Part Two
.’
“Thus, every week, you could give two full ‘cycles’ of the trilogy; and, on matinée days, the ‘First Part of King Henry IV.,’ or a modern play.
“In presenting such a thing you would undertake and accomplish a more distinctive, original, and impressive managerial enterprise than any single venture of any of the representative Shakespearean producers,--Garrick, Kemble, Macready, Phelps, Kean, Booth, Irving, Daly, or Beerbohm-Tree.
“_I_ feel confident that, in a _business_ way, it could be made profitable. If you got through even at cost, or at a small loss, it would (in _my_ view) be, in a _business_ way (wholly aside from the immense and incontestable service to art and the public), a profitable investment. And I _am sure_ it would ‘make money,’ too.
“I would do anything and everything in my power to help so fine a scheme,--would arrange the plays, write notes, etc., etc., if you should desire it.
“Please do not think me intrusive with my suggestions. And please give this very careful consideration.
“It would be a special satisfaction to me to see you crown your career with such a wonderful, such an unparalleled, accomplishment. However much honest difference of opinion there may be regarding some of the productions you have made (as you know, you and I are hopelessly at variance about some of the plays you have brought out), there could be no room for cavil or honest censure of such a venture as the production of three of Shakespeare’s greatest plays, which, practically speaking, are unknown, are _new_, to the American Stage, and which are peculiarly well suited to _your_ purposes and treatment. And it would be all the more splendid that such production should not be made at the high-tide of general theatrical prosperity, but should be made when the whole world seems shattered, and the rest of theatrical managers are running about like ants that have been disturbed in their hill!
“Faithfully yours, “WILLIAM WINTER.”
(_Telegram, David Belasco to William Winter._)
“New York, May 19, 1917.
“Dear William Winter, I [have] just read your letter. You are right, and I promise you and myself to do the plays as you suggest, counting upon your generous assistance, without which I could not do them. I shall come over as soon as I possibly can, to speak further of this. Thank you for your enthusiasm and your faith. God bless you!
“DAVID BELASCO.”
CONCERNING SARAH BERNHARDT.
[It was part of my father’s purpose in making this Memoir to devote a section in it to BELASCO’S CONTEMPORARIES. The notes which he made on the subject were not extensive. For that reason and for others I have decided not to attempt to supply the section. Before making the decision, however, I addressed to Belasco some inquiries bearing on the subject and especially one concerning his “favorite player.” His reply to the latter embodies a notable tribute to a wonderful woman and is, I think, of exceptional interest. Among other things, it strikingly illustrates how radically doctors sometimes disagree. No person more admired the resolute courage shown by Sarah Bernhardt than Winter did, who wrote of her: “It is good to see upon the Stage--and everywhere else--indomitable endurance, the aspiring mind that nothing can daunt and the iron will that nothing can break.” And no writer more justly appreciated than he did her artistic faculties, her supremacy as “an histrionic executant.” His final estimate of her, however,--an estimate as exact as a chemist’s analysis and one which will survive all disparagement,--is, in some respects, in such sharp disagreement with Belasco’s that readers of the latter will find the former specially instructive. It is embodied, together with his studies of her acting, in his book entitled “The Wallet of Time.”--J. W.]
(_David Belasco to Jefferson Winter._)
“The Belasco Theatre, New York, “May 31, 1918.
“My dear Jefferson Winter:--
“You ask me to tell you who, of all the players I have ever seen, is my favorite. My, but that is a hard question to answer! In fact, I don’t think I _can_ answer with just a name. I have so many favorites! It is a case of ‘Not that I love Cæsar less but Rome more!’ And then, too, I have seen and known so many players of so many different kinds--of _all_ kinds--and our moods vary. As I look back into my memory and try to call up the actors and actresses of the Past it seems to me that John McCullough was the most _lovable_ as a man and, in the great, heroic parts, the most satisfying as an actor. Barrett was the most _ambitious_; Booth was the most _powerful_ and _interesting_; Owens was the _funniest_ man I ever saw, and after him Raymond; Wallack was the most _polished_ and _courtly_; Salvini was the most _imposing_; Irving the most _intellectual_ and _dominating_; Mansfield the most _erratic_--and all of them were great actors and each of them, I think, was my special favorite! But if I could see only one more theatrical performance and had to choose which one of those actors I would see, I think I would choose Edwin Booth in _King Richard the Third_.
“Of the women--Adelaide Neilson was easily the most _winsome_ and _passionate_. Modjeska was the most _romantic_. Mary Anderson was the _stateliest_, Ellen Terry the most _pathetic_, Ada Rehan the _greatest comedienne_, and Sarah Bernhardt--ah, what shall I say of the Divine Sarah!
“If I were to have the choice of one last performance by the _one actress_ I admire the most I am afraid I should quarrel with Fate and insist on choosing _two_--Adelaide Neilson in _Juliet_ and Sarah Bernhardt in anything. To me, she is, in all seriousness, one of the everlasting wonders of art. Her voice was like liquid gold; her delivery was, and is, a supreme example for any man or woman that ever stepped on a stage. She added a language to all the others. French is beautiful; but French-as-spoken-by-Sarah-Bernhardt is sublime! As an actress I admired her most in the pre-Sardou plays; but she is great in everything. She has always practised one of the great truths your dear father taught--that the art of acting is the art of _expression_ not _re_pression. I consider that she is the best _listener_ I ever saw--and very few except stage managers know how difficult it is to seem to listen for the first times to speeches which have been heard over and over again, sometimes for many years. She is always mistress of the scene. It is a dramatic education just to watch her. She could play ‘quiet’ scenes as well as anybody else--if not better. But when it came to the great emotional outbursts Sarah Bernhardt could always make them and make them so that she brought her audience right up on their feet. A good deal of the so-called ‘repressed school’ of acting is not art but artifice--mere trickery. Many players of that school ‘repress’ because they haven’t got anything to give out--they make a virtue of necessity and dodge what they cannot do. Sarah Bernhardt never tried to dodge anything and she never needed to, because she never undertook anything she could not do superbly. As to the secret of her wonderful success and great career that you hear people talk so much about, it is simply this: She loves her work.
[Illustration:
Photographed by Rochlitz Studio Belasco’s Collection.
SARAH BERNHARDT]
When man, woman, or child _loves_ what they are doing, the doing of it is to them like God’s sunlight to the flowers, it keeps them alive and makes them beautiful.
“Much as I admire Mme. Bernhardt as an actress I think I admire her most as a woman. She sets an example of pluck and perseverance for all of us, and I have always been very solicitous of her good opinion. She has come to see several of my productions and her approval has meant much to me. I once gave a special performance of ‘Adrea’ for her,[9] because that was the only way she could get to see it and her admiration and applause I regard as the highest honor.
“Last Christmas I sent her a telegram which I should like to give you. This is it:
“‘Dear and adored friend:--
“‘May God be good to you this coming year, may you have a bright and happy Christmas, and may your glorious spirit remain with us for many years to come. We all admire your courage and your genius and love to call you “The Great Woman” of our century!’
“Her reply is one of my most valued treasures:
“‘I cannot express to you sufficiently my appreciation of your adorable messages. I have long been an admirer and friend of yours. My one regret is that I have never played under your direction. That will be for another planet!
“‘All my heart devoted, “‘SARAH BERNHARDT.’
