Chapter XV: Appendix: (By J. W.) (2)

23. The jury in Belasco’s suit against Fairbank
returned a verdict for the Plaintiff,
awarding him $16,000 and interest, for five
years, at 5 per cent.

August.
20. “Under the Polar Star,” revision by Belasco
of play by Clay M. Greene, was produced at
the Academy of Music, New York.

1897.
August.
16. Belasco presented “The Heart of Maryland”
at the Baldwin Theatre, San Francisco.

October.
5. At the Manhattan (previously the Standard)
Theatre Belasco, in partnership with
Charles Frohman, presented, for the first time
in New York, a tragedy of Chinese character
entitled “The First Born,” by Francis Powers.
It was produced under the stage management
of Belasco, and Powers appeared in its principal
part, _Chan Wang_: notable success. The
tragedy was acted in association with a farce
called “A Night Session,” derived from a
French original by Georges Feydeau.

23. The theatrical company that acted “The
First Born” in New York sailed for England,--a
new company taking its place at the
Manhattan.

November.
6. “The First Born” was acted at the Duke
of York’s Theatre, London,--where it failed
and was withdrawn after one week.

Last performance of “The First Born” at
the Manhattan Theatre. Nov. 29.--Transferred
to Garden Theatre, where it was acted
until December 11.

1898.
--. Close of the third season of “The Heart of
Maryland” at Springfield, Mass.

March.
30. Belasco, Mrs. Carter, and the company
which had been acting in “The Heart of
Maryland” sailed for England on SS. St.
Paul.

April.
8. Belasco, in partnership with Charles Frohman,
presented Mrs. Carter, at the Adelphi
Theatre, London (her first appearance
abroad), as _Maryland Calvert_, in “The Heart
of Maryland.”

June.
25. End of the season of “The Heart of Maryland”
in London.

September.
7. Belasco arrived in New York, from England,
on board SS. Majestic.

December.
25. Belasco’s adaptation of “Zaza,” from a
French play of that name, by MM. Pierre
Berton and Charles Simon, was acted for the
first time, at the Lafayette Square Opera
House (now, 1917, the Belasco Theatre),
Washington, D. C., Mrs. Leslie Carter
appearing in its central part.

1899.
January.
9. “Zaza” was acted for the first time in New
York, at the Garrick Theatre.

11. Death of Mrs. Humphrey Abraham Belasco,
at 174 Clara Street, San Francisco, in her
69th year. Mrs. Belasco was buried at Hills
of Eternity Cemetery, San Mateo, California.

June.
5. 150th performance of “Zaza,” observed by
distribution of souvenirs during the evening.

17. End of “run” of “Zaza,” and close of the
season at the Garrick: 164 performances had
been given.

December.
25. Belasco’s “Naughty Anthony” was produced,
first time, at the Columbia Theatre,
Washington, D. C., with Blanche Bates and
Frank Worthing in its principal parts.

1900.
January.
8. Belasco presented his farce of “Naughty
Anthony,” for the first time in New York, at
the Herald Square Theatre.

March.
5. At the Herald Square, first performance
anywhere of the tragedy, in one act, by
Belasco, entitled “Madame Butterfly,”--founded
on a story of the same name by John
Luther Long,--Blanche Bates acting in it as
_Cho-Cho-San_ and Frank Worthing as
_Lieutenant B. F. Pinkerton_.

21. Close of the Belasco season (“Naughty
Anthony” and “Madame Butterfly”) at the
Herald Square Theatre.

April.
5. Belasco, Mrs. Carter, and the theatrical
company to act “Zaza” sailed for England on
SS. St. Paul.

16. Belasco, in partnership with Charles Frohman,
presented Mrs. Carter in his play of
“Zaza,” at the Garrick Theatre, London.

28. In association with Charles Frohman, Belasco
presented “Madame Butterfly” at the
Duke of York’s Theatre, London: memorable
triumph.

May.
--. Belasco fell on stairs of the Garrick
Theatre, London, and was seriously injured.

July.
28. End of the London engagement of Mrs.
Carter, in Belasco’s “Zaza.”

