Chapter XIV: Preface (13)

Blanche Bates is a native of Portland, Oregon, born August 25, 1872; her father was manager of the Oro Fino Theatre, Portland, at the time of her birth. Her youth was passed in San Francisco, where she was well educated. She went on the stage in 1894, appearing at Stockwell’s Theatre (later called the Columbia), in that city, in a play called “This Picture and That.” Her novitiate was served chiefly under the management of T. Daniel Frawley. For several years she acted in cities in the Far West, playing all sorts of parts. At one time, in California, she was professionally associated with that fine comedian Frank Worthing (Francis George Pentland, 1866-1910), who materially helped to develop and train her histrionic talents. Belasco first became acquainted with her while she was yet a child, at the time of his professional alliance with her mother, Mrs. F. M. Bates. In 1896, during Mrs. Carter’s first season in “The Heart of Maryland,” Blanche visited New York, witnessed that performance, and applied to Belasco for employment. At the moment it was not possible for him to engage her, but he was neither forgetful of an old promise of his made to Mrs. Bates that he would assist her daughter, if ever he should be able to do so, nor unmindful of the beauty, talent, and charming personality of the applicant, and he assured her that she “should have a chance” at the first opportunity. That opportunity did not present itself for nearly three years. Meanwhile, Miss Bates returned to California and acted there, for about two years more, with the Frawley company. In the Spring of 1898 she was engaged by Augustin Daly and for a short time she acted under his management. On February 9, 1899, she made a single brilliantly successful appearance, at Daly’s Theatre, as the _Countess Mirtza_, on the occasion of the first presentment in this country of the popular melodrama of “The Great Ruby.” She disagreed, however, with the autocratic Daly and immediately retired from his company. On March 13, 1899, acting at the Broadway Theatre, New York, in association with Belasco’s old friend and comrade

Photograph by Sarony. Belasco’s Collection.

BELASCO, ABOUT 1899-1900]

James O’Neill, she distinguished herself as _Milady_, in “The Three Guardsmen,” and on October 19, that year, at the Herald Square Theatre, she gave a notably fine performance,--splendidly effective in the principal scene,--of _Hannah Jacobs_, in Israel Zangwill’s stage synopsis of his novel of “The Children of the Ghetto.” A few weeks later Belasco informed Miss Bates that if she were willing to begin in a farce which he did not much esteem he was ready to undertake her management preparatory to “giving her her chance.” “The Children of the Ghetto” had proved a failure, and the actress joyfully accepted the manager’s proposal.

Blanche Bates first acted under Belasco’s management, December 25, 1899, at the Columbia Theatre, Washington, D. C., appearing as _Cora_, the principal person in Belasco’s “Naughty Anthony”: on January 8, 1900, she appeared in it at the Herald Square Theatre, New York. The title of that farce is not altogether felicitous, because possibly suggestive of impropriety, but there is nothing mischievous in the fabric itself. The piece is incorporative of one scene, varied and rewritten, from an unremembered farce of other days, and, with its freightage of old but always effective stage subterfuges and comic “business,” it reminded experienced observers of such plays, far and forgot now, as “Flies in the Web,” “My Neighbor’s Wife,” “Playing with Fire,” “To Oblige Benson,” etc. In it Belasco made use of one of the oldest theatrical expedients for creating comic confusion and mirthful effect,--the expedient of a mistaken identity. The chief male in it is _Anthony Depew_, a moral professor of the Chautauqua brotherhood, who becomes enamoured of a coquettish girl, in the hosiery business, and whose exploits in osculation lead him into a troublesome dilemma, from which he endeavors to escape by pretending to be somebody else. This kind of perplexity has been common on the stage since the distant days of “The Three Singles; or, Two and the Deuce.” Such themes do not require much comment. The chief fact to be recorded in this case is the uncommon felicity of the cast and the excellence of the stage direction. But such an actor as Frank Worthing (who was essentially a light comedian, and, as such, the most conspicuous local performer of the day, in his particular line) and such an actress as Miss Bates were practically wasted in so ephemeral a trifle. This was the cast in full:

_Cowley_ Albert Bruning. _Adam Budd_ William J. LeMoyne. _Zachary Chillinton_ William Elton. _Jack Cheviot_ Charles Wyngate. _Mr. Heusted_ Claude Gillingwater. _Mr. Brigham_ E. P. Wilkes. _Miss Rinkett_ Fanny Young. _Cowley_ Albert Bruning. _Knox_ Samuel Edwards. _Ed_ Brandon Tynan. _Mrs. Zachary Chillingham_ Maud Harrison. _Rosy_ Mary Barker. _Winnie_ Olive Redpath. _Cora_ Blanche Bates.

Belasco’s serious purpose, in this play, underlying the quest of laughter, was to satirize moral humbug, and that good purpose he accomplished. _Anthony Depew_ is an amiable impostor, established at Chautauqua, New York, to give lessons in moral conduct to persons who deem themselves tempted to go astray. He goes astray himself, as far as compromising osculation, and he causes all manner of disturbance, in several households, by fixing the guilt of a kiss upon an innocent booby, who is his landlord. Worthing embodied that humbug in an admirable manner. His plan was definite, his execution firm and true, his satire cumulative; and from first to last he never swerved from that demeanor of perfect gravity which makes absurd proceedings irresistibly amusing. Miss Bates, even more than usually beautiful as _Cora_, made the tempter of _Anthony_ a compound of demure simplicity and arch, piquant glee, and, in her complete frustration of the _Professor’s_ moral heroics, she was a delightful incarnation of honest, healthful, triumphant woman nature. A colloquy of these two players, as preceptor and pupil, has seldom been surpassed for pure fun. Specification of the fantastic situations in which the _Professor_ involves himself and his landlord, _Adam Budd_,--abundantly comical in the seemingly unpremeditated humor, the soft, silky manner, and the grotesque personality assumed by Le Moyne,--would be a tedious business. Good acting, however, did not suffice to sustain the play in public favor. Writing about this venture Belasco says:

“At the time I wrote ’Naughty Anthony’ the country was farce
mad,--but the public will not accept me as a farce writer, and it
was a failure. I believed, at the time, that had somebody else
produced my play it might have succeeded, and this actually proved
to be the case; for when I sold the piece and it was taken on the
road, with my name omitted from the programme, it made money,
although it had cost me a pretty penny. I soon saw that ’Naughty
Anthony’ must be withdrawn or something added to the bill in order
to keep it going.”

“MADAME BUTTERFLY.”

Some little while before the production of “Naughty Anthony” Belasco had received from a stranger a letter in which he was urged to read a story, called “Madame Butterfly,” by John Luther Long, with a view to making it into a play. When anxiously casting about for some means of providing required reinforcement for his farce he chanced to recollect that suggestion, procured a copy of Long’s book containing his tragic tale, read it and was so much impressed by the possibilities which he perceived of basing on it a striking theatrical novelty that he entered into communication with Long and arranged with him for the use of his story. This proved, in several ways, a most fortunate occurrence: it led to a valued and lasting friendship and, ultimately, to the writing of two other memorable dramas,--“The Darling of the Gods” and “Adrea,”--as well as to the composition of a beautiful and extraordinarily popular opera, and it resulted, directly, in the making and production, by Belasco, of one of the most effective short plays of the last twenty-five years,--the success of which did much to sustain him under the disappointment of failure and the burden of heavy loss.