“Yes, my dear Jefferson Winter, if I must have one, and _only one_, favorite player, I am quite sure it must be Mme. Sarah Bernhardt, in whom the Spirit of Courage, the Spirit of Youth, the Spirit of France, and the Spirit of Art are all united.
“Faithfully, “DAVID BELASCO.”
BRIEF EXTRACTS FROM MISCELLANEOUS CORRESPONDENCE OF BELASCO.
“In all my years of work in the Theatre I have never done anything with which I was wholly satisfied--and I never shall do so. It is the irony of Fate that we live only long enough to learn how, and then die before we can make use of the knowledge!”
“If I were asked what proportion of the aspirants for the Stage who apply to me for advice will ultimately become great artists, I should answer: ‘One in two thousand.’”
“The good stage manager is born--like the good actor. It [stage management] is, in itself, a special gift and cannot be acquired by training.”
“When I can think more with my head and less with my heart the world will think me wise--and I shall know myself a fool!”
“The eyes of the heart see quickly and judge rightly.”
“I think Dreams are the only Realities of Life--and Love is their soul.”
“My world is a small one, of my own making; a world of faith and dreams--and that’s why there are so few people in it!”
“When we are not physically well, the thoughts follow the line of least resistance--if the Will allows them to; but the Will is _Master_, and whatever we wish to be, whatever we wish to do, whatever we wish to get, we _can_ get, we can _be_ and _do_, by _willing_ it. So it is that you will be happy; so it is that you will do wonderful things with your life; so it is that you will get into the Castle of your Dreams.”
“For women, marriage is the greatest of all careers: therefore, do not try to mix any of the others with it!”
About Flaubert and de Maupassant: “Both of them are of the realistic school, and all students of human nature should read and reread them, for they are well worth thought and study. The joys and ills of life are so graphically portrayed that one may almost hear the souls of many women weep in their pages. Many of their women you will find frail and erring, but the light of love shines through nearly all their mistakes, hallowing them, and whether they be beautifully human, or just inhumanly beautiful, they are always women.”
“Actors are prone to think too much of themselves and too much of the affairs of other people. Gossip and frivolity in the theatre have killed many a promising career. The first maxim I would teach all beginners on the stage is this, by Augustin Daly.
‘A sure way to Success--Mind your business: A sure way to Happiness--Mind your own business!’
I read that on a sign in the waiting room of Daly’s Theatre, more than thirty-five years ago, and I made up my mind if ever I had a theatre of my own I’d put it up where my actors could see it,--and I did. It’s over the Call Board at my theatre now. The second maxim I would teach actors is this: ‘Never fake on the stage. The public will always catch you and never forgive you!’”
“The day of the drunken actor, like that of the drunken statesman and the drunken doctor, has gone forever.”
“Try with all your might to think sweet and happy thoughts--and in time you will come to have faith in real things and so will understand life.”
“Life is very short, and happiness an elusive will-o’-the-wisp--a wraith of the night of Time who beckons and beckons, and when we try to follow him, escapes us very easily.”
“The ‘star’ actors of to-day lack that careful schooling and full equipment conspicuous in all the great ‘stars’ of twenty-five, thirty, fifty years ago, and which is to be acquired only through the old-time stock system. According to the method of those days, it was never possible for the actor to play the same part many times in succession. He was obliged to demonstrate ability not only in many parts but through a period of many years, and thus to establish himself deservedly in the good opinion of the public.... I doubt whether any of the young ‘stars’ could play as many and as great a variety of parts and play them as well as the ‘stars’ of former days,--although striking successes are made repeatedly in characters especially written for some particular ‘star.’ ...”
“In the old days we frequently produced plays with hardly anything at all to enhance them, either scenery or properties, but merely by a judicious use of clothes and lighting we made them effective: we did this because we did not have means to do them correctly. Nowadays, productions so made are hailed as novelties and the wonders of the age!”
“I maintain that the great thing, the essential thing, for a producer is to create _Illusion_ and _Effect_. The supreme object in all my work has been to get near to nature; to make my atmosphere as _real_ as possible, when I am dealing with a drama or a comedy of life. In mounting a fantastic play there is but one thing to do, and that is to be as fantastic as possible. And so, in a realist play to be as realistic as possible. And by this I mean to create the _illusion_ of reality. To do that every scene must be treated as a separate, a new, problem,--and the setting of it so as to create illusion is a problem that will never be solved by the ‘new art.’... When I set a scene representing a Child’s Restaurant how can I expect to hold the _attention_ of my audience unless I show them a scene that _looks_ real? They see it, recognize it, accept it and then, if the actors do their part, the audience forgets that it isn’t looking into a real place. In ‘Marie-Odile’ some benches, chairs, tables, a pot of carrots and a few other things, with the bare walls of the convent, were all we needed. But suppose I had tried to put ‘Adrea’ on in the same way? Let us cut our cloth to suit our pattern. Do not let us attempt to ‘suggest’ a Child’s Restaurant by setting up a counter with a coffee cup and a toothpick on it, nor try to picture the court of a Roman emperor with the same bare simplicity that answers for a lonely convent in Alsace!...”
“After all, hard work, a little love, courage to go on, strength to fight the daily battle,--what more can a man ask?”
[Illustration:
Photograph by White. Belasco’s Collection.
DAVID WARFIELD AS _VAN DER DECKEN_]
APPENDIX
(By J. W.)
“VAN DER DECKEN.”
Belasco’s romantic drama of “Van Der Decken” was first produced at The Playhouse, Wilmington, Delaware, on December 12, 1915, with David Warfield in its central character, that of _The Flying Dutchman_, and it was acted during the balance of the season of 1915-’16 on a tour which embraced Washington, Baltimore, Pittsburgh, Cincinnati, and many other cities of the Middle-western States. It has not yet been presented in New York. Belasco esteems it as in some ways his best work. Mr. Winter did not see it. The following comments on “Van Der Decken” and its representation are quoted from an article by Charles M. Bregg, a respected journalist and dramatic critic of “The Pittsburgh Gazette”:
“It is a play so delicate, so poetic in its inner meaning and so weird in its mystery and philosophy that one wonders at the artistic courage of David Belasco and the daring of this adventurous actor who has struck out into hitherto unsailed seas of dramatic endeavor.... The story, which has appeared in the folklore of nearly all the nations of Europe but which has found its most extensive expression in Holland--that of the rebellious seaman who was destined to an eternal roaming of the seas as a punishment for defying God--is not new in the literature of the stage. In Opera and in Drama it has appeared under various guises; but to David Belasco and to David Warfield has been left the task of giving the old myth a new setting. Under the title of ‘Van Der Decken’ Mr. Warfield appears as this Wandering Jew of the seas in a drama of intense emotional appeal tinged with a deep sense of the supernatural. In this new play _The Flying Dutchman_ gains port and finds a peaceful ending as a reward for his self-sacrifice in surrendering the woman for whom he first sinned. This woman, according to the Belasco play, is a reincarnated image of the wife of the Dutchman left in Amsterdam nearly two centuries before when he sailed away on that cruise around Cape Horn. Thus we find that the elements of mystery and of the supernatural are the main pivots of the dramatic action. To visualize them by stage investiture and amply to suggest them in action are tasks that few producers or actors would care to undertake.... There is [in the dramatic story] a romance, but it is so wrapped up in the mystery of other centuries, and perhaps is not always so clear in the philosophy of reincarnation, as to be appreciably understood. These are points about which there may be sound differences of opinion, but on a first hearing they seem, as a final result, to leave the play shorn of diverse interest and therefore somewhat monotonous in its appeal.