August.
--. Belasco and Mrs. Carter sailed for New
York on board SS. -----.

--. They landed in New York.

1901.
February.
5. Belasco, in partnership with Charles Frohman,
presented at the Garden Theatre, for
the first time on any stage, a dramatization
of Ouida’s novel, “Under Two Flags,” by
Mr. Paul M. Potter,--revised by Belasco.
Blanche Bates, making her first appearance
in New York as a star, acted in it as
_Cigarette_. Stage direction of Belasco.

June.
1. 133rd performance of “Under Two Flags”
at the Garden Theatre, and close of the season
there.

September.
9. At the Hyperion Theatre, New Haven,
Conn., Belasco presented David Warfield as
a star, in “The Auctioneer,”--then first
acted on any stage,--a play built on suggestions
by Belasco, by Charles Klein and Lee
Arthur, and amended by Belasco.

23. Belasco presented Warfield in “The Auctioneer,”
for the first time in New York, at
the Bijou Theatre.

December.
12. At the New National Theatre, Washington,
D. C., Belasco, for the first time anywhere,
presented his play of “Du Barry,”
with Mrs. Carter in the central part.

“Du Barry” was to have been given on
Monday, the 9th inst., but difficulty in
handling the elaborate and heavy stage settings
and the need of additional rehearsals
delayed it till the 12th.

25. First performance of “Du Barry” in New
York occurred, at the Criterion Theatre.

1902.
January.
1. A silver loving cup was presented to
Belasco, on the stage of the Criterion Theatre,
by Mrs. Carter and all the other members
of the “Du Barry” company: Mr.
Charles A. Stevenson made the presentation
speech, and Mr. Belasco replied.

14. Belasco, by lease, secured control of the
Republic Theatre, New York.

25. Belasco was sued by M. Jean Richepin,
demanding an accounting for the receipts
from representations of “Du Barry,”--on
the ground, as alleged, that Belasco’s “Du
Barry” is, in fact, Richepin’s play of the
same name.

March.
13. Judge John J. Freedman, in the Supreme
Court, New York, denied a motion by attorneys
of M. Jean Richepin to strike out
essential clauses from Belasco’s answer in
Richepin’s suit against him, alleging plagiarism
in the play of “Du Barry.”

The Plaintiff never proceeded in this case,
and it was formally discontinued, in January,
1908.

17. Belasco was severely injured by the fall of
a heavy piece of scenery, during representation
of “Du Barry,” at the Criterion Theatre:
he was struck on the head, badly cut,
and rendered unconscious for a quarter of an
hour.

April.
19. Work of reconstruction of the Republic
Theatre was begun: the whole interior of that
theatre was torn out and rebuilt,--a sub-stage
chamber, twenty-five feet deep, being
excavated (which entailed much blasting of
solid rock), a perpetual spring of water
being incidentally tapped, which it was
extremely difficult to dam.

May.
31. 165th performance of “Du Barry” at the
Criterion, and close of that theatre for the
season.

September.
29. Belasco opened the first Belasco Theatre,
New York (previously the Republic), presenting
Mrs. Carter, in a revival of
“Du Barry.”

November.
17. The first performance, anywhere, of “The
Darling of the Gods,” a tragedy of Japanese
life by Belasco and John Luther Long,
occurred at the National Theatre, Washington,
D. C., under the management and stage
direction of Belasco: Blanche Bates, George
Arliss, and Robert Haines acted the chief
parts in it.

December.
2. Suit for $20,000 damages for malicious
libel was entered by Belasco against the
writer known as Onoto Watanna (Mrs.
Bertrand W. Babcock), in the Supreme
Court, New York, before Judge James J.
Fitzgerald.

3. First New York presentment of “The
Darling of the Gods,” at the first Belasco
Theatre.

1903.
January.
--. Belasco entered into a contract with Henrietta
Crosman for her appearance as a star
in a dramatization of the novel by Agnes and
Egerton Castle, called “The Bath Comedy.”