Belasco’s tragedy of “Madame Butterfly” is comprised in one act, of two scenes, which, connected by a pictorial intercalation, are presented without a break, and it implicates eight persons, besides its heroine, all of whom are merely incidental to depiction of her tragic fate. The substance of its story is contained in Goldsmith’s familiar lines about the sad consequences of lovely woman’s genuflexion to folly. A man commits the worst and meanest of all acts, the wronging of an innocent girl, and then deserts her. The case has often been stated--but it is not less pathetic because it is familiar. In this instance the girl is a Japanese, and in Japan, and thus the image of her joy, sorrow, desolation, and death are investable with opulent color and quaint accessories. Her name is _Cho-Cho-San_, and, by her lover, she is called “_Madame Butterfly_.” Her family is one of good position, but her father, a soldier of the emperor, having been defeated in battle, has killed himself, and her relatives, being poor, have induced _Cho-Cho-San_, in order that she may be able to provide maintenance for them, to enter into the relation of housekeeping prostitute with an officer of the United States Navy, _Lieutenant B. F. Pinkerton_ by name, who is stationed for a few months at Higashi, Japan, and who feels himself to be in need of female companionship and that “comfort other than pecuniary” specified by Patrick Henry. According to the enlightened and advanced customs of Japan (which various English-speaking exponents of progress and free-everything, including free-“love,” are laboring to establish in our benighted country) this relationship is not degrading and despicable but respectable and, in circumstances which are of frequent occurrence, to be desired. As _Butterfly_ expresses it, though the naval officer is described by the Japanese as “a barbarian and a beast,” “Aevery one say: ’yaes, take him--take him beas’--he’s got moaneys,’ so I say for jus’ liddle while, perhaps I can stan’.” _Pinkerton_, however, proves to be a delightful companion who wins the love of the Japanese girl and, with the crass cruelty common among viciously self-indulgent men, he assures that forlorn waif that her marriage to him is not merely a temporary arrangement of convenience, terminable, according to Japanese law, by the mere act of desertion, but is a binding, permanent one, according to American custom and law and that she is, in fact, _Mrs. B. F. Pinkerton_. Having led her to believe this, the amiable _Pinkerton_ presently departs upon his ship, after making _Butterfly_ a present of money, informing her that he has “had a very nice time” and assuring her that he will come back “when the robins nest again.” The girl, confidently awaiting the return of her lover, whom she declares and believes to be her lawful husband, after a little time becomes a mother by him. Two years pass--during which she refuses many suitors--and the money given her by _Pinkerton_ has been all but exhausted: _Butterfly_ is confronted by the alternative of beggary or starvation, yet she contemptuously rejects all proffers of rich alliances, serenely trusting in the faith of _Pinkerton_. Then, at last, he comes back, and she is apprised that though for two weeks after leaving her he was “dotty in love with her” he recovered from his sublime passion and that he has married another woman (who magnanimously offers to take away her child and rear it!)--whereupon _Madame Butterfly_ kills herself.

The play is a situation, and, though some of its detail is trivial, it reveals elemental extremes and contrasts of much human experience; in its essential passages it possesses the cardinal merits of simplicity and directness, and in representation its effect is tragic and afflictingly pathetic. One feature of its performance, devised by Belasco, was, in respect to execution, unique,--namely, the intercalation whereby the two scenes of the tragedy are connected. When, at evening, the forlorn _Butterfly_,--after two years “jus’ waitin’--sometimes cry in’--sometimes watchin’--but always waitin’!”--sees the warship to which _Pinkerton_ is attached entering the harbor of Higashi she believes that her “husband” will immediately repair to their abode and she becomes almost delirious with joy. She prepares for his

Photograph by Byron. Belasco’s Collection.

“Too bad--those robin--never nes’--again!”

THE DEATH SCENE, BELASCO’S “MADAME BUTTERFLY”

BLANCHE BATES AS _CHO-CHO-SAN_. FRANK WORTHING AS _LIEUTENANT B. F. PINKERTON_]

reception, attiring herself and their little child in fine array and decking the house with flowers and lighted lanterns. Then, with the child and a servant maid, she takes station at a window, to give him welcome--and there she waits and watches through the night, until the morning breaks. The lapse of time was, in the performance, skilfully and impressively denoted,--the shades of evening darkening into night; stars becoming visible, then brilliant, then fading from view; the lighted lanterns one by one flickering out; the gray light of dawn revealing the servant and the child prone upon the floor sunk in slumber, with the deserted mother standing over them, pale and wan, still gazing fixedly down the vacant road, while the rosy glow of sunrise grew into the full light of day and the sweet sound of the waking songs of birds floated in from a flowering grove of cherry trees. In the representation this scene, during which no word was spoken and no motion made, occupied _fourteen minutes_--and surely no tribute to Belasco’s resource and skill in stage management and stage mechanics could be more significant than the fact that during all that time never did the interest of his audiences waver nor their attention flag.

At the end, when _Butterfly_ knows her lover faithless and her life ruined and desolate, she takes her father’s sword,--on which is graven his dying monition, “To _die_ with honor, when we can no longer live with honor,”--and with it deals herself a mortal stroke. This desperate deed is done out of the audience’s sight and as, with ghastly face and a scarf bound round her throat to hide the wound, she staggers forward to clasp her child to her breast, _Pinkerton_ enters the room and _Butterfly_, holding the child in her arms, sinks at his feet, turning on him a look of anguish as she murmurs “Too bad--those robin’--never nes’--again!”--and so dies.

“Madame Butterfly” was first presented at the Herald Square Theatre, March 5, 1900. The scenic habiliment in which Belasco attired that tragedy was one of great beauty and perfect taste and it had never been equalled by anything rightly comparable, excepting Augustin Daly’s exquisite setting of “Heart of Ruby” (a play on a Japanese theme adapted by Justin Huntly McCarthy from Mme. Judith Gautier’s “La Marchande de Sourires”), produced at Daly’s Theatre, January 15, 1895,--which was a complete failure: it cost Daly about $25,000 and it was withdrawn after seven performances. Belasco’s Japanese venture, happily, was fortunate from the first, creating a profound impression and achieving instant success. A notably effective scenic innovation was the precedent use of “picture drops,” delicately painted and very lovely pictures showing various aspects of Japan,--a rice field, a flower garden, a distant prospect of a snow-capped volcano in the light of the setting sun, and other views,--by way of creating a Japanese atmosphere before the scene of the drama was disclosed. Blanche Bates embodied the hapless _Butterfly_ and animated the character with a winning show of woman’s fidelity, with a lovely artlessness of manner and speech, and with occasional flashes of that vivid emotional fire which was her supreme attribute. Her personation at first caused laughter and at last touched the source of tears,--but the predominant figure in the history of this play, both at the first and now, was and is that of Belasco: more, perhaps, in respect to “Madame Butterfly” than of any other of his productions it may properly be said that his personality seemed to have permeated every detail of this performance and its environment. This was the original cast:

_Cho-Cho-San_ (_Madame Butterfly_) Blanche Bates. _Suzuki_, her servant Marie Bates. _Mr. Sharpless_, American Consul Claude Gillingwater. _Lieutenant B. F. Pinkerton_ Frank Worthing. _Yamadori_ Albert Bruning. _Nakodo_ E. P. Wilks. _Kate_, _Mrs. Pinkerton_ Katherine Black. _Trouble_, the child Kittie ----. _Attendant_ William Lamp. _Attendant_ Westropp Saunders.