“But it is a weird and deeply interesting play in the compactness of the story and in its dramatic rendition. The fabric is so delicate that if it were not staged and played with the utmost care and good taste it might easily fall to pieces.... Mr. Warfield demonstrates afresh the fine, sympathetic quality of his acting. This
[Illustration:
Photograph by Charlotte Fairchild. Belasco’s Collection.
INA CLARE AS _POLLY SHANNON_, IN “POLLY WITH A PAST”]
_rôle_ is absolutely foreign to anything else he has ever done, and by the power of his personality and the care of his delineation he makes the part of the ill-fated sailor throb with sympathy and meaning. In makeup he emphasizes the poetic quality underlying the character.... In staging this play Belasco handles his lights as a great symphony conductor plays with instruments, bending them to his will and making them set the color of the entire play. The three acts are set with marvellous care. An old ship sail acts as the front drop curtain, and throughout the play the atmosphere is almost made to drip with salt water. One act is in a harbor; another, on board the ship of _The Flying Dutchman_, and the third is a beautiful little delph setting that is like some old picture of Hollandese ware. In the stage effects, such as wind, thunder, and lightning, Belasco can make old devices seem an echo of Nature herself.... The music of the stage is ghostly and haunting....”
“Van Der Decken” was played with the following cast:
_Van Der Decken_ David Warfield. _Nicholas Staats_ Ernest Stallard. _Mate Jacob Te Beckel_ William Boag. _Jansoon Kolp_ Fritz Lieber. _Petie Vieck_ Fred Graham. _Raff Kloots_ Harold Russell. _Rudie Schimmelpennick_ Horace Braham.
SAILORS ABOARD THE FLYING DUTCHMAN’S SHIP “BATAVIA.”
_Kris_ Arthur Fitzgerald. _Bram_ Herbert Ayling. _Hein_ Worthington L. Romaine. _Hans_ J. J. Williams. _Prinz_ Lawrence Woods. _Klass_ Edward L. Walton. _Jan Tanjes_ Bert Hyde. _Pilot Krantz_ Tony Bevan. _Boatman_ Oren Roberts. _Trintie Staats_ Jane Cooper. _Johanna_ Marie Bates. _A Little Boy_ Master MacComber.
“POLLY WITH A PAST.”
“Polly with a Past” is a merry though thin piece of farcical fooling, which owes its exceptional success--it has already run nearly an entire season in New York--to the attractiveness of the setting provided for it by Belasco and to the earnestness and zest with which it is played. It was written by Messrs. George Middleton and Guy Bolton and then rewritten under the direction of Belasco. Its plot is conventional, though familiar stage figures and time-tried devices are handled in it with considerable breezy dexterity. _Polly Shannon_, an orphan, the daughter of a poor clergyman of East Gilead, Ohio, desires to study music in Paris. She makes her way as far as New York and there, having no money, she secures employment as cook and waitress in the service of two young bachelors, _Harry Richardson_ and _Clay Collum_. A friend of theirs, _Rex Van Zile_, is violently in love with a young woman, _Myrtle Davis_, whose purpose in life is the reformation of the abandoned waifs of society. _Myrtle’s_ attitude toward _Rex_ is aloof and cool and he despairs of winning her. _Harry_ and _Clay_, who have heard the story of their pretty little servant and become interested in her, seek her counsel. _Polly_, premising that though a minister’s daughter she is familiar with French novels, suggests that the best way for _Rex_ to win _Myrtle’s_ love is for him to pretend to become the helplessly fascinated victim of a notorious Parisian adventuress. Finally, after much persuasion, _Polly_ agrees to assume the part of the adventuress and, introduced into the ultra-respectable _Van Zile_ home, she does so with such entire success that not only is _Myrtle_ inspired with jealous interest but that _Rex_ is really charmed by her winning ways and transfers his affections to her. Various complications occur, incident to the attainment of this result--all of them amusing although transparently artificial in contrivance--and as a whole the representation provides an unusually agreeable entertainment.
“Polly with a Past” was first acted at the Apollo Theatre, Atlantic City, on June 11, 1917; and, after a brief fall tour, it was produced at the Belasco Theatre, New York, on September 6, with the following cast:
_Harry Richardson_ Cyril Scott. _Rex Van Zile_ Herbert Yost. _Prentice Van Zile_ H. Reeves-Smith. _Stiles_ William Sampson. _Clay Collum_ George Stewart Christie. _A Stranger_ Robert Fischer. _Commodore “Bob” Barker_ Thomas Reynolds. _Polly Shannon_ Ina Claire. _Mrs. Martha Van Zile_ Winifred Fraser. _Myrtle Davis_ Anne Meredith. _Mrs. Clementine Davis_ Louise Galloway. _Parker_ Mildred Dean.
Excellent performances were given in this farce, especially by Cyril Scott,--a neat and skilful actor of pleasant personality, who bears himself with more breezy jauntiness than most men half his age,--H. Reeves-Smith and William Sampson, both experienced and accomplished players of the old school, and by Miss Ina Claire, a talented young actress, who, as _Polly Shannon_, made her first appearance on the legitimate stage in it. Belasco’s attention was first directed to her during the season of 1915-’16 when, as one of the performers in a vaudeville, she sang a song called “Poor Little Marie-Odile” in which he was severely lampooned. He attended her performance, was favorably impressed by her singing and imitations, and engaged her. Miss Claire is pretty, extraordinarily self-poised, an expert mimic, has a good stage presence, is able to assume effectively a demure manner, and she played _Polly_ with spirit, humor, and at least one touch of feeling.
“TIGER ROSE.”
“Tiger Rose” was written by Willard Mack and then rewritten under Belasco’s direction and with his assistance. It was first produced at the Shubert Theatre, Wilmington, Delaware, on April 30, 1917: on October 3, that year, it was produced at the Lyceum Theatre, New York, where it is still current (June, 1918) and where it bids fair to remain for many weeks. It is a picturesque and effective melodrama, in four acts (the third being presented as practically an undetached continuation of the second), the scene of which is a frontier post in the Canadian Northwest. The action of that play revolves around the love affair of a French-Canadian girl named _Rose Bocion_. She is an orphan and the ward of _Hector MacCollins_, a conventionally austere yet kindly Scotchman, a factor of the Hudson Bay Trading Company, in whose dwelling three of the acts take place. The girl, a lovely flower of the forest, is admired and courted by all the youth for many a mile around, including a capable but dissolute Irishman, _Constable Michael Devlin_, of the Royal North Western Mounted Police. _Rose_, however, will have none of them,--for she and _Bruce Norton_, a young civil engineer from a neighboring construction camp, have met by chance and have become lovers. _Norton_, in the camp where he is employed, unexpectedly encounters and kills a man who, years earlier, had first misled and then deserted his sister, a married woman, who in consequence committed suicide. _Norton_ makes his escape into the wilderness and seeks to communicate with _Rose_, his only friend, hoping to obtain her help in getting clear of the region. An Indian squaw employed in the factor’s household bears a message and eventually he succeeds in reaching the girl. But information of his crime has been transmitted to _MacCollins’_ dwelling, by telephone, where it is received by _Devlin_. That blackguard, who has been made furious by _Rose’s_ bitterly contemptuous repulse of his dishonorable advances and who has surmised the identity of her lover with the fugitive, is vigilantly watchful, hoping to gratify his jealous hatred while in the performance of his duty. During the interview between _Norton_ and _Rose_ she detects the stealthy approach of _Devlin_, tracking him. After making a tryst with him at a remote
[Illustration:
Photograph by Abbe. Collection of Jefferson Winter.