February.
6. Order for the arrest of Onoto Watanna
(Mrs. Babcock), obtained by Belasco, in his
suit against her claiming $20,000 damage
for malicious libel, was vacated by Judge
David Leventritt,--defendant, in effect, withdrawing
the libel: appeal against vacation of
the order of arrest entered by Belasco’s
lawyers.

May.
30. “The Darling of the Gods” was withdrawn
at the Belasco Theatre and that house was
closed for the season,--186 performances having
been given.

June.
6. End of tour, under Belasco’s direction, of
Mrs. Carter and a company of 147 other
players, presenting “Du Barry,” at Minneapolis,
Minn.: it had lasted thirty-eight weeks.

10. Belasco gave a brilliant reception in honor
of Mrs. Carter, on the stage of the Belasco
Theatre, New York,--which was attended by
several hundred persons of varied social and
artistic distinction.

September.
16. The Belasco Theatre was reopened with
a revival of “The Darling of the Gods.”

28. Beginning of Warfield’s third tour in “The
Auctioneer,” at the Harlem Opera House,
New York.

November.
14. Last performance of “The Darling of the
Gods” at the Belasco Theatre.

16. A contemptible outrage was perpetrated at
the Belasco Theatre, New York, when, during
representation of the First Act of “Zaza,” a
process server, employed and instructed by
Mr. A. Hummel, leaped upon the stage and
handed to _Mrs. Leslie Carter_ notice of an
action brought by Miss Eugenie Blair and Mr.
Henry Gressit, against _David Belasco_, praying
for an injunction to stop the latter presenting
“Zaza”! The plaintiffs alleged rights
of ownership of the play by Charles Frohman.
Hummel (firm of Howe & Hummel) was
attorney for C. Frohman as well as for Miss
Blair and Gressit.

23. Belasco produced, for the first time anywhere,
at the Lafayette Square Opera House
(now, 1917, Belasco Theatre), Washington,
D. C., his stage version of “The Bath
Comedy,” entitled “Sweet Kitty Bellairs.”

24. Suit was brought by Joseph Brooks, in the
Supreme Court, New York, against Belasco,
in an endeavor to establish that he, Brooks,
was a copartner with Belasco in management
and presentation of David Warfield, in the
play of “The Auctioneer.”

December.
8. First performance of “Sweet Kitty
Bellairs” in New York,--at the first Belasco
Theatre.

11. Judge Scott denied application, by Miss
Blair and Mr. Gressit, for an injunction to
stop Belasco’s presentation of “Zaza.”

23. By arrangement with Belasco Herbert
Beerbohm-Tree presented “The Darling of the
Gods” at His Majesty’s Theatre, London,
appearing in it as _Zakkuri_, with George
Relph as _Kara_ and Miss Marie Löhr as
_Yo-San_.

1904.
January.
8. Publication, in the newspaper press, of letter
by David Warfield repudiating Joseph
Brooks’ assertion of partnership with Belasco
in the management and presentation of Warfield,
in “The Auctioneer.”

10. Warfield’s tour in “The Auctioneer” was
abruptly ended at New Orleans.

25. Judge David Leventritt, in the Supreme
Court, New York (First District), refused to
issue a mandatory order, prayed for by
Joseph Brooks, directing David Warfield to
continue to act in “The Auctioneer.”

February.
3. Legal action was brought in the Circuit
Court of the United States for the Southern
District of New York by Grace B. Hughes
(otherwise known as Mary Montagu) to
restrain Belasco, Maurice Campbell, and
Henrietta Crosman from further presenting
Belasco’s play of “Sweet Kitty Bellairs,”--Plaintiff
alleging that Belasco’s play was, in
fact, an infringement of one by her, entitled
“Sweet Jasmine.”

February.
14. Hon. W. M. K. Olcott was appointed as
Receiver for the play of “The Auctioneer” (as
represented with Warfield in the central part),
in the Brooks-Belasco “partnership” suit.

March.
18. The application by Grace B. Hughes for
an injunction against Belasco, _et al._, as
above, was argued before Judge E. Henry
Lacombe.

26. Judge Lacombe denied the motion for an
injunction as prayed for by Grace B.
Hughes, holding that there was _no plagiarism_
by Belasco. This case was finally stricken
from the Calendar, without trial, March 3,
1913.

June.
4. End of the first New York run of “Sweet
Kitty Bellairs,” at the Belasco Theatre.

July.
31. Belasco presented “The Darling of the
Gods,” with Blanche Bates and the original
New York company, at the Imperial Theatre,
St. Louis, thus incurring the bitter, active
animosity of the Theatrical Syndicate,--the
Imperial Theatre not being under the control
of that organization.

September.
12. Belasco produced, for the first time anywhere,
at the Young’s Pier Theatre, Atlantic
City, N. J., Charles Klein’s play of “The
Music Master,” revised by Belasco--David
Warfield acting in it, as _Herr Anton von Barwig_.

September.
16. The Belasco Theatre was reopened with a
revival of “The Darling of the Gods.”

28. At the Montauk Theatre, Brooklyn, Mrs.
Carter’s “Farewell Tour” in “Du Barry”
began, under Belasco’s direction.

26. First presentation of “The Music Master”
in New York,--at the first Belasco Theatre.

December.
26. In Convention Hall (which, having been
shut out of all theatres by the iniquitous
Theatrical Syndicate, he had hired and converted
into a theatre, for one week’s engagement)
Belasco produced, for the first time
anywhere, the tragedy, written by him in
collaboration with John Luther Long, entitled
“Adrea,”--Mrs. Leslie Carter acting the principal
part in it.

1905.
January.
11. First performance of “Adrea” in New
York, at the first Belasco Theatre.

May.
4. End of the first run of “Adrea” and close
of the Belasco Theatre for the season.

June.
--. Belasco went to London.

September.
20. Belasco reopened the Belasco Theatre with
a revival of “Adrea.”

October.
3. At the new Belasco Theatre, Pittsburgh,
Pa., Belasco produced, for the first time anywhere,
his play of “The Girl of the Golden
West,”--Blanche Bates acting the central
character and Frank Keenan and Robert
Hilliard playing the chief supporting
parts.

November.
14. First performance in New York of “The
Girl of the Golden West,”--at the first
Belasco Theatre.

1906.
June.
23. End of Mrs. Carter’s tour at Williamsport,
Pa.,--in “Zaza”; her last performance under
Belasco’s management.

November.
12. Belasco produced his play “The Rose of the
Rancho,”--based, in part, on an earlier one
by Richard Walton Tully, called “Juanita,”--at
the Majestic Theatre, Boston, Mass, (first
time in this form), Frances Starr appearing
in it as _Juanita_, that being her first venture
as a star.

27. First New York presentation of “The
Rose of the Rancho” occurred at the first
Belasco Theatre.

December.
5. The corner-stone of Belasco’s Stuyvesant
Theatre (1917, the Belasco) was laid by
Blanche Bates. Bronson Howard made a
brief address.

1907.
September.
23. Belasco produced, at the Hyperion Theatre,
New Haven, Conn., for the first time anywhere,
a play written by himself in conjunction
with Misses Pauline Phelps and Marion
Short, entitled “A Grand Army Man,”--David
Warfield appearing in it as _Wes’ Bigelow_.

October.
16. Belasco opened his Stuyvesant Theatre,
New York,--now, 1917, the second Belasco
Theatre,--presenting Warfield in “A Grand
Army Man.”

November.
18. He presented Mr. William De Mille’s “The
Warrens of Virginia,” first time, at the Lyric
Theatre, Philadelphia.

December.
--. First New York performance of “The Warrens
of Virginia,” Belasco Theatre.

1908.
February.
24. Belasco revived “The Music Master” at the
Stuyvesant Theatre.

May.
2. Close of the season at the Stuyvesant,--performance
of “A Grand Army Man.”

September.
7. William J. Hurlbut’s play of “The Fighting
Hope” was produced by Belasco and
under his stage direction (first time anywhere)
at the Belasco Theatre, Washington,
D. C., Blanche Bates and Charles Richman
acting the principal parts.