“ZAZA” ABROAD.

The Belasco season at the Herald Square Theatre was ended on March 24, and on April 5, on board the steamship St. Paul, he sailed for England, with Mrs. Leslie Carter and a numerous theatrical company, to present that actress, in partnership with Charles Frohman, in “Zaza,” at the Garrick Theatre, London. That project had been planned by the two managers many months before and it was triumphantly fulfilled on April 16,--Belasco’s version of the French play and Mrs. Carter’s performance in it being received in the British capital with rapturous applause and remaining current there until July 28. The principal persons who seem to have entertained seriously dissenting and dissatisfied views as to Belasco’s treatment of the subject were the authors of the French original, MM. Berton and Simon, whose conceit was great and whose indignation was lively because their noxious drama had not been deemed sacrosanct but had been freely altered.

Photograph by Dupont. Belasco’s Collection.

GIACOMO PUCCINI

INSCRIPTION:

“_Al mio collaboratore e amico Sig. David Belasco: greato ricordo_

GIACOMO PUCCINI”]

VIEWS OF THE FRENCH DRAMATISTS.

Belasco, in his “Story,” gives some account of the attitude of the French authors toward his adaptation of their play, to which, undoubtedly, they were indebted for profit and reputation they would not otherwise have obtained:

“During the summer of 1900 we took ’Zaza’ to London. Before opening
there I went to Paris to visit the authors, Berton and Simon. They
had been paid large sums for the American rights of ’Zaza,’ and as
the success of ’Zaza’ in America led to its revival in Paris their
profits were enormous. Naturally, I was a welcome guest and my
weekend visit was very agreeable, as it was made to the
accompaniment of a song of praise--of superlative gratitude. What I
had accomplished was remarkable! Superb! There was no other man,
etc., etc. In the meanwhile I was wondering what they would say
when they saw the manuscript of ’Zaza.’ They came to London for the
first night, preceded by a huge hamper of flowers for Mrs. Carter.
The opening was a brilliant function. The late King Edward, then
Prince of Wales, was present; also King George, then Duke of York.
I remember the military bearing of Clement Scott in his
scarlet-lined coat, and the rough and ready appearance of Bernard
Shaw, in his soft shirt and crush hat. What the latter thought of
Mrs. Carter found its caustic way into the columns of ’The Saturday
Review’; what the audience thought was told by the growing
enthusiasm as the play progressed; what Berton and Simon thought
was shown by a certain coolness in their attitude toward me. Their
enthusiasm died a natural death after the Second Act, and the more
demonstrative the audience the less pleased were they. At the close
of the Third Act they left the house, telling me in heated terms
that I had ruined their climax and it was not their play at all.
Curiously enough, they did not see the humor of the situation. My
version made their fortune because it made the woman possible to an
English-speaking audience. The authors were in the odd position of
quarreling with their bread and butter (an unusual situation for
playwrights). They grew angrier and angrier as the play gained
favor with the public, and their royalties were increased week
after week. Those were strenuous days. However, they calmed down,
and in the course of time Monsieur Berton asked me to forget the
letter of denunciation he wrote to me from Paris.”

“WITH SPEED FOR ENGLAND.”--ANOTHER SUCCESS IN LONDON.

The success which Belasco had gained with “Madame Butterfly” in New York was so great that, had he chosen to do so, he could have successfully prolonged his season there, at the Herald Square Theatre, throughout the summer of 1900. But his plans for producing “Zaza” in London were complete and he was bound “with speed for England”; he determined, therefore, to carry his little Japanese tragedy with him, having it in mind to show theatre-goers in the British capital, simultaneously, two vividly contrasted specimens of his theatrical resource and power. At first, he was disposed to transport the company, headed by Blanche Bates, as well as the production,--that is, the scenery, dresses, “properties” and effects. But when he sought to do this it proved to be impracticable: the only arrangement that he found it feasible to make was one with his partner in the “Zaza” venture, Charles Frohman, who, at the time, was successfully presenting, at the Duke of York’s Theatre, London, Jerome K. Jerome’s comedy of “Miss Hobbs.” With Frohman, accordingly, Belasco arranged to bring forward “Madame Butterfly” as an “afterpiece” to “Miss Hobbs,”--and as it was manifestly injudicious unnecessarily to maintain two stars at one and the same theatre, Belasco decided (to the lively disgust of Miss Bates) to cast the player of _Miss Hobbs_, Miss Evelyn Millard, at that time a popular favorite in London, for _Madame Butterfly_, depending on himself to train and guide her through the performance of that part. This self-confidence was fully justified,--the little tragedy being received with profound admiration both by the press and the public. It was acted at the Duke of York’s, April 28, with this cast:

_Cho-Cho-San_ (_Madame Butterfly_) Evelyn Millard. _Mr. Sharpless_ Claude Gillingwater. _Lieutenant B. F. Pinkerton_ Allan Aynesworth. _Yamadori_ William H. Day. _Nakado_ J. C. Buckstone. _Suzuki_ Susie Vaughan. _Kate, Mrs. Pinkerton_ Janet Evelyn Sothern.

PUCCINI AND BELASCO.

Belasco, as he told me, declined to attend the first London performance of his “Butterfly.” “I didn’t know how it might go,” he said, “--and I didn’t intend to be called out and ’boo-ed.’ Frohman was very confident and kept telling me it would be all right, but I didn’t go ’round (I was busy, too, at the Garrick) till right at the end and then I only went ’in front.’” At the end, however, the enthusiasm of the audience was so great and the calls for him were so long and urgent that he was at last compelled to go upon the stage and make his grateful acknowledgments. “I sometimes feel,” said Belasco, “that the tribute of that English audience, at first sitting in absolute silence, except for the sound of some women crying, then calling and calling for me and waiting and waiting, while Frohman came ’round in front and found me and insisted upon my going to the stage, was the most gratifying I ever received. Giacomo Puccini, the Italian composer, was in front that night and after the curtain fell he came behind the scenes to embrace me enthusiastically and to beg me to let him use ’Madame Butterfly’ as an opera libretto. I agreed at once and told him he could do anything he liked with the play and make any sort of contract he liked--because it is not possible to discuss business arrangements with an impulsive Italian who has tears in his eyes and both his arms round your neck! I never believed he did see ’Madame Butterfly’ that first night; he only heard the music he was _going_ to write. Afterward I came to know him well, and found him the most agreeable and simple-hearted fellow in the world,--a great artist without the so-called ’temperament.’”