LENORE ULRIC AS _ROSE_, IN “TIGER ROSE”]
and abandoned log cabin in the woods, she has barely time to hide her lover in a huge old grand-father’s clock, in the factor’s house. From that precarious concealment _Norton_ escapes, down a trapdoor in the floor, under cover of the dreadful tumult of an appalling electrical storm (most realistically and impressively managed in Belasco’s presentment) and, eventually, makes his way to the appointed meeting place. There, during the next night, he is joined by _Rose_ and a kindly physician, _Dr. Cusick_, who has discovered her attachment and who, somewhat unwillingly, has consented to assist in the escape of her sweetheart. Various explanations are exchanged and it is revealed that _Dr. Cusick_ (that being an assumed name) is actually the wronged husband of _Norton’s_ sister and has been for years seeking to find and kill the man slain by him. After the family misfortunes have been discussed and an understanding arrived at and after plans for the escape of _Norton_ out of the Dominion have been devised and arranged by the intrepid _Rose_, the trio are about to separate when the ubiquitous _Devlin_, who has divined their resort to the ruined cabin, has concealed himself there and listened to their conversation, suddenly emerges from his hiding place and, “covering” the culprit with a pistol, arrests him. _Rose_, however, abruptly extinguishes the only light in the cabin, at the same instant shooting the weapon out of _Devlin’s_ hand and crying to her love to fly--which he does. _Devlin_ makes an attempt to follow him, striking down and stunning _Cusick_, but, being unarmed, is stopped by _Rose_ at the pistol point. Then, throughout the night she holds him there. With dawn, however, _Norton_, who has realized the predicament in which his escape will leave his sweetheart, returns, accompanied by a Jesuit priest whom he has met--and, as _Rose_ will not submit to the removal of her lover to Edmonton, there to stand trial alone, but insists on an immediate marriage to him, the play ends with impending matrimony and the implication that _Dr. Cusick_, who, it appears has “done the State some service,” will succeed in his declared intention of appealing to the legal authorities for lenient treatment of _Norton_,--an intention, by the way, which indicates a touching ignorance of the operation of criminal law in the region specified.
All this, if sometimes false to the probabilities of actual life, is always responsive to the purposes of acting, and, as presented by Belasco,--with scrupulous care to every aspect of the stage setting and to every detail of the stage management and with an unusually capable company,--the melodrama merits the success it has achieved. The central character is, of course, _Rose Bocion_,--who, with euphonious disregard of gender, is called _Tiger Rose_. This girl is headstrong, impulsive, and intense, she indulges with excessive freedom in violent expletives, and she fights hard for the man she loves. But there is nothing tiger-like in her conduct or her character. On the contrary, _Rose_, is winsome, brave, loyal, ardent, resourceful and utterly sincere, devoted and unselfish in her love. However, the name makes a striking title for the play. Miss Lenore Ulric, who acts the part, is possessed of exceptional natural advantages,--youth; a handsome face; abundant hair; expressive eyes, dark and beautiful; a slender, lithe figure; a sympathetic voice; strong, attractive personality, and an engaging manner. Her temperament is intense, her nature passionate, her style direct and simple. Her acting reveals force of character, experience, observation, thought, sensibility, ardor, definite purpose, and unusual command of the mechanics of art. It is, moreover, suffused with fervid, sometimes ungoverned feeling (which is a defect), and it is at all times sincere, individual, and interesting. She is an admirable listener, an excellent speaker,--articulating with great care,--and, at moments (as, for example, in a colloquy with _Father Tibault_ as to belief in Diety), the disposition she exhibits in this performance seems altogether childlike and lovely. Under Belasco’s sagacious direction she should go far.
CAST OF “TIGER ROSE.”
_Hector MacCollins_ Thomas Findlay. _Dan Cusick, M.D._ William Courtleigh. _Constable Michael Devlin, R.N.W.M.P._ Willard Mack. _Bruce Norton_ Calvin Thomas. _Father Thibault_ Fuller Mellish. _Pierre La Bey_ Pedro De Cordoba. _George Lantry_ Edwin Holt. _Old Tom_ Edward Mack. _Constable Haney_ Arthur J. Wood. _Mak-a-low_ Chief Whitehawk. _Wa-Wa_ Jean Ferrell. _Rose Bocion_ Lenore Ulric.
[Illustration:
Photograph by Arnold Genthe. Collection of Jefferson Winter.
DAVID BELASCO--HIS LATEST PORTRAIT, 1918]
CHRONOLOGY
CHRONOLOGY OF THE LIFE OF DAVID BELASCO
HUMPHREY ABRAHAM BELASCO, BORN, LONDON, ENGLAND, DECEMBER 26, 1830.
REINA MARTIN BELASCO, BORN, LONDON, ENGLAND, APRIL 24. 1830.
1853. July. 25. DAVID BELASCO, eldest child of Humphrey Abraham, and Reina Martin, Belasco, was BORN, in a house in Howard Street, near Third Street, San Francisco, California.
1858. While David Belasco was a little child,--apparently about 1858,--his parents removed to Victoria, Island of Vancouver, B. C., taking him with them.
In the latter part of 185(8?) he was “carried on,” at the Theatre Royal, Victoria, as _Cora’s Child_, in “Pizarro,”--Julia Dean (Hayne) being the _Cora_. Later he played the child in “Metamora,” when Edwin Forrest filled an engagement in Victoria.
186(2?). About 1862 he appeared with Julia Dean (Hayne), in “East Lynne,” as _Little William_.
1864. In the latter part of 1864 he played the little _Duke of York_, in “King Richard III.,” with Charles Kean, at the Theatre Royal, Victoria.
1865-1871. In 1865 (March-April?) the elder Belasco removed with his family to San Francisco, California, and there established his permanent residence. As a boy, in that city, Belasco attended several schools, chief among them the Lincoln Grammar School. During part of this period the Belasco home was in Louisa Street, then in Bryant Street, afterward it was in Clara Street.
1871. March. 17. At the Metropolitan Theatre, San Francisco, Belasco appeared as an _Indian Chief_ in Professor Hager’s “Great Historical Allegory, ‘The Great Republic,’”--which was several times repeated, for the benefit of the schools whose pupils participated in the performance: in the Second Part thereof he personated _War_.
April. 15. He appeared, in Hager’s “The Great Republic,” at Sacramento, California.
June. 2. (Friday Evening.) He took part in a series of public “competitive declamations” (reciting “The Maniac”), by pupils of the Lincoln Grammar School, at Platt’s Hall, San Francisco. On same occasion he appeared as _Highflyer Nightshade_, in “The Freedom of the Press.”
7. At the Metropolitan Theatre, revival of Hager’s “The Great Republic,” in which he again appeared as an _Indian Chief_, and as _War_.
22. He appeared as _Fornechet_, _Minister of Finance_, in a presentment of Sutter’s “Life’s Revenge,” by the Fire-Fly Social and Dramatic Club, at Turnverein Hall, Bush Street, near Powell, San Francisco.
July. 10. BELASCO’S FIRST REGULAR APPEARANCE on the professional stage,--as a super, with Joseph Murphy, in “Help,” at the Metropolitan Theatre. Subsequently he was given a small part, a few words to speak, in this play. “Help” was played till July 16, Sunday night.
19. “Help” revived at Metropolitan Theatre.
22. End of Murphy’s engagement in “Help.”
1872. July. 22. He played _Bloater_, in “Maum Cre” (then first acted in San Francisco), with Joseph Murphy, at the Metropolitan Theatre.
December. 16. He appeared at the Metropolitan Theatre, San Francisco, with Minnie Wells (not Mary Wells), in “The Lion of Nubia” (not Lioness), as _Lieutenant Victor_: on this occasion he was billed as Walter Kingsley. 1873. February. 23. He played _Peter Bowbells_ in “The Illustrious Stranger,” in a Benefit Performance, for Marion Mordaunt, at the Metropolitan Theatre.
March. 5. “Grand Reopening of the Metropolitan Theatre,” under direction of John R. Woodard: cheap prices: The Chapman Sisters, in H. J. Byron’s “Little Don Giovanni.” Belasco played the _First Policeman_.
18. He played _Prince Saucilita_ (giving burlesque of a local character known as “Emperor” Norton), in “The Gold Demon,” with the Chapman Sisters, at the Metropolitan Theatre.
21. He played _Strale_, in “Checkmate,” with the Chapmans, at the Metropolitan.
April. 2. (One night only.) He played _Reuben_, in “Schermerhorn’s Boy,” and _Strale_, in “Checkmate,” with the Chapmans, at the Academy of Music, Oakland, California.
3. At the Metropolitan, San Francisco, he appeared, with the Chapmans, as the _Genius_ _of the Ring_, in “The Wonderful Scamp; or, Aladdin No. 2,” and as _Peter True_, in “The Statue Lover.”
9. He played the _First Fury_, in “Pluto,” with the Chapmans, at the Metropolitan.
18. Revival of “Little Don Giovanni” at the
[Illustration:
Photograph by Harris & Ewing. Belasco’s Collection.
BELASCO LEADING THE PARADE OF “THE LAMBS” UP PENNSYLVANIA AVENUE, WASHINGTON, D. C.
INSCRIPTION:
“The first time I ‘paraded’ into town since my old days in the West, when I used to bang the cymbals and pound the drum!”--D. B.
]
Metropolitan: Belasco as the _First Policeman_.
28. Last regular performance at the Metropolitan Theatre, San Francisco. The Chapman Sisters in “Cinderella,”--produced 23.
May. 3. He played with the Chapman Sisters, in “Little Don Giovanni,” in Sacramento. Later he appeared, with the Chapman Sisters, in several California towns.
August. 18. He played _Bloater_, in “Maum Cre,” with Joseph Murphy, at Shiels’ Opera House, San Francisco.
25. He played _Bob Rackett_, in “Help,” with Murphy, at Shiels’.
26. At the home of his parents, No. 174 Clara Street, San Francisco, California, David Belasco and Cecilia Loverich were married.
September. 1. At Shiels’ Opera House he played _Baldwin_, with Murphy, in “Ireland and America”: Same bill, September 2, 6, and 7. “Maum Cre” 3, 4, and 5.
10. He played _Harvey_, in “Out at Sea,” with Laura Alberta, at Shiels’ Opera House.
20. He played _Sambo_, in “Uncle Tom’s Cabin,” to the _Topsy_ of Laura Alberta, at Shiels’.
25. “Twice Saved; or, Bertha the Midget,” was acted at the Opera House (formerly Shiels’, subsequently Gray’s) and Belasco played _Major Hershner_.
29. He acted _Spada_, in Stirling Coyne’s “The Woman in Red,” with Fanny Cathcart, at the Opera House. (That house was first billed as Gray’s Opera House, on October 3, and “The Woman in Red” was played there till October 5.)
October. 6. Belasco played at Gray’s Opera House, as _Darley_, with Fanny Cathcart and George Darrell, in “Dark Deeds.”
18. Benefit performance, at Gray’s Opera House, to James Dunbar: Belasco acted _Mons. Voyage_, in Third Act of “Ireland as It Was.”
October-November, _et seq._ He went to Virginia City, Nevada, where he became a member of the stock company at Piper’s Opera House.
1874. March. 1-7? Belasco returned to San Francisco from Virginia City.
10. Engagement of Adelaide Neilson in San Francisco began at the California Theatre,--Miss Neilson making her first appearance there in “Romeo and Juliet.” Belasco participated in all the performances given during that engagement,--which ended on March 30,--as a super and helper about the stage.
May. 4. Grand Opening of Maguire’s New Theatre, San Francisco, (the old Alhambra, rebuilt and altered),--“The Entire Lingard Combination,” Wiliam Horace Lingard, Dicky Dunning, Alice Lingard, etc., appearing in “Creatures of Impulse,” “Mr. and Mrs. Peter White,” and a miscellaneous entertainment.
June-September. Belasco worked as a copyist, etc., for Barton Hill, at the California Theatre and played minor parts (not recorded) at Maguire’s New Theatre. Also, he made several brief excursions as a “barnstormer” to small towns of California and Nevada.
September. (14?). Belasco became attached to Maguire’s New Theatre as assistant stage manager and prompter, actor of small parts, hack playwright, and secretary and messenger to Thomas Maguire. In this employment he came into association with James A. Herne, Thomas Whiffen, Annette Ince, Ella Kemble, Sydney Cowell, etc. He remained there for about four months.
October. 12. He played the _Dwarf_ in “Rip Van Winkle” at Maguire’s,--Herne being _Rip_.
December. 24. Belasco played _Pietro_ and _Galeas_, in the prologue and drama of “The Enchantress,” at Maguire’s New Theatre.
1875. January to (May?). Belasco was “barnstorming” with a Miss Rogers, originally a school teacher, who obtained financial support and starred in a repertory including “East Lynne,” “Camille,” “Frou Frou,” and “Robert Macaire.” Miss Rogers’ tour began in Portland, Oregon, and continued through small towns along the Big Bear and Little Bear rivers. It proved a failure and the company was disbanded,--Miss Rogers and Belasco, however, continued to appear together for several weeks, presenting one-act plays such as “A Happy Pair” and “A Conjugal Lesson.”
June. --. He was in San Francisco.
July. 4. He participated, as assistant to James H. Le Roy, in stage management of a benefit performance, for Frank Rea, at Maguire’s New Opera House.
August. 4. He assisted, in various ways, in a presentation at the California Theatre of “The Bohemian,” in which George Ceprico (amateur) appeared as _Edmund Kean_.
7. Production at the California Theatre of [a variant, by Belasco?] Le Roy’s version of “The New Magdalen,”--Ellie Wilton playing _Mercy Merrick_.
8. “Lost in London” was presented at Maguire’s New Theatre, at Belasco’s suggestion [acted according to a prompt book or “version” prepared by him?].
November. 17. Benefit, to “Sam” Wetherill, at Maguire’s New Theatre,--stage management of Belasco.
December. 6. Belasco played a subsidiary part in “The Jealous Wife,” in a performance (“last night of the season”) at Maguire’s, for the benefit of Katy Mayhew.
13. C. R. Thorne’s Palace Theatre (formerly Wilson’s Amphitheatre), corner Montgomery and Mission streets, San Francisco, was opened, with “Gaspardo; or, The Three Banished Men of Milan,” and Belasco appeared in it as _Santo_, _a Monk_.
