at the Grand Opera House, New York, and Wallack’s Company was -then disbanded. He was born January 1, 1820, and died September 6, -1888. He surrendered his theatre into the hands of Theodore Moss in -1887, being then sixty-seven years old. Moss had a considerable part in -the management of Wallack’s Theatre for several years before that. - -Beerbohm-Tree, referred to above as “Belasco’s only competitor,” died, -July 2, 1917, in his sixty-fourth year. He was five months younger than -Belasco was at that time. - -[8] At Wallack’s Theatre, March 19, 1896, by Mr. and Mrs. Robert Taber -(Julia Marlowe): see “Shakespeare on the Stage--Third Series,” page -370.--J. W. - -[9] =GRAND OPERA HOUSE, CHICAGO, THURSDAY MATINEE=:-- - -April 19, 1906. A special performance in honor of Mme. Sarah Bernhardt. -David Belasco presents Mrs. Leslie Carter in “Adrea.” - - - - -*** END OF THE PROJECT GUTENBERG EBOOK THE LIFE OF DAVID BELASCO; VOL 2 *** - -***** This file should be named 63624-0.txt or 63624-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/3/6/2/63624/ - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. 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