22. First New York presentation of “The
Fighting Hope,”--at the Stuyvesant Theatre.

December.
31. At the Parsons Theatre, Hartford,
Conn., Belasco produced, for the first time
anywhere, the repulsive play of “The Easiest
Way,” by Mr. Eugene Walter--Miss Frances
Starr playing the central part in it.

1909.
January.
19. Belasco presented “The Easiest Way,” for
the first time in New York, at the Stuyvesant
Theatre,--“The Fighting Hope” being transferred
to the Belasco.

February.
7. Belasco left New York for San Francisco,
to visit his father.

12. Arrived in San Francisco.

24. A dinner in honor of Belasco was given at
Bismarck Café (now, 1917, the Hofbrau
Café), San Francisco, by former schoolmates
of his at the old Lincoln Grammar School of
that city.

27. Festival at the Bohemian Club, San Francisco,
in honor of Belasco.

March.
2. He left San Francisco.

7. He arrived in New York.

April.
29. Announcement made that H. G. Fiske and
Belasco and the Theatrical Syndicate “will
book in each others’ theatres when mutually
agreeable.”

June.
1. Marriage of Belasco’s elder daughter, Reina
Victoria Belasco, and Morris Gest, theatrical
manager, at Sherry’s, New York.

August.
16. At the Savoy Theatre, Atlantic City, for
the first time anywhere, Belasco produced
“Is Matrimony a Failure?” (adapted by Leo
Ditrichstein from “Die Thür Ins Frei” by
Oscar Blumenthal and Gustav Kadelburg),
Frank Worthing and Jane Cowl acting the
chief parts.

23. First New York performance of “Is Matrimony
a Failure?” at the first Belasco Theatre.

December.
6. First presentation of “The Lily” (adapted
by Belasco from a French original by MM.
Pierre Wolff and Gaston Leroux) was
effected at the Belasco Theatre, Washington,
D. C., Nance O’Neil and Charles Cartwright
playing the principal parts.

23. Belasco presented “The Lily,” for the first
time in New York, at the Stuyvesant Theatre.

1910.
January.
17. Belasco produced Mr. E. Walter’s play of
“Just a Wife,” at the Colonial Theatre,
Cleveland, Ohio.

January.
31. First New York performance of “Just a
Wife,”--at the first Belasco Theatre.

July.
--. It was decided to restore to the theatre
known since 1902 as the Belasco its former
name of the Republic Theatre, and to change
the name of Belasco’s Stuyvesant Theatre to
the Belasco Theatre.

August.
22. The Republic Theatre was reopened, under
that name, with the first performance of
Winchell Smith’s dramatization of the story
of “Bobby Burnitt.”

September.
19. Under the management and stage direction
of Belasco the first presentation in
America was effected, at the Nixon Theatre,
Pittsburgh, Pa., of “The Concert,” adapted
by Leo Ditrichstein from a German original
by Herman Bahr,--Mr. Ditrichstein appearing
in it as a star.

October.
10. First New York performance of “The
Concert” occurred at the (second) Belasco
Theatre.

24. Belasco produced Mr. Avery Hopwood’s
farce of “Nobody’s Widow” (first time anywhere)
at the Euclid Avenue Opera House,
Cleveland, Ohio,--Blanche Bates acting the
chief part in it.

November.
14. First New York presentation of “Nobody’s
Widow” at the Hudson Theatre.

1911.
January.
2. First performance of Belasco’s play of
“The Return of Peter Grimm,” at the Hollis
Street Theatre, Boston. David Warfield appeared
in its principal part.

27. Marriage of Belasco’s younger daughter,
Augusta Belasco, to William Elliott, actor,
at the Hotel Marie Antoinette, New York.

February.
24. Mrs. Elliott, dangerously ill, taken by
Belasco to Asheville, N. C.

April.
11. Death of Humphrey Abraham Belasco, at
1704 Sutter Street, San Francisco, California,
in the 81st year of his age. Buried
at Hills of Eternity Cemetery, San Mateo,
California.

17. Belasco produced William C. De Mille’s
play of “The Woman” (first time anywhere)
at the New National Theatre, Washington,
D. C.,--Helen Ware and William Courtleigh
acting the principal parts in it.