21. He played _Signor Mateo_, in “The Miser’s Daughter.”
24. He played _Selim_, in “The Forty Thieves,” at Thorne’s Palace Theatre.
30. He played _Gilbert Gates_, in “The Dawn of Freedom,” at the same house. Thorne closed his theatre, suddenly, December 31.
1876. January. 7. The Palace Theatre was reopened, as the Palace Opera House, under management of Colonel J. H. Wood, presenting Frank Jones in “The Black Hand; or, The Lost Will,” in which Belasco played _Bob_, _a Policeman_. That engagement lasted for about three weeks, at the end of which time, apparently, he went back to Maguire’s New Theatre.
March. 6. Opening of Baldwin’s Academy of Music, San Francisco. Thomas Maguire, proprietor. James A. Herne, stage manager. David Belasco, assistant stage manager and prompter. Bill: Barry Sullivan, in “King Richard III.,”--Belasco played _Ratcliff_.
11. Sullivan revived “The Wonder,” at Baldwin’s, and Belasco played in it as _Vasquez_.
13. Sullivan acted in “Hamlet,” at Baldwin’s: Belasco played _Bernardo_ and the _Second Actor_.
16. Sullivan presented “Richelieu,” at Baldwin’s, and Belasco appeared as one of the _Secretaries_.
20. Played the _First Officer_, in “Macbeth,” with Sullivan, at Baldwin’s.
23. Played the _Waiter_, in “The Gamester,” with Sullivan as _Beverley_.
27. Played the _Duke of Burgundy_, in “King Lear,” with Sullivan, at Baldwin’s.
29. Played a _Messenger_, in “Othello,” with Sullivan, at Baldwin’s.
31. Played _Salarino_, in “The Merchant of Venice,” with Sullivan, at Baldwin’s.
April. 5. Played the _Lieutenant_, in “Don Cæsar de Bazan,” with Sullivan, at Baldwin’s.
7. Played _Furnace_, in “A New Way to Pay Old Debts.”
10. Played _Marco_, in “The Wife.”
16. End of Barry Sullivan’s engagement at Baldwin’s Academy of Music, “King Richard III.” Belasco played _Ratcliff_.
18. Mrs. James A. Oates began an engagement in Opera at Baldwin’s, and Belasco, with other members of the dramatic stock company, returned to Maguire’s New Theatre (whence they had come to Baldwin’s), where they supported Baker and Farron, in “Heinrich and Hettie.”
May-June--part of July. Belasco went “barnstorming.”
July. 23. He played _DeMilt_, in “Under the Gas-Light,” in a benefit, by John McCullough and others, for E. J. Buckley, at the California Theatre.
September. 4. Edwin Booth began an eight weeks’ engagement in San Francisco (the first in twenty years), at the California Theatre, in “Hamlet,” “Richelieu,” “Othello,” etc., and Belasco was employed as a supernumerary in his company.
October. --. Belasco was employed by James M. Ward as stage manager and playwright, at the Grand Opera House.
16. He appeared with Ward and Winnetta Montague, at the Grand Opera House, in “The Willing Hand.”
22. He appeared at Baldwin’s, as _Doctor of the_ _Hospital_, in “The Two Orphans,” for benefit of Katy Mayhew.
1877. February. 16. He appeared at Egyptian Hall (No. 22 Geary Street, near Kearny), in association with Frank Gardner and his wife (Carrie Swan), acting _The Destroyer_, in “The Haunted House,”--a play written by himself,--_Valentine_, in an abridgment of “Faust,” and _Mr. Trimeo_, in “The Mysterious Inn.”
The presentments at Egyptian Hall were all built around a variant of the “Pepper’s Ghost” illusion.
17. At Egyptian Hall he appeared as _Avica_, _Spirit of Avarice_, in “A Storm of Thoughts”; _Phil Bouncer_, in “The Persecuted Traveller,” and as _The Destroyer_, in “The Haunted House.”
20. At Egyptian Hall “Our Mysterious Boarding House” was presented, in which he played _Our Guest_, replacing “The Persecuted Traveller,” in bill as on 17.
April. 2. Same place, he played _Mark_, in “The Prodigal’s Return,” as well as _Avica_ and _Our Guest_, as above.
The engagement of the Gardners and Belasco at Egyptian Hall continued for eight weeks.
Other plays which Belasco recalls having written for presentation there are “Wine, Women, and Cards” and “The Christmas Night; or, The Convict’s Return.” I have not, however, found _record_ of the presentation of them. During that engagement at Egyptian Hall, Belasco also gave several recitations, including “The Maiden’s Prayer,” with musical accompaniment, and “Little Jim.”
May-July. Belasco acted with Gardiner and his wife, in various cities and towns of California and the Pacific Slope, in the plays above mentioned.
August. 18. Belasco played _John O’Bibs_, in Boucicault’s “The Long Strike” (billed as “The Great Strike”), and the _Earl of Oxford_, in the Fifth Act of “King Richard III.,” in a benefit for A. D. Billings, at the California Theatre, San Francisco.
September. 24. A theatrical company, from the California Theatre, San Francisco, under the management of Thomas W. Keene, of which Belasco was stage manager, began a “Fair week” engagement at the Petaluma Theatre, Petaluma, California. Bill: “The Lady of Lyons,” in which Belasco played _Monsieur Deschapelles_; and “The Young Widow,” in which he played _Mandeville_.
25. Same engagement: “The Hidden Hand,” Belasco playing _Craven Lenoir_; and “Robert Macaire,” in which he played _Pierre_.
26. Same. “The Wife,” Belasco as _Lorenzo_; and “My Turn Next,” Belasco as _Tom Bolus_.
27. Same. “The Streets of New York,” Belasco as _Dan_; and “The Rough Diamond,” Belasco as _Captain Blenham_.
28. Same. “Deborah,” Belasco as _Peter_; and “Solon Shingle” (“The People’s Lawyer”), Belasco as _Lawyer Tripper_.
Same. Benefit of Keene. “The Ticket-of-Leave Man,” Belasco acted one of the subsidiary parts.
October. --. Belasco joined the Frayne Troupe, at Humboldt, Oregon, opening as _Mrs. Willoughby_, in “The Ticket-of-Leave Man.” This engagement lasted about three months.
1878. January. 4. He played at the Opera House, San José, as a member of the Frayne Troupe (Frank I. Frayne, manager), comprising also M. B. Curtis, H. M. Brown, E. N. Thayer, Mrs. Harry Courtaine, Gertrude Granville, and Miss Fletcher.
He played in many Pacific Slope towns and cities with this company.
January-March. He returned to San Francisco and performed miscellaneous theatrical drudgery.
March. 4. Belasco played _James Callin_, and _Pablo_, _an Italian Harpist_, in the prologue and drama of “Across the Continent,” with Oliver Doud Byron, at the Bush Street Theatre, San Francisco. (Six nights: revival, March 18 to 23.)
26. The New York Union Square Company acted at the Baldwin Theatre, San Francisco, in “Agnes,” and Belasco appeared with it, as the valet, _Rudolphe_.
April. 8. “One Hundred Years Old” was acted at the Baldwin Theatre, Belasco playing the servant, _Louis_.
15. “Saratoga” was acted at the Baldwin, Belasco playing _Gyp_.
25. “A Celebrated Case” was revived at the Baldwin, Belasco playing a subsidiary part.
May, _et seq._ Belasco travelled with the Union Square Theatre Company, as stage manager, during a tour of towns and cities of California, Oregon, etc. At the end of that tour he received a memorable tribute from the members of the company: see page 106.
July. 8. Boucicault’s “The Octoroon,” “retouched and rearranged” by Belasco, was revived at the Baldwin Theatre.
September. 2. Belasco’s version of “The Vicar of Wakefield,” entitled (like Wills’ version) “Olivia,” was produced for the first time at the Baldwin Theatre, San Francisco, Rose Wood
## acting _Olivia_, A. D. Bradley _Dr. Primrose_,
James O’Neill _Mr. Barchell_, and Lewis Morrison _Squire Thornhill_.
October. 14. An alteration by Belasco of Wills’ “A Woman of the People” was acted at the Baldwin.
28. Belasco’s “Proof Positive” was acted at the Baldwin.
November. 4. Clara Morris began her first San Francisco engagement at the Baldwin, Belasco being the stage manager.
December. 23. “Not Guilty,” by Watts Phillips, revised by Belasco, and produced under his direction, was acted for the first time in San Francisco, at the Baldwin Theatre: notable success.
1879. January. --. Belasco resigned his position at the Baldwin Theatre and rewrote his play of “The Lone Pine” for Denman Thompson. He disagreed with Thompson and his manager, J. M. Hill, and his play was not produced.
February. --. Belasco was re-employed as stage manager, etc., at the Baldwin.
6. He played _Colonel Dent_, in “The Governess,” with Clara Morris, at the Baldwin Theatre (one night only: farewell of Miss Morris).
17. Belasco’s dramatization of Gaboriau’s “Within an Inch of His Life” was acted for the first time at the Grand Opera House: notable success.
March. 1. “Within an Inch of His Life” was withdrawn.
3. The first presentation of Salmi Morse’s “The Passion Play” was made at the Grand Opera House, San Francisco, under the stage management of Belasco and “Harry” Brown,--James O’Neill appearing in it as _Jesus Christ_.
11. “The Passion Play” was withdrawn at the Grand Opera House.
April. 15. Revival of “The Passion Play” at the Grand Opera House.
20-21. An injunction prohibiting further presentation of “The Passion Play” was issued, and, that being disregarded, O’Neill and his associates were arrested (21st): O’Neill was imprisoned, and later he was fined $50 and his associates $5 each, for contempt of court.
May. 5. An adaptation of Sardou’s “La Famille Benoiton!” entitled “A Fast Family,” made by Belasco, was played at the Baldwin.
19. At the Baldwin Belasco acted the old man, _Timothy Tubbs_, in his play of “The Millionaire’s Daughter,” which was then first presented,--five nights: revival May 26 to 31.
June. 2. Rose Coghlan, engaged at Belasco’s request, began her first engagement in San Francisco, at the Baldwin, playing _Lady Gay_, in “London Assurance.”
30. First performance of “Marriage by Moonlight” (afterward renamed “The Moonlight Marriage”), by Belasco and James A. Herne, occurred at the Baldwin Theatre.
July. 13. (Sunday night.) Special benefit for Belasco and James A. Herne, at the Baldwin: “The Moonlight Marriage” and “Rip Van Winkle.”
15. First performance of Belasco’s version of “L’Assommoir,” based on Zola’s novel, was made at the Baldwin, with an “all-star company,”--Rose Coghlan, Lillian Andrews, Jean Clara Walters, O’Neill, Morrison, Herne, etc., being in the cast.
September. 9. At Baldwin’s Theatre, San Francisco, first production of “Chums” (“Hearts of Oak”), by David Belasco and James A. Herne.
21. (Sunday.) Last performance of “Chums” at Baldwin’s. Failure.
October. 6. Herne-Belasco partnership presented “Chums” at Salt Lake City.
Other places were visited. The business was bad. Failure. “Chums” was closed, and company disbanded.
Belasco, Herne and his wife (Katharine Corcoran) went to Chicago and lodged at the old Sherman House.
November. 17. First performance in Chicago, at Hamlin’s Theatre (formerly the Coliseum?), of “Hearts of Oak” (“Chums”). Notable success.
30. “Hearts of Oak” closed at Hamlin’s.
December. 1. Belasco-Herne Company appeared in Cincinnati.
20. (About) Belasco-Herne Company was playing “Hearts of Oak” in Indianapolis.
A version of “The Mariner’s Compass” (on which “Hearts of Oak” was built) was presented in cities of the Middle West, under the name of “Oaken Hearts,” to trade on the success of the Belasco-Herne title: unauthorized use of that title was stopped by legal action taken by Herne in courts of Michigan in May, 1880.
1880. March. 15. “Hearts of Oak” was acted at Hooley’s Theatre, return engagement, till March 27.
29. “Hearts of Oak” was performed for first time in New York, at the New Fifth Avenue Theatre--untruthfully announced as “by James A. Herne.” Failure. During this engagement Herne was several times incapacitated to perform and Belasco appeared in his place as _Terry Dennison_.
April. 16. Last performance of first “Hearts of Oak” engagement in New York.
Belasco and Herne took their play to the Arch Street Theatre, Philadelphia. There Herne quarrelled with Belasco and bought his half-interest in the play for $1500, which he did not pay till several years later.
Belasco returned to New York, seeking employment, but could not obtain it. He then made his way, by various shifts, across the continent, to his home in San Francisco.
June. 16. Belasco reached San Francisco, after his disastrous experience with Herne and “Hearts of Oak.”
He obtained immediate employment at the Baldwin Theatre, where Adelaide Neilson was then playing her farewell engagement (it began on June 8). James H. Vinson and Robert M. Eberle were, officially, the stage managers: Belasco officiated as assistant stage manager and as prompter, and, on July 17, he “rang down” the curtain on _the last performance ever given_ by Miss Neilson:--_Juliet_, in Balcony Scene from “Romeo and Juliet,” and _Amy Robsart_, in the play of that name.
During this engagement at the Baldwin, though actually he performed much important labor, both as stage manager and as writer and adapter of plays, Belasco’s acknowledged position was wholly subsidiary: for reasons of business expediency he again assumed, for a time, use of the name Walter Kingsley.
July. 19. His play of “Paul Arniff” was produced, for the first time, at the Baldwin Theatre: it is founded in part on “The Black Doctor.”
August. 16. John T. Malone made his first appearance on the stage, acting _Richelieu_, at the Baldwin, under the direction of Belasco.
30. A new version, by Belasco, of T. P. Cooke’s “True to the Core” was acted at the Baldwin.
November. 15. William E. Sheridan began his first San Francisco engagement, at the Baldwin, during which, under stage direction of Belasco, he appeared in “King Louis XI.,” “Wild Oats,” “The Lady of Lyons,” “The Merchant of Venice,” etc., etc.
December. 28. First production in America of the once famous melodrama of “The World” was made, under Belasco’s direction, at the Baldwin Theatre, San Francisco.
1881. January. 17. Belasco’s “The Creole” (based on “Article 47”) was acted for the first time in New York, at the Union Square Theatre,--Eleanor Carey appearing in it as _Diana_.
February. 6(?). Last performance of “The Creole” at the Union Square Theatre.
March. 27. Belasco left San Francisco, with the Baldwin Theatre stock company, for Portland, Oregon.
April. 15. He returned from Portland and resumed employment at the Baldwin Theatre.