“MADAME BUTTERFLY” AS AN OPERA.--A PROPOSAL BY LADY VALERIE MEUX.

Puccini’s opera, entitled “Madama Butterfly,” was first performed in New York, in an English version, under the management of Henry Savage, at the Garden Theatre, November 12, 1906. Elza Szamosy, an Hungarian, sang _Cio-Cio-San_; Harriet Behne _Suzuki_; Joseph F. Sheehan _Pinkerton_, and Winifred Goff _Mr. Sharpless_. The first performance of it in Italian occurred in New York, at the Metropolitan Opera House, February 11, 1907, when,--with its composer among the audience--it was sung by the following cast:

_Cio-Cio-San_ Geraldine Farrar. _Suzuki_ Louise Homer. _Kate, Mrs. Pinkerton_ Laura Mapleson. _La Madre_ Josephine Jacoby. _La Cugina_ ---- Shearman. _La Zia_ ---- Moran. _Lieutenant Pinkerton_ Enrico Caruso. _Mr. Sharpless_ Antonio Scotti. _Goro_ Albert Reiss. _Yamadori_ ---- Paroli. _Lo Zio Bonzo_ Adolf Mühlmann. _Yakuside_ Giulio Rossi. _Il Commissario Imperiale_ ---- Bégué. _Un Ufficiale del Registro_ Francesco Navarini.

Referring to the production of this opera at the Metropolitan, Belasco writes: “I loaned my models [for the scenery] and sent over my electricians.”--I have not heard Puccini’s music. My old friend and colleague Henry Edward Krehbiel has written of it:

“ ... Genuine Japanese tunes come to the surface of the
instrumental flood at intervals and tunes which copy their
characteristics of rhythm, melody, and color. As a rule this is a
dangerous proceeding except in comedy which aims to chastise the
foibles and follies of a people and a period. Nothing is more
admirable, however, than Signor

Photograph by Aime Dupont. Belasco’s Collection.

GERALDINE FARRAR AS _CHI-CHI-SAN_, IN PUCCINI’S OPERA, “MADAMA BUTTERFLY,” BASED ON BELASCO’S TRAGEDY]

Puccini’s use of it to heighten the dramatic climaxes; the merry
tune with which _Cio-Cio-San_ diverts her child in the Second Act
and the use of a bald native tune thundered out _fortissimo_ in
naked unison with the periodic punctuations of harmony at the close
are striking cases in point. Nor should the local color in the
delineation of the break of day in the beginning of the Third Act
and the charmingly felicitous use of mellifluous songs in the
Marriage Scene be overlooked. Always the effect is musical and
dramatically helpful. As for the rest there are many moments of a
strange charm in the score, music filled with a haunting tenderness
and poetic loveliness, music in which there is a beautiful meeting
of the external picture and the spiritual content of the scene.
Notable among these moments is the scene in which _Butterfly_ and
her attendant scatter flowers throughout the room in expectation of
_Pinkerton’s_ return. Here melodies and harmonies are exhaled like
the odors of the flowers.”

And elsewhere Mr. Krehbiel remarks that

“there is nothing more admirable in the score of ’Madama Butterfly’
than the refined and ingenious skill with which the composer bent
the square-toed rhythms and monotonous tunes of Japanese music to
his purposes.”

“Madame Butterfly” ran at the Duke of York’s Theatre until July 13. In America it was presented, throughout the season of 1900-’01, beginning at Elmira, New York, September 17, in association with “Naughty Anthony,” by a company headed by Miss Valerie Bergere and Charles E. Evans. On February 18, 1901, the tragedy was acted at Proctor’s Fifth Avenue Theatre, New York, and ran till May 11. Miss Bergere performed as _Cho-Cho-San_ until March 29, when she was succeeded by the French actress Mlle. Pilar-Morin. Since then “Butterfly” has been acted unnumbered times.

During the summer season of “Zaza” in London (1900), Belasco was approached by the eccentric Lady Valerie Meux, a person of great wealth and peculiar antecedents, with a proposal that he give up the management and direction of Mrs. Carter and assume that of Mrs. Cora Urquhart Potter, in whom she was then much interested. Belasco was well acquainted with Mrs. Potter, who, indeed, was one of the many amateur players trained by him while at the Madison Square Theatre (1884, _et seq._) and for whose professional appearance on the stage, under the management of Daniel Frohman, he had arranged, in 1886,--an arrangement which Mrs. Potter suddenly abrogated. Belasco esteemed her histrionic abilities much higher than ever there was warrant for doing (he has written about her: “If I could have succeeded in drawing her away from society, from the host of admirers and over-zealous friends who fondled and petted her and kept her from really working, and if she could have appreciated the simplicity of life, she could have taken _front rank_ in her profession”), but he would not give up the direction or Mrs. Carter’s career and therefore he declined Lady Meux’s proposal. That singular person then expressed a wish that he should transfer his theatrical activities from America to England, offered to build for him “the finest playhouse in the land” and to provide him with ample money with which to conduct it, so that he “might be free and untrammelled by financial cares” and fulfil all his ambitions. “Of course,” he has said, in telling me of these incidents, “her offer had a tempting sound, but nothing could have induced me to accept it. Not only would I not consider deserting Mrs. Carter, but I knew that Mrs. Potter could never give up the social world for the exclusive hard work of the Stage. And also I knew that within a year, perhaps less, Lady Meux would have grown tired of her fancy and my position would be intolerable. I wanted a theatre in London--in fact, I want one now and, perhaps, in spite of the war, I may have one yet--but not one tied up in apron-strings.” His decision to reject the offers of Lady Meux certainly was wise.

INDEX TO VOLUME ONE

INDEX TO VOLUME ONE

_B._=_David Belasco._

A

Abbey, Henry Eugene
(Am. th. man.: 1848-1896): plans
to produce S. Morse’s “Passion Play” in N. Y., 122.

Abbey’s New Park Th., N. Y., burned, 122.

Academy of Music, N. Y.: Salvini’s first Am. appearance at, 59.

“Across the Continent” (play): B. acts in, 104.

Acting: schools of and teaching of--the subject
critically considered, 348, _et seq._

Actors: early, in Calif., 131.

Adams, Annie (Asenath Annie Adams--Mrs. James Kiskaden--Mrs.
Harvey K. Glidden: Am. actress: 1849-1916): 62.

Adams, Edwin (Am. actor: 1834-1877): in S. F., 90; 204.

Adams, John (actor): 132.

Adams (Kiskaden), Maude (Am. actress: 1872-19--): 62.

“Adolph Challet” (play): 237.

“ADREA” (tragedy): 477.

“Adrienne Lecouvreur” (play): 103.

“Agnes” (play): 105.

“Aladdin No. 2; or, The Wonderful Scamp” (burlesque): 37; 221.

Alberta, Laura (Am. actress): B. acts with, in S. F., 49; 74; 229.

Albery, James (Eng. dramatist: 1838-1889): 336.

