“In regard to the English production, I deem it inadvisable to commit myself at present, because I yet hope to have a theatre of my own in London, and, in consequence, am saving all my material for that time. Moreover, in ‘Kitty Bellairs’ I know so well the things that made it a great artistic success in this country, and there are so many details about the production to need my personal supervision, that I should really be afraid to let it be put on without me. To make the play ‘go’ at all, it must have a special cast, without which its fate would be foredoomed, and I do not care to trust the selection of this cast to another. In short, the English production is a risk I do not wish to take, until I can give it my own personal attention.
“With kindest regards, I am
“Faithfully,
“David Belasco.”
“THE DARLING” IN LONDON.—A HEARTY TRIBUTE.
On December 28, 1903, the English actor and manager Herbert Beerbohm-Tree produced “The Darling of the Gods,” with notable success, at His Majesty’s Theatre, London,—himself appearing in it as Zakkuri, with Miss Marie Löhr as Yo-San and George Relph as Kara. A characteristic instance of journalistic meanness was then provided by “The London Times,” which ascribed the beauty and perfection of Japanese detail in the production to the influence of Mme. Sada Yaco,—a Japanese eccentricity who had appeared on the stage in London and profoundly agitated the esthetic circle of “souls” resident in that city. As Tree’s presentment of the tragedy of Japan was made in faithful adherence to Belasco’s prompt book thereof and as Belasco never saw the Japanese actress, either on the stage or off, it would be interesting to learn in what manner her “influence” was exerted on him or his work. It is pleasant to turn from such paltry carping to read the hearty tribute paid by Tree, speaking from the stage of his theatre, in grateful acknowledgment of public approval:
“Ladies and Gentlemen:—I thank you for this splendid, wonderful reception of ‘The Darling of the Gods,’ but I must tell you that all the credit for what you have seen here goes across the ocean to that great idealist and genius of the Theatre, my comrade David Belasco, whom I so much admire. Never in all my career have I received from anybody [else] such a perfect ’script of a play. Every detail, every bit of costume, every piece of business, every light, is set down for us, and every note of music furnished, making it all so easy to produce this play that we can only claim credit for carrying out instructions! Concerning the genius and imagination that created it all and is responsible for it all,—I must say that, knowing him as I do, I can see that it is all Belasco-Belasco-Belasco, from the rise to the fall of the curtain. Words are inadequate to pay tribute to him; but I shall have the pleasure of sending him a cable to-night, to tell him how tremendously you have all enjoyed and applauded this wonderful play and how grateful we all are to him as well as you!
“Hereafter, it is my hope that Mr. Belasco and I shall do some work in collaboration and that I may induce him to send us more of his productions—perhaps, to bring them over himself and have them acted for you under his own supervision....”
“Tree was always most generous to me,” Belasco has said; “and his ‘Darling’ speech made me very happy. I like appreciation and encouragement when I have worked hard and tried to deserve it. Always after doing my ‘Darling’ Tree used to address me as ‘Sir David,’ and several times in public speeches he said that if they had me in England they would knight me—which was very kind and lovely, but plain ‘Mister Dave’ is good enough for me!”
[Just before leaving this country for the last time Tree read Belasco’s striking play about the spiritual survival of man, “The Return of Peter Grimm,” and arranged to produce it in London,—an arrangement which was abrogated by his sudden and untimely death, July 2, 1917.—J. W.]