The Life of David Belasco; Vol. 2

by William Winter; William Jefferson Winter

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: