The Life of David Belasco; Vol. 2

by William Winter; William Jefferson Winter

“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

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

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.

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

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
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], [B], [C], [D], [E], [F], [G], [H], [I], [J], [K], [L], [M], [N], [O], [P], [R], [S], [T], [U], [V], [W], [Y], [Z].

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].
B e l a s c o, D a v i d (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.”

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