Aldrich, Louis (Moses Lyon: Am. actor: 1843-1901): 345;
good acting by, 346;
sketch of, 347, _et seq._

Allemany, Archbishop, of S. F.: approves “The Passion Play,” 116.

Allen, Charles E. (actor): 36.

Allen, Charles L. (lawyer): 390.

Allen, Charles Leslie (Am. actor: 1830-1917): 382.

“All the Comforts of Home” (farce): 375.

“Alpine Roses” (play): 279; 280.

Alta California,” “The (S. F. newspaper): notice in,
quoted _re_ “Passion Play,” 118.

Amberg, Gustav (Ger.-Am. th. man.): 251.

“AMERICAN BORN” (melod.): written--and produced--cast
of, 257, _et seq._; 260; 261; 269; 270; 276.

American Theatre, S. F.: Julia Dean, lessee of, 7.

“Amy Robsart” (play): 210.

Anderson, David H. (Am. actor: 1814-1884): 36.

“Andrea” (play): 311.

Andrews, Lillian (Am. actress): 187.

Apostate,” “The (tragedy): 94; 160.

“Armadale” (Collins’ novel): dramatization of, 92.

“Arrah-na-Pogue” (comedy): Boucicault and wife in, 58; 225; 261.

Art, dramatic: suggestion in--instructive comment _re_, by B., 418.

“Article 47” (play): B.’s version of, 93.

ASSOMMOIR,” “L’ (novel): Daly’s view of Fr. dramatization of, 184;
same makes and produces Eng. version--which fails--B.
makes version--which succeeds, 185;
cast of B.’s version of, 186;
difficulties during rehearsals of, 187;
run of, 188; 189.

“As You Like It”: 43; 137.

Atkinson, Henry (actor): 135.

Audran, Edmond (Fr. musician: 1840-1901): 396;
writes letter praising Mrs. Carter, 398.

AUCTIONEER,” “THE (play): 139.

B

Bachelor of Arts,” “A (farce): 344.

Bailey, Philip James (the poet: 1820-1902): 249.

Baker and Farron [theatrical] Company: 88; 89.

Baker, Emily: 87.

Baldwin, Edward J. (“Lucky Baldwin”): builds Baldwin’s A. of M., S. F., 86;
not friendly with T. Maguire, 87;
supports “The Passion Play” in S. F., 115;
withdraws support of Maguire, 183.

Baldwin’s Academy of Music, S. F.: built, 86;
opened with “K. R. III.”--and B. employed at, 87;
Sullivan’s repertory at--and Gates Opera Co. at, 88;
G. F. Rowe at, 92;
farewell engagement of A. Neilson at, 210;
Maguire loses, 253.

Bandmann, Daniel Edward (German-Am. actor: 1840-1905): 133.

Banishment of Catiline,” “The (poem): recited by B., 26.

Banker’s Daughter,” “The (play): _re_ authorship of--and
first produced, 125; 126;
resemblance of “The Millionaire’s Daughter” to, 128;
engagement of, in S. F., cancelled, 129; 328.

Banks, Maude: 349.

Barker, H. Granville (Eng. actor, playwright and th.
man.: 1874-19--): and “modern” methods of, anticipated by B., 355.

Barnes, George E. (dramatic reviewer in S. F.): 103.

“BARON RUDOLPH” (melod.): production of--and story--failure
of, 321, _et seq._;
rewritten by Howard--and by B., 324;
cast of, 326.

BARRETT, LAWRENCE P. (Am. actor and th. man.: 1838-1891): 42;
acts _King Henry the Fifth_ in S. F., 91; 95;
first appearance of, in S. F., 135;
feeling of, toward McCullough--and characters of _Cassius_,
and _Antony_, 165;
first plays _Cassius_--and same, in S. F., 166.

Barrett, Hon. George C. (Judge--N. Y.): 122.

Barrows, James O. (Am. actor): schoolboy companion of B.--wins
medal in Comedy, 12;
B.’s early friendship with, 27.

Barry, William (actor): 131.

Barrymore, Maurice (Eng.-Am. actor and dramatist: 1848-1905): 309; 427.

BATES, BLANCHE (Mrs. Milton F. Davis--Mrs. George Creel: Am.
actress: 1872-19--): 35; 62; 74;
B.’s first meeting with, 77;
mother’s ambition for--and B.’s promise _re_, 78;
beauty--qualities--potentialities of, 469, _et seq._;
lapse of, into obscurity--and biographical particulars _re_, 471, _et seq._;
first acts under B.’s management in “Naughty Anthony,” 473, _et seq._;
as _Cora_, in same, 474;
same, 475;
her performance of _Madame Butterfly_, 483; 487.

Bates, Frank Mark (Am. actor: 18---18--): 75;
murdered, 76.

BATES, MRS. FRANK MARK (Frances Marion Hinckley--Mrs. Charles
L. Lord: Am. actress: 1848-1908): 35; 74;
B.’s recollection of, and of her husband, 75, _et seq._;
B. acts _Armand Duval_ with, 76;
B.’s promise to, _re_ daughter, 77;
on B.’s facility in adapting plays, 84; 133; 472.

Beauty and the Brigands,” “The (burlesque): 37.

Behne, Harriet (singer): 489.

Belasco, Augusta (Mrs. William Elliott): 469.

