“In regard to my announcement on my return here: you will notice that I did not speak of your new play that goes on here at the Empire. My intention was simply to give a list of the work I had accomplished abroad, because the papers insisted upon having it. If I could have had my own way I would not have spoken of any of the plays I have secured, but it was necessary to do so, and as the list looks very English and French I prefix my remarks by showing a list of American authors that I have been making arrangements with, previous to my sailing, so as to show that I was still doing American work, and to save any comment on this point;—and, naturally, [I] consider your piece to come under the head of plays that I had already made arrangements for.
“I should like very much, if possible, for you to give over a little time to Unitt, in arranging the models of your new play. I want to commence on same, just as soon as Unitt is through with his present work, so as to have the production ready, when we open with ’Liberty Hall’ here.
“Yours truly,
“Charles Frohman.”
A BAFFLED ENTERPRISE IN CHICAGO.
Belasco, though his disagreements with Charles Frohman were, for the time, amicably adjusted, was not acquiescent to remain in a position which, continuously maintained, would have kept him still a carrier of bricks to the theatrical buildings of other men. He was now forty years old. For more than twenty years his lot had been chiefly toil and hardship: experience had taught him that “living is striving”: abundant opportunity had been provided for him to learn the truth so tersely stated by Wendell Phillips that the world is made up of two kinds of persons,—those who do things, and those who stand by to tell others how things should be done. Though not embittered, he was in danger of becoming so, and he felt more than ever resolved to make a place for himself in the managerial field, if he could not find one. “I, too,” he has said, “as well as Charles Frohman, had my dreams of a theatre of my own,—a place where I could do things in my own way,—and I meant to have it!”
Finding it impossible to obtain support such as he desired and a satisfactory opening in New York (notwithstanding Charles Frohman’s offer to furnish theatres for presentation of “The Heart of Maryland”), Belasco now determined to try R. M. Hooley, of Chicago, who had manifested interest and confidence in him, during the engagement in that city of “The Ugly Duckling”; who, perhaps, remembered his early mistake in refusing “Hearts of Oak,” and who certainly, like all other theatrical workers of the time, had been favorably impressed by the success of “The Girl I Left Behind Me.” Belasco at first wrote to Hooley about Mrs. Carter, but, later, he visited Chicago, for the purpose of stating his project in detail. There he found that Mr. “Harry” Powers, Hooley’s agent and business manager of his theatre, was strongly opposed to the idea of bringing out Mrs. Carter in that city. Powers frankly said: “I have advised Mr. Hooley to have nothing whatever to do with your venture. This is the most fashionable theatre in Chicago: Mrs. Carter is not wanted here, and we cannot afford to make enemies.” Hooley, however, was in a more propitious mood, and expressed himself willing to rely on Belasco’s judgment, if he really believed that in Mrs. Carter he had a fine actress and also that he had a suitable new play in which to present her. Belasco fervently extolled the ability of Mrs. Carter, and read to him “The Heart of Maryland.” Hooley was favorably impressed and agreed to produce the play, presenting Mrs. Carter in the central part, provided that Belasco would agree to give him an option on all plays which he might thereafter write. The influences which, later, crystallized in the Theatrical Syndicate, were already beginning to make themselves felt in the theatrical world, and Hooley, like many other managers, perceived a danger and was wary of it. “I purpose to produce my own ’attractions,’” he informed Belasco, “and let the Eastern producers go hang!”
Hooley offered fair terms, the agreement for the presentment of Mrs. Carter as a “star” in “The Heart of Maryland” was formally made, and thus cheered and encouraged Belasco returned to New York, to prepare his play for production and engage a company to act in it. “As I was leaving,” he said, “Hooley delighted me by asking me to send him a large framed portrait of Mrs. Carter, to hang in the lobby of his theatre.” In New York Belasco read his play to Maurice Barrymore (1848-1905) and E. J. Henley (1862-1898) and engaged them for the company, and he was engaging other members thereof when Hooley suddenly died,—September 10, 1893. Mr. Powers was placed in charge of the theatre which had been Hooley’s, and, as he promptly notified Belasco, made a long-term contract with Messrs. Klaw & Erlanger to furnish him with “attractions” for that house, and repudiated the engagement which Hooley had made: “I was politely kicked out,” said Belasco, “and that was the end of that! It was too late in the year to make new arrangements for that season about ’Maryland,’ and, besides, I didn’t know exactly what to do or which way to turn. If ’The Younger Son,’—which came next and on which I worked hard,—had proved successful, things might have turned out differently; but that fizzled, and afterward I seemed to be just as far as ever from being able to strike out for myself.”
“THE YOUNGER SON.”
The Empire closed for the season with the final performance there of “The Girl I Left Behind Me,” and reopened on August 21, with a performance of “Liberty Hall,” which ran till October 23. Meantime, Belasco, having heard of the success of a German play entitled “Schlimme Saat” (“Evil Seeds”), had bought the American rights and, on receiving the manuscript,—knowing that Frohman’s establishment at the Empire Theatre was not yet entirely secure, and being wishful still further to help him,—had immediately laid aside “The Heart of Maryland” and addressed himself to making an English version of the German drama. “They proved evil, even fatal, seeds to me,” he said. “I know now that six months’ time would have been little enough for so great a work, but I made a version of it in four weeks, working night and day. When it was completed, I took the play to ’C. F.’ and in response to his suggestion, called it ’The Younger Son.’” Why Belasco should have deemed this German play a “great work” I do not understand. It is, in fact, a tediously prolix and sometimes morbid story dealing with the history of two brothers, the elder a selfish, heartless profligate, the younger an ambitious artist, both the idols of a foolishly fond mother. The artist is delighted by the news that his favorite picture (a work of no special merit) has been bought by a rich picture fancier, who is willing to send him to Italy to study. This apparent benevolence is, in fact, a plot to get him out of the way and rob him of the girl he loves, who has agreed to sell herself in order to get for him this opportunity to study abroad. In Belasco’s English version all the hydrostatic pressure that the story could possibly be made to carry had been added, but, as the performance of “Evil Seeds” was a complete failure, it would be superfluous to dwell upon it. The play was produced at the Empire on October 24 and withdrawn on October 27, after four performances. It has never been revived. For the purpose of record the cast is appended: