The Life of David Belasco; Vol. 2

by William Winter; William Jefferson Winter

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

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