=BELASCO, DAVID= (American theatrical manager, playwright,
stage manager, actor, dramatist: 1853-19--):
qualities of--ancestry and parentage, 1;
parents go to Calif.--birth of--and removed to Victoria, B. C., 2;
early influences affecting--education of--early years in
Roman Catholic monastery, 4;
residence of, in monastery--abiding effect of R. C.
influence on--runs away--joins travelling circus--befriended
by a clown, 5;
reclaimed by father and taken home--theatrical proclivity of--and
“first appearance” of on stage, 6;
his memory of appearing with Julia Dean--his recollections of early
actors characterized, 7;
frequent juvenile employment of--appears in “K. R. III.,” with C. Kean
and E. Tree--removal of, to San Francisco, 10;
a pupil at the Lincoln Grammar School, S. F.--his teachers--his talent
for declamation--recitations by, 11;
“mascot” of the Victoria Fire Department--pupil at Fourth Street School,
S. F.--wins Gold Medal in Tragedy--early reading--first
places of residence in S. F., 12;
first play by, date of, question about, etc.--boyhood custom of,
as writer--recollection of, _re_ his play, “The Roll of the Drum,” 13;
passion of, for stage--letter to, from boyhood friend--recitations
of, in boyhood--also early performances participated in by, 14;
recitation by, before Queen Emma of the Hawaiian Islands--removed
with parents from Victoria--filial devotion of--and early
propensity of, 15;
industry of, in childhood--public recitations--assists parents, 16;
hard early experience of--advancement--reading and recreation
in boyhood, 17;
effect of McCullough’s recitation of “The Little Hero” on--becomes
a stowaway--his story of his adventures as, 17, _et seq._;
leaves school--marriage of, 19;
early record and experience of, as actor, reciter, etc.--payment
of (period 1871-1879), 20;
bohemian adventures of, related to author--his mother’s name for,
and opinion about, 21;
miscellaneous knowledge accumulated by--tangled chronology of his
early life--his “The Story of My Life” examined and estimated
by author, 22, _et seq._;
incorrect recollections by, rectified, 23;
time, place, etc., of his first formal appearance on stage established, 24;
his first part--billed as “Walter Kingsley” when making first
appearance--reason for taking, and for dropping, that name--form
of his name in early playbills--childhood appearances of, 25;
appears with C. Kean--early appearances as super, reciter,
etc.--appears with Mme. Methua-Scheller (1869) in “Under the
Gas-Light”--and with J. Proctor in
“The Jibbenainosay”--Proctor’s reason for employing him, 26;
appears in Prof. Hager’s “The Great Republic”--his parts
in--appears in amateur performances at Platt’s Hall, S. F.--early
association with J. O. Barrows, 27;
smitten with Lotta--appears with amateur actors’ association
in S. F. (1871) and is commended by local newspaper--meets J.
McCullough, 28;
advantage of McC.’s friendship--early friendship with W. H.
Sedley-Smith, 29;
Sedley-Smith’s influence on--same employs, at Calif. Th. and
advice of same to, 33;
his actual adoption of stage--acts with J. Murphy, in “Help,” 34;
actors with whom associated in “Help”--date of his association
with Chapman Sisters, 35;
at the Metropolitan Th. in ’73, 36;
his parts in various performances at the Metro.--makes “a hit”
as _Prince Saucilita_, in “The Gold Demon,” 37;
earning extra pay, 38;
early acquaintances of--theatrical vagabondage of--and describes
same, 39, _et seq._;
early parts played by, 41;
eking out a living--early admiration, etc., of Walter
Montgomery, 42, _et seq._;
chief recitations by--appearances of, at Platt’s Hall,
about 1870--first meeting with future wife--impression of, 44;
serious injury to--near death--marriage of, 45;
travels with Chapman Sisters--returns to S. F.--employed
by J. H. Le Roy--suggests “The New Magdalen” for B. Pateman, 46;
his recollections of first performance of that play--and
of Miss Pateman--engaged at Shiels’ O. H., 48;
another engagement with Murphy--acts with L. Alberta--with
F. Cathcart and G. Darrell--various parts played by, 49;
acts for bft. J. Dunbar--goes to Virginia City, Nev., under
management J. Piper, 50;
varied experience in Virginia City, 51;
associated there with Mrs. D. P. Bowers--and regard for
same--meeting with Dion Boucicault--confusion
about--and facts considered--profound influence
on, of Boucicault--B.’s reminiscence of same, 52, _et seq._;
author’s opinion _re_ Boucicault’s employment of, in
Virginia City--opinion of, about Boucicault--first
S. F. appearance of, again mentioned, 57;
not in Virginia City before 1873--disappears from
S. F. records--and goes to Virginia C., 60;
concerning, and Boucicault, in Virginia C.--number of
engagements there filled by--period of his career, 1873-1876, 61;
actors associated with, in Virginia C. enumerated--and
painful experience of, with demented woman, 62;
freed from control of Piper--returns to S. F.--appears
with A. Neilson during her first S. F.
engagement--sees the Lingards in “La Tentation,” 63;
sees Raymond in “Led Astray”--consulted _re_ “The Gilded
Age”--his recollection of same and J. T. Raymond, 64;
employed by Lingard--and by Barton Hill--plays and actors
associated with, summer of 1874, 68;
his admiration for S. W. Piercy, 69;
“barnstorming” ventures by--employed by Mile. Zoe--and
appears with--secretary to T. Maguire--appears
with J. A. Herne, etc., 70;
the same--and sees Mayo in “Griffith Gaunt”--makes
a version of same--again works with J. H. Le Roy, 71;
works with Herne, etc.--assists in revival of “Oliver Twist”--revives
and produces “The Enchantress” for A. Bennett--and
appears in, with same, 72;
temperamental heedlessness of, _re_ dates--author’s
consequent difficulty in making Chronology, 73;
most important event of early life--nature of his
experience--“stars” associated with, 74;
his reminiscences of the “minstrel” “Jake”
Wallace--and of Frank M., and Mrs. Bates, 75;
admiration of, for J. E. Owens--and writes play
for--kindness to, and instruction of, by C. R. Thorne, Sr., 78;
“barnstorming” with a “beautiful school teacher”--friendship
with Mary Gladstane--and admiration for “Mary Warner,” 79;
plays produced by, with Miss Rogers--liking of, for
“Robert Macaire”--“specialties” of B.--makes wigs, 80;
returns to S. F. to study Hooley Comedy Co., W. H.
Crane, etc.--employed by Hooley, 81;
willingness and simplicity of, _re_ labor--employed
by Emmet as dresser--and acts with, 82;
studies Daly’s productions--and refused engagement
by same--peddles “patent medicines,” 83;
prepares prompt books--marvellous resources of, 84;
first meeting of, with J. A. Sawtell--later association--joins Thorne, Sr.,
at his Palace Th.--and not paid by, 85;
plays acted in with Thorne, Sr.--appears with F. Jones, 86;
prompter and assistant stage manager at Baldwin’s Academy of Music, S.
F.--associated with B. Sullivan--and others, 87;
plays acted in by, with Sullivan--he returns to Maguire’s New Th., 88;
views of, _re_ difficult parts--interesting reminiscence of Sullivan--goes
“barnstorming” again, 89;
acts in bfts.--sees E. Adams--sees G. Rignold in “King Henry V.,” 90;
and sees Barrett in same--diverse activities of--acts with
G. F. Rowe--appears
again in “Under the Gas-Light”--meets Eleanor Carey, 92;
makes play on “Article 47” for Miss Carey, 93;
period of his life, 1876-1879, _et seq._--sees and studies
E. Booth--and appears
with same at Calif. Th.--his Booth relics--works for
Ward and W. Montague, 96;
travels with F. M. Phelps--and joins F. Gardner in
“The Egyptian Mystery,” 97;
his appearance with same--and plays written by, for, enumerated, 99;
recitations by, in same association--and his reminiscence
of--experiments in stage
lighting, 99;
travels with “The Egyptian Mystery”--sees Modjeska’s
first Am. appearance, 100;
recollections of same, 102;
acting and stage managing with T. W. Keene, 103;
acting with the “Frayne Troupe”--plays old women--and
goes to Bush St. Th., S. F., 104;
at the Baldwin again--directs the N. Y. Union Square
Theatre Co. in S. F.--and travels
and acts with--tribute to, by that co., 105;
letter to, from F. F. Mackay on behalf of same--his
“Dearer than Life” and his “Olivia”
produced, 106;
his “Olivia”--and alters “A Woman of the People,” 107;
makes “Proof Positive” for R. Wood--directs C. Morris--and
adapts “Not Guilty,” 108;
his “Not Guilty” produced in S. F.--recollections of
that production--leaves the Baldwin, 110;
contemptible treatment of, _re_ “Not Guilty”--Baldwin
intervenes--and an experience with
D. Thompson and J. M. Hill, 111, _et seq._;
returns to S. F. and to the Baldwin--adapts and produces
“Within an Inch of His Life,” 113;
“fire effect” in same, 114;
S. Morse’s “Passion Play” produced by, etc., 115, _et seq._;
his opinion of O’Neill’s _Jesus Christ_--he adapts
“La Famille Benoiton!”--and writes
“The Millionaire’s Daughter,” 125;
his account of producing same, 126, _et seq._;
accused of plagiarism--and comment thereon, 128;
detraction of B.--reason for, and examined, 129, _et seq._;
nature of early influences affecting, 133;
characteristics of--and early influences on, again, 134;
sees opening of the California Theatre, S. F., 135;
special histrionic idols of--a Shakespearean student
and scholar--and nature of early training as such, 136;
plays of S. familiar to--parts in S. plays acted
by--and women of, acted by, 137;
pre-eminently qualified to produce Shakespeare--and
reasons why he has not yet done so in N. Y., 138;
on _Shylock_, D. Warfield as, etc., 139;
a prescient manager--his repertory as an actor--more
than 170 parts and plays enumerated, 140, _et seq._;
his “The Story of My Life” critically examined by author, 148, _et seq._;
author and, on stage deaths, etc., 150;
not the inventor of “natural” acting, 155;
not a disparager of the Past, 157;
in boyhood, sees and studies Daly’s Co., 158;
great service of, to Stage, 159;
and nature of--his qualities--and influences affecting, 161;
detraction of, by criticasters, 162;
enduring nature of his achievements,
163;
birth of--and misleading accounts of his early career, 164, _et seq._;
errors of, _re_ Barrett, McCullough, Montgomery,
etc., corrected, 165, _et seq._;
views of, _re_ “one-part actors,” Salvini, Irving,
Jefferson, etc., contravened, 168, _et seq._;
R. Coghlan engaged at his request, 177;
Miss Coghlan’s attitude toward, 178;
they become good friends--Miss C. appears under
his direction--he writes play for same, 179;
Wallack wishes to buy that play, 180;
B.’s recollection of Herne and K. Corcoran, 181;
bft. for B. and Herne, 182;
B. on same--and Maguire and Baldwin, 183;
he makes version of “L’Assommoir,” 185;
and same is produced by, 186;
friction at rehearsals of same, 187;
he projects play of “Chums” for O’Neill and Morrison, 188;
writes and produces same with Herne and his wife, 189;
failure thereof, 190;
leaves S. F. to venture in East, 191;
arranges to bring out “Chums” in Chicago as “Hearts of Oak,” 192;
success of venture in Chicago, 193;
dissension between, and Herne begins, 195;
B. and Herne come to N. Y., 196;
consequence to, of failure in N. Y., 206;
badly treated by Herne--and sells “Hearts of Oak” interest, 207;
account of his return to S. F., 208, _et seq._;
re-employed in minor capacity at the Baldwin--and
his recollections of Miss Neilson and her farewell, 209, _et seq._;
his “Paul Arniff,” 214;
produced, 215;
his version of “True to the Core,” 220;
various productions directed by--his recollections
and estimate of W. E. Sheridan, 221;
impression made on, by Sheridan--and gives imitations
of that actor--recollections of Laura Don, 225, _et seq._;
produces “Wedded by Fate”--and recollections of
H. B. McDowell, 227;
again associated with Geo. Darrell, 229;
his play of “La Belle Russe,” 230, _et seq._;
same produced--and success of, 236;
requests Tearle to inform Wallack concerning
same--his “The Stranglers of Paris,” 237;
same produced--story and quality of, 238;
takes “La Belle Russe” to N. Y., 241;
harsh treatment of, by Maguire, 242;
sells “La Belle Russe” outright, 243;
returns to S. F. and the Baldwin, 244;
errors of, _re_ Wallack, corrected, 245, _et seq._;
his “La Belle Russe” produced at Wallack’s, 246;
directing for Sheridan again, in S. F., 247;
his “The Curse of Cain”--recollections of--and
views of the character of Cain, 248, _et seq._;
fidelity of, to Maguire, 253;
associated with G. Frohman, 254;
and revives his alteration of “The Octoroon” with G. Frohman, 255;
description of “effects” in, 256;
writes “American Born,” 257;
produces same, 258;
first meeting of, and C. Frohman, 259, _et seq._;
accepts employment at Madison Square Theatre,
N. Y.--leaves S. F. with G. Frohman’s Co., 261;
letter to, from F. F. Mackaye, 262;
retrospect of his early career--and partial list of
plays produced by, prior to 1882, 263, _et seq._;
produces “American Born” in Chicago, 269;
recollections of same--and of journey East, 270, _et seq._;
interview with Dr. Mallory--engagement at
Mad. Sq. Th. confirmed--and comment on by author,
etc., 275, _et seq._;
hard terms of contract with, 277;
unrecognized labors of, 278;
plays produced by, at Mad. Sq. Th., prior to 1884, 279;
production--contents--significance of his “May Blossom,” 280, _et seq._;
faints at first performance of “May Blossom”--gratitude
of, to author, 287;
accused of plagiarism, 288;
and cleared of charge, 289;
goes to England for first time--author and, meet for
first time, 290, _et seq._;
adapts “Called Back,” 291;
friction with Palmer--interview with same and Boucicault, 293;
he leaves the Mad. Sq. Th.--project of starring as
_Hamlet_, etc., 294, _et seq._;
association with S. Mackaye, 296;
quarrel with, and same ended, 297;
writes “Valerie” for L. Wallack, 298;
particulars of that task, 299;
his “Valerie” considered, 300, _et seq._;
feeling of, toward Wallack, 305;
errors of, corrected, 306;
returns to S. F., 307;
his “Valerie” in S. F., 308;
cast of same--and other plays produced, 309;
extraordinary performance for bft. of--cast, etc., 310, _et seq._;
returns to N. Y., 311;
engaged at the Lyceum Theatre, 313;
makes “The Highest Bidder” for E. H. Sothern, 314, _et seq._;
produces “The Great Pink Pearl” and “Editha’s
Burglar”--develops Elsie Leslie, 317;
with Greene, writes “Pawn Ticket 210” for Lotta, 318, _et seq._;
productive industry of--produces “Baron Rudolph”
(rewritten in style of Howard)--and strives
to save Knight from failure in, 321, _et seq._;
his recollections of G. Knight and this play (“Only a Tramp”), 325;
commissioned to write second play for the Lyceum, 326;
takes Henry C. De Mille into collaboration--they write
“The Wife”--and B.’s recollections of, etc., 327, _et seq._;
success of “The Wife” due to scene invented by--method
of collaboration of, and De Mille, 334;
he forces “The Wife” into success, 336;
B. and De Mille commissioned to write play for younger
Sothern--and B. revises Gillette’s “She,” etc., 337, _et seq._;
his work as a teacher of acting--goes to Echo Lake and
writes “Lord Chumley” with De Mille, 340;
on actors and their choice of parts--persuades Sothern
to act _Chumley_, 341;
recollections of writing “Lord Chumley,” 343;
varied labors of--and revises “The Kaffir Diamond,” 345, _et seq._;
his view of schools of acting, 349;
a master--and wholly exceptional as a teacher of acting,
etc., 351, _et seq._;
“Electra” revived under his direction--his recollections of, 353;
anticipates G. Barker and “modern methods” by more than
a quarter-of-a-century--miscellaneous work of, at Lyceum, 355;
places “Robert Elsmere” on the stage for Gillette--commissioned
to write third play for Lyceum, 356, _et seq._;
on best subjects for the Drama--and writes “The Charity
Ball” with De Mille, 357, _et seq._;
association of, with Mrs. Leslie Carter, 361;
first meeting of, and same, 362;
Mrs. Carter seeks, at Echo Lake, 363;
impressed by latent talent of same--and determines to train her, 363;
unable to hold rehearsals for lack of a stage--undertakes
to revise and produce
“The Prince and the Pauper” in return for use of a
stage, 365, _et seq._;
quality of, when angered--opinion of Elsie Leslie--and
her supporting co., 367;
his bargain for stage of the Lyceum repudiated, 368;
his bitter resentment of--and retires from the Lyceum, 369;
his shackled situation, after twenty years of labor, 370;
desperate resolution of, 371;
training Mrs. Carter--and his situation grows worse, 372;
proposal to, by C. Frohman--and same accepted--“Men and Women”
written for C. Frohman, 382;
seeks play for Mrs. Carter--and employs P. M. Potter, 384;
arrangement of, with N. K. Fairbank, to “back” Mrs.
Carter--disappointed by Potter, 384;
employs Gordon--and throws out all his work--revises
“The Ugly Duckling”--and produces same, 385;
difficulties in starring Mrs. Carter, 387;
deserted by Fairbank, 388;
Fairbank repudiates obligations to--and B. sues him, 389;
B.’s suit against Fairbank--and origin of preposterous
story about B.’s methods of instruction, 390;
Mrs. Carter’s acknowledgment of debt to--and his view of Fairbank, 391;
writing “The Heart of Maryland”--and bitter struggle of, 392;
shifts to make a living, 393;
reminiscence of, about Mrs. Carter, 394;
proposal to, by C. Frohman, for managerial alliance, 395;
same accepted--and adapts “Miss Helyett” for American
stage--interviews of, with Audran and Wyndham, 396;
with C. Frohman he produces “Miss Helyett”--and his work on same, 397;
meets Audran and obtains letter of commendation from, 398;
lays aside “The Heart of Maryland” to assist C.
Frohman--takes F. Fyles into collaboration--and
appreciative remembrance of, 402;
writes “The Girl I Left Behind Me” with Fyles, 403;
shrewd judgment in selecting novel theme for, 404;
his play of “The Girl I Left Behind Me” critically
examined in detail, etc., 406, _et seq._;
instructive observations of, _re_ suggestion in art, 418;
disregards the principle, 419;
remarks of, _re_ origin of “The Girl I Left Behind Me,” 420, _et seq._;
relations of, with C. Frohman, 421;
important letter to, from C. Frohman, 422;
his “dreams”--seeks, and gains, the co-operation of R. M. Hooley, 425;
arrangement with Hooley to produce “The Heart of Maryland”--and that project
blocked by sudden death of Hooley--B. extruded
from Chicago in favor of Klaw & Erlanger, 427;
adapts “The Younger Son” to assist C. Frohman at the Empire, 428;
comment on failure of, 430;
again revises “The Heart of Maryland”--and interjects “local color,” 431;
significant comment by, _re_ difficulty in producing
“The Heart of Maryland,” 432, _et seq._;
author’s endorsement of his views thereon--and B.’s desperate straits, 433;
Palmer accepts “The Heart of Maryland,” 434;
same is unable to fulfil contract and produce--B. again defeated, 435;
reminiscence of final efforts to bring out “The Heart
of Maryland,” 436, _et seq._;
at last produces that play--the turning-point in his career, 437;
comment on his experience in business dealings, 438;
his “The Heart of Maryland” critically examined in detail, 438, _et seq._;
his speech on first night of that play in N. Y., 445;
success at last--trial of his suit against Fairbank--revises
“Under the Polar Star”--visits S. F.--and buys “The First Born,” 447;
his beautiful presentment of that play in N. Y., 449; 450;
with C. Frohman presents “The First Born” in London, 451;
sails for England--and with same presents “The Heart of
Maryland” in London, 452, _et seq._;
newspaper injustice to, _re_ that play of his and
“Secret Service,” 453, _et seq._;
quest of a new play--and reads about “Zaza,” 454;
sees that play--and arranges with C. Frohman to buy
and produce--returns to Am., 455;
author’s strictures on his play of “Zaza” and production of same by, 456;
compassionate nature of--and his moral attitude more
emotional than rational, 459, _et seq._;
first production of “Zaza”--and same in N. Y., 461;
success of Mrs. Carter is due to, 465;
death of his mother--strange experience of, at time--and views
of, on spiritualism, 466, _et seq._;
filial affections of--and reminiscence of his
mother--and significant letter from, 468, _et seq._;
serious purpose of, in “Naughty Anthony,” 475;
his comment on failure of same, and causes thereof, 476;
reads story of “Madame Butterfly”--and writes a tragedy
based on--same critically considered in detail, 477, _et seq._;
produces that tragedy--and success thereof, 482;
presents “Zaza” in London--and disgust of Fr. authors thereof, 484;
B.’s amusing reminiscence of same, 485, _et seq._;
takes “Madame Butterfly” to Eng., 486;
with C. Frohman presents same in London--and achieves
memorable success with, 487;
great tribute of audience to, at first Eng. presentation
of “Madame Butterfly,” 488, _et seq._;
gives operatic rights of, to Puccini, 489;
lends scene models for operatic production of, 490;
meets Lady V. S. Meux--and is invited to abandon Mrs.
Carter’s direction and assume that of Mrs. J. B. Potter, 492;
his desire to conduct a London theatre--Lady Meux offers
to build one for him--he declines both her proposals--and
comment thereon, 493.

Belasco, Mrs. David (Cecilia Loverich): first meeting with B., 44;
marriage of, 45.

Belasco, Frederick (1862-19--): birth of, 3; 447.

BELASCO, HUMPHREY ABRAHAM (father of D. B.: 1830-1911):
nationality of--and birth, 1;
goes with wife to Calif.--thence to Victoria, 2;
traces runaway son--affiliations of, with actors, 6;
removes family from Victoria, 10;
removes family to S. F., 15.

BELASCO, MRS. HUMPHREY ABRAHAM (Reina Martin, mother of
D. B.: 1830-1899): nativity of--and birth, 1;
goes with husband to S. F.--birth of first child--goes to Victoria, 2;
children of, born in Victoria, 3;
her early name for B.--and opinion about, 21;
death of--and B.’s strange experience at time of, 466, _et seq._

Belasco, Israel (1861----): birth, 3.

Belasco, Walter (1864-19--): birth, 3.

“Belle Lemar” (melod.): 439.