May.
1. Belasco takes his daughter, Mrs. Elliott,
to Colorado Springs, Col.

June.
5. Death of Augusta Belasco, Mrs. William
Elliott, at Broadmoor, Colorado Springs.

9. Funeral of Mrs. Elliott at Temple Ahawath
Chesed, New York. Buried at Ahawath
Chesed Cemetery, Linden Hills, Long Island.

September.
19. First New York performance of “The
Woman” occurred at the present (1917)
Republic Theatre.

October.
18. “The Return of Peter Grimm” was first
presented in New York,--at the second
Belasco Theatre.

30. Belasco presented Edward Locke’s play
of “The Case of Becky,” for the first time
anywhere, at the New National Theatre,
Washington, D. C.,--Miss Frances Starr
acting the central character.

December.
10. First performance on any stage of Puccini’s
“La Fanciulla del West,”--opera on
Belasco’s play “The Girl of the Golden West,”--at
the Metropolitan Opera House, New
York,--stage direction of Belasco.

1912.
February.
19. Legal action was begun in the United States
District Court for the Southern District of
New York, by Abraham Goldknopf, praying
for an injunction to restrain Belasco and
William C. De Mille from further presentment
of their play of “The Woman,” alleging that
play to be, in fact, an infringement of Plaintiff’s
play of “Tainted Philanthropy.” (See
November, _et seq._)

April.
20. 254th performance of “The Woman” at the
Republic Theatre, and close of the season at
that house.

29. Belasco produced (first time anywhere)
“The Governor’s Lady,” written by himself
in collaboration with Miss Alice Bradley, at
the Broad Street Theatre, Philadelphia, Pa.

May.
4. End of the run of “The Return of Peter
Grimm” in New York, and close of the Belasco
Theatre for the season.

June.
25. Legal action was brought against Belasco
by Amelia Bachman and George L. McKay,
alleging plagiarism by him, in “The Case
of Becky,” from their play of “Etelle.”
(See May 13, 1913.)

July.
31. Trial of Goldknopf suit against Belasco
was begun before Commissioner Gilchrist:
continued, August 5, before Judge George
C. Holt, in United States Circuit Court.

September.
9. First New York performance of “The
Governor’s Lady” occurred at the present
(1917) Republic Theatre.

October.
1. Belasco presented “The Case of Becky,”
for the first time in New York, at the second
Belasco Theatre.

November.
4. At the Empire, Syracuse, New York,
Belasco produced (first time anywhere) the
play by Frederick Hatton and Fanny Locke
Hatton, entitled “Years of Discretion.”

26. By permission of the Court Belasco presented,
at the Belasco Theatre, for one
performance only, in the morning, De Mille’s
play of “The Woman” (then filling an engagement
at the Grand Opera House), and in
the afternoon, Mr. Goldknopf’s play of
“Tainted Philanthropy”: Judge Holt adjourned
Court to the Belasco and witnessed
both performances.

29. Judge Holt rendered decision in suit by
Mr. Goldknopf against Belasco in favor of
the Defendant,--holding that there is
_no plagiarism_ by Belasco of Goldknopf’s play.

December.
10. At the Broad Street Theatre, Philadelphia,
Pa., Belasco presented (first time anywhere
in America) the fairy play of “A Good Little
Devil,” adapted by Austin Strong from
original by Rosemonde Gerard and Maurice
Rostand,--Ernest Lawford and Mary Pickford
acting the principal parts.

12. First New York production of “Years of
Discretion” occurred at the Belasco Theatre.

1913.
January.
8. The first New York performance of “A
Good Little Devil” was given at the present
(1917) Republic Theatre.

March.
3. Grace B. Hughes’ suit against Belasco,
alleging plagiarism in his “Sweet Kitty Bellairs”
from her play of “Sweet Jasmine,” was
stricken from the Calendar of the Circuit
Court of the United States, Southern District
of New York.

(Same date.) In the suit of A. Goldknopf
against Belasco, as above, final judgment
was entered, dismissing Plaintiff’s complaint
upon the merits.

