[The following brief but interesting account of Modjeska’s trial has been published, elsewhere, by my father.—J. W.]
Hill had little if any knowledge of the foreign Stage, and he knew nothing of Modjeska’s ability and reputation. Her rare personal beauty, distinction, self-confidence, and persistence finally won from him a reluctant promise of a private hearing. That promise, after interposing several delays, he fulfilled, and Modjeska’s story, as she told it to me, of her first rehearsal at the California Theatre was piquant and comic. Hill was a worthy man and a good actor. It was, no doubt, natural and right that, in dealing with a stranger applicant for theatrical employment, he should have exercised the functions of his position, but there will always be something ludicrous in the thought of Barton Hill sitting in judgment on Helena Modjeska. “He was very kind—Meester Hill,” said the actress; “but he was ne-ervous and fussy, and he patronized me as though I were a leetle child. ’Now,’ he said, ’I shall be very criti-cal—ve-ery severe.’ I could be patient no longer: ’Be as criti-cal and severe as you like,’ I burst out, ’only do, please, be quiet, and let us begin!’ He was so surprised he could not speak, and I began at once a scene from ’Adrienne.’ I played it through and then turned to him. He had his handkerchief in his hand and was crying. He came and shook hands with me and tried to seem quite calm. ’Well,’ I asked, ’may I have the evening that I want?’ ’I’ll give you a week, and more, if I can,’ he answered.”
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Before Hill’s approval of Modjeska was ratified she was required to give another “trial rehearsal,” at which McCullough and various other persons were present, and it was Belasco’s privilege to be among them. “I don’t believe she was called Modjeska in those days,” he writes [her name was Modrzejewska—she shortened it to Modjeska at the suggestion of McCullough]; “but she had within her all the charm and power that afterward became associated with her name. I was in the auditorium the day she gave her first rehearsal [error—the second], and scattered here and there were a few critics. A mere handful came, for there was no general interest in one who was expected to have a gawky manner and a baffling accent. The unexpected happened; those of us who heard her were literally stunned by the power and pathos of this woman. McCullough promised her a production and not long afterward she played ’Adrienne Lecouvreur.’ When the performance was over, Mr. Barnes, of ’The San Francisco Call,’ the other critics, and all of us knew that we had been listening to one of the world’s great artists. ’It is the greatest piece of work in our day!’ was the general verdict. McCullough was wild with enthusiasm. She played her repertory in San Francisco, and society took her into its arms.”
STROLLING AD INTERIM.—BELASCO AS “THE FIRST OLD WOMAN.”
In September, 1877, during “Fair Week,”—24th to 29th,—Belasco was stage manager of a company from the California Theatre, headed by Thomas W. Keene, which performed at the Petaluma Theatre, in the California town of the same name, in “The Lady of Lyons,” “The Young Widow,” “The Hidden Hand” (Belasco’s version), “Robert Macaire,” “The Wife,” “My Turn Next,” “The Streets of New York,” “The Rough Diamond,” “Deborah,” and “The People’s Lawyer.” Belasco, besides directing the stage, acted in those plays, respectively, as Monsieur Deschapelles, Mandeville, Craven Lenoir, Pierre, Lorenzo, Tom Bolus, Dan, Captain Blenham, Peter, and Lawyer Tripper.
Soon after that he joined a company, under the management of Frank I. Frayne, known as the “Frayne Troupe,” of which M. B. Curtis, “Harry” M. Brown, E. N. Thayer, Mrs. “Harry” Courtaine, Gertrude Granville, and Miss Fletcher were also members. He joined that company at Humboldt, Oregon, where the opening bill was “The Ticket-of-Leave Man.” Belasco was to play Melter Moss, but the actress who was cast for Mrs. Willoughby becoming ill, Belasco (who knew all the other parts as well as his own) volunteered to take her place in that character and did so with such success that Frayne kept him in it: “I was scheduled to play all the first ’old women’ that season,” he writes to me, “and I found it for some time difficult to escape my new ’specialty.’”
A SUBSTANTIAL TRIBUTE.
Belasco left the “Frayne Troupe” about the end of January, 1878, and returned to San Francisco. There I trace him first at the Bush Street Theatre,—where he performed as James Callin and as Pablo, in the prologue and drama of “Across the Continent,” then first presented, by