May.
13-14. Suit by Amelia Bachman and George L.
McKay, against Belasco, alleging plagiarism
by him, in his “The Case of Becky,” from
their play of “Etelle,” was tried before Judge
Julius M. Mayer, in the United States District
Court.

June.
18. Belasco sailed on board SS. Campania,
for Paris, _via_ Fishguard, Great Britain, _re_
purchase of Henri Bernstein’s play of “The
Secret.”

July.
9. Judge Mayer rendered decision in the suit
of Amelia Bachman and George L. McKay
against Belasco, in favor of the Defendant,
holding that there is _no plagiarism_ in the
play of “The Case of Becky,” and dismissing
Plaintiffs’ complaint upon the merits.

15. Final judgment was entered against Amelia
Bachman and George L. McKay, in their suit
as above. This case was appealed: see
April 6, 1914.

August.
28. At the Lyceum Theatre, Rochester,
N. Y., Belasco produced (first time anywhere)
the adaptation made by Leo Ditrichstein
of the comedy “Pour Vivre Heureux,”
by MM. André Rivoire and Yves Mirande,
and entitled “The Temperamental Journey,”--Mr.
Ditrichstein appearing in it as a star.

September.
4. First New York performance of “The
Temperamental Journey” occurred at the
present (1917) Belasco Theatre.

October.
27. Belasco produced (first time anywhere),
at the Euclid Avenue Opera House, Cleveland,
Ohio, a play by Roland B. Molineux,
called “The Man Inside.”

November.
11. At the Criterion Theatre the first performance
was given in New York of “The
Man Inside.”

December.
8. At the Detroit Opera House, Detroit,
Mich., for the first time anywhere, Belasco
produced his English adaptation of Henri
Bernstein’s French play of “The Secret,”
Miss Frances Starr appearing in the principal
part.

28. First New York performance of “The
Secret” at the second Belasco Theatre.

1914.
April.
6. The appeal of Amelia Bachman and George
L. McKay, in suit against Belasco, alleging
plagiarism, was argued before the United
States Circuit Court of Appeals for the
Second Circuit. Decision on this appeal was
in favor of Belasco,--affirming Judge Mayer’s
decision, in dismissing Plaintiffs’ case that
there is _no plagiarism_. Opinion by Lacombe,
J., 224 Fed. Rep., page 817.

N.B. This is the only case against Belasco
which was ever carried to an appeal.

May.
4. Belasco presented Frederick Ballard’s play
of “What’s Wrong” (first time anywhere)
at the New National Theatre, Washington,
D. C.

July.
27. He produced (first time anywhere) “The
Vanishing Bride,” a farce adapted by Sydney
Rosenfeld from a German original by Leo
Kastner and Ralph Tesmar, entitled “Tantalus.”
Mr. Thomas A. Wise and Miss
Janet Beecher played the principal
parts.

September.
28. At Ford’s Opera House, Baltimore, Md.,
he presented (first time anywhere) the English
version by Leo Ditrichstein of “The
Phantom Rival,” by Ferenc Molnar, Mr.
Ditrichstein appearing in it as a star. (This
English version was, originally, called
“Sascha Comes Back.”)

October.
6. First New York presentment of “The
Phantom Rival” was effected at the present
(1917) Belasco Theatre.

1915.
January.
18. For the first time in America, Belasco presented,
at the Belasco Theatre, Washington,
D. C., Edward Knoblauch’s play of “Marie-Odile,”
Frances Starr acting the central part.

26. First New York performance of “Marie-Odile,”
at the Belasco Theatre.

March.
29. Belasco, in association with Charles Frohman,
revived “A Celebrated Case” in
Boston.

April.
5. At the Playhouse Theatre, Wilmington,
Del., Belasco presented (first time anywhere)
the farce of “The Boomerang,” by Winchell
Smith and Victor Mapes.

7. Belasco and Frohman presented “A Celebrated
Case” at the Empire Theatre, New
York.

26. At the Parsons Theatre, Hartford,
Conn., he produced a play by Henry Irving
Dodge, called “The Love Thought,”--Miss
Janet Beecher and Hardee Kirkland playing
the principal parts in it.

June.
28. At the Apollo Theatre, Atlantic City,
N. J., he presented (first time anywhere) a
play called “The Girl,” by George Scarborough.
(This was afterward renamed “Oklahoma,”
and, again, “The Heart of Wetona”:
see January 22 and February 29, 1916.)
Lenore Ulric played _Wetona_, the chief part.

August.
10. First New York performance of “The
Boomerang” was given at the present Belasco
Theatre.

December.
12. At the Playhouse, Wilmington, Delaware,
Belasco first produced his drama of “Van Der
Decken,” with David Warfield in the character
of that name.

1916.
January.
14. Lila Longson began an action at law
against Belasco, Winchell Smith, and Victor
Mapes, in the District Court of the United
States for the Southern District of New
York, alleging that their play of “The Boomerang”
is an infringement of her play of “The
Choice.”

20. Belasco presented “Oklahoma” (first called
“The Girl,” later renamed “The Heart of
Wetona”) at the Stamford Theatre, Stamford,
Conn.

February.
29. In association with “Charles Frohman”
(Company), he presented “The Heart of
Wetona” at the Lyceum Theatre, for the
first time in New York.

April.
17. Belasco produced (first time anywhere) a
farce by Roi Cooper Megrue called “The
Lucky Fellow” (afterward renamed “Seven
Chances”), at the Apollo Theatre, Atlantic
City, N. J.

May.
At the Apollo Theatre, Atlantic City,
he produced (first time anywhere) a play
called “The Treadmill” (later renamed
“Alias”), made by Willard Mack on the
basis of a story by John A. Moroso
entitled “Alias Santa Claus.”

August.
7. “Seven Chances” was produced for the
first time in New York, at the Cohan Theatre.

September.
19-21. Suit of Lila Longson against Belasco
_et al._ was tried before Judge William B.
Sheppard, who held that there was no
infringement and dismissed the complaint.

25. Entry of final judgment against Lila Longson
and dismissal of her complaint, upon the
merits.

October.
16. Belasco produced, for the first time anywhere,
“The Little Lady in Blue,” by Horace
Hodges and T. Wigney Percyval, at the
Belasco Theatre, Washington, D. C.

28. Belasco planted two juniper trees, in the
Shakespeare Garden, Cleveland, Ohio, with
public ceremonies.

December.
22. First New York performance was given
of “The Little Lady in Blue,” at the Belasco
Theatre.

1917.
February.
5. Belasco presented “Alias” (formerly “The
Treadmill”) at the Belasco Theatre, Washington,
D. C.

March.
31. --th and last New York performance of
“The Little Lady in Blue” occurred at the
Belasco Theatre.

April.
5. Belasco presented (first time anywhere) a
play by John Meehan, called “The Very
Minute,” at the Playhouse, Wilmington,
Del., Mr. Arnold Daly then first appearing
under his management as a star.

9. “The Very Minute” was acted for the first
time in New York, at the Belasco Theatre.
Failure.

May.
ADDED BY J. W.
7. Last performance of “The Very Minute,”
and close of the Belasco Theatre, for the
1916-’17 season.

July.
3. Belasco officiated as one of the pallbearers
at the funeral of William Winter.

August.
25. Belasco produced a play entitled “Polly
With a Past,” written by George Middleton
and Guy Bolton and revised by himself, at the
Stamford Theatre, Stamford, Conn.,--presenting
Miss Ina Claire in the central part.--A
trial performance of this play was given
at Atlantic City, N. J., June 11.

September.
6. The first New York performance of “Polly
With a Past” occurred at the Belasco Theatr

October.
3. Belasco produced the melodrama called
“Tiger Rose,” by Willard Mack, at the
Lyceum Theatre, New York: trial performance
of this play was given at the Shubert
Theatre, Wilmington, Delaware, April 30,
1917. Preliminary tour began, September
21, at

INDEX TO VOLUME TWO

_B. = David Belasco._

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.

BELASCO, DAVID (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.