July. 18. Belasco’s play of “La Belle Russe” was anonymously produced, under his stage direction, at the Baldwin Theatre, San Francisco (first time anywhere), Miss Jeffreys-Lewis, Osmond Tearle, and Gerald Eyre acting the chief parts in it. Exceptional success.
26. Belasco’s authorship of “La Belle Russe” was announced, in advertisements of that play.
30. Final performance, original run, of “La Belle Russe,” at the Baldwin.
August. 15. At the Baldwin occurred the first performance of Belasco’s dramatic epitome of Adolphe Belot’s story, “The Stranglers of Paris,” Osmond Tearle acting _Jagon_: Belasco’s name was not made known at this time as the stage-adapter of the story.
September. 25. Belasco left San Francisco, with Maguire, for the East, to arrange for the sale of his play of “La Belle Russe.”
During his stay in New York, October-December, this year, Belasco negotiated regarding presentment of “La Belle Russe” with Augustin Daly, John Stetson, A. M. Palmer, and Lester Wallack. He finally sold his interest in that play outright, to Frank L. Goodwin, for $1500, a return ticket to San Francisco, and $100 for travelling expenses.
December. 25. Belasco reached San Francisco from New York.
1882. March. 7. First performance of Belasco’s spectacle melodrama of “The Curse of Cain” occurred at the Baldwin.
April. 16. End of Thomas Maguire’s control of the Baldwin Theatre, San Francisco.
May. 8. First production in New York of Belasco’s play of “La Belle Russe” was made at Wallack’s Theatre,--Osmond Tearle and Rose Coghlan playing the chief parts.
June. 12. A “sensation revival” of Belasco’s “retouched and re-arranged” version of Boucicault’s “The Octoroon,” introducing Callender’s Colored Minstrels, was effected at the Baldwin, under the stage direction of Belasco and the management of Gustavo Frohman: notable success.
July. 10. Belasco’s “American Born” was acted, for the first time, at the Baldwin Theatre, San Francisco,--Edward N. Marble being then the lessee of that house.
--. First meeting of Belasco and Charles Frohman.
18(?). Belasco left San Francisco, travelling, as stage manager, with the [Gustave] Frohman Dramatic Company.
31. That company began an engagement in Denver, Colo.,--at the end of which, apparently, it was disbanded.
August. 16. Belasco’s “American Born” was successfully produced, at the Grand Opera House, Chicago, under the joint management of Gustave and Charles Frohman.
October. 9. First production of “Young Mrs. Winthrop,” by Bronson Howard, at the Madison Square Theatre. This was the first play produced at that theatre under the stage management of Belasco, and the incident marks his establishment in the Theatre of New York.
The 100th performance of “Young Mrs. Winthrop” occurred January 12, 1883: the 150th, March 5.
1883. April. 7. Last performance (original “run”) of “Young Mrs. Winthrop” at the Madison Square Theatre.
9. First performance, by professional actors, Madison Square Theatre, of “A Russian Honeymoon,” by Mrs. Burton N. Harrison, produced under stage management of Belasco.
June. 4. Last performance of “A Russian Honeymoon” and end of “the regular season” at the Madison Square.
5. Beginning of the “summer season” at the Madison Square, with first production of “The Rajah; or, Wyncot’s Ward,” by William N. Young, revised by Belasco, and produced under his stage direction.
September. 1. 100th performance of “The Rajah” at the Madison Square.
October. 31. 150th performance of “The Rajah.”
November. 12. At the New Park Theatre occurred the first performance in New York of Belasco’s melodrama (revised for the occasion) of “The Stranglers of Paris,” which was produced under the stage direction of the author and the management of Charles Frohman: Henry Lee appeared as _Jagon_.
December. 8. “The Rajah” was withdrawn at the Madison Square.
10. At the Madison Square first production of “Delmar’s Daughter; or, Duty”; by Henry C. De Mille, under Belasco’s direction. It was a failure and was withdrawn on the 15th.
17. “The Rajah” was revived at the Madison Square.
1884. January. 29. Last performance of “The Rajah.”
31. First New York performance, Madison Square Theatre, of “Alpine Roses,” by H. H. Boyesen; stage direction of Belasco. Georgia Cayvan, Marie Burroughs, Eben Plympton, and Richard Mansfield played the chief parts in this drama.
April. 10. Last performance of “Alpine Roses.”
12. At the Madison Square Theatre, first production, on any stage, of Belasco’s drama of “May Blossom,” founded in part on his earlier play of “Sylvia’s Lovers”: produced under the stage direction of the author.
July. 5. Belasco sailed for England, on board the SS. Alaska, to witness performances of “Called Back,” at the Haymarket Theatre, London,--that play having been purchased for production in America by the Mallory brothers. First meeting of Belasco and author occurred on this voyage.
19. He sailed for New York, on board the SS. Alaska.
27. He arrived in New York.
August. 27. Public announcement by the Mallory brothers that Albert Marshall Palmer had become a partner in the management of the Madison Square Theatre. Friction between Belasco and Palmer, relative to management of the stage, had arisen some time earlier.
September. 1. First production in America of “Called Back,” made by the Mallory brothers at the Fifth Avenue Theatre, under the stage direction of Belasco.
9. 150th performance of “May Blossom” at the Madison Square Theatre.
27. Last performance of “May Blossom” at the Madison Square Theatre.
29. A new policy was put into effect at the Madison Square Theatre, under the influence of Palmer, marked by the presentation, on this date, of “The Private Secretary.” This farce was placed on the stage almost entirely under the direction of Frank Thornton.
After the successful production of “Called Back” at the Fifth Avenue Belasco resigned his position as stage-manager of the Madison Square Theatre company.
1885. --. Belasco contemplated abandoning stage direction and reverting to acting,--it being his plan to appear at the head of a company managed by himself as _Hamlet_ and in the central part of a play he wished to write for his own use.
He became acquainted with Steele Mackaye.
1886. February. 15. At Wallack’s Theatre, New York, occurred the first production on any stage of “Valerie,” a play in three acts altered by Belasco from Sardou’s “Fernande.”
March. 13. “Valerie” was withdrawn at Wallack’s.
May. --. Belasco returned to San Francisco as stage manager of Al. Hayman’s “all-star stock company.”
31. That company appeared, under his direction, at the Baldwin Theatre, in a dramatization of the novel of “Moths.”
June. Hayman’s company acted at the Baldwin under Belasco’s direction as follows:
7. In Belasco’s “Valerie.”
14. “The Marble Heart.”
21. “Anselma.”
24. “The Lady of Lyons.”
28. “Alone in London.”
July. 18. (Sunday night.) Belasco took a benefit at the Baldwin Theatre, San Francisco: extraordinary programme and great public enthusiasm.
26. He left San Francisco for New York, to take up work there in connection with the Lyceum Theatre.
September. Belasco revised A. C. Gunter’s “A Wall Street Bandit,”--which was produced at the Standard Theatre, September 20.
18. Henry C. De Mille’s play of “The Main Line; or, Rawson’s Y” was produced at the Lyceum Theatre, under Belasco’s stage direction.
October. 18. May Fortesque (Finney) began an engagement at the Lyceum, acting _Gretchen_, in Gilbert’s “Faust”: Belasco officiated as stage director throughout that engagement, during which Miss Fortesque also acted as _Gilberte_, in “Frou-Frou”; _Iolanthe_, in “King Rene’s Daughter,” and _Jenny Northcott_ in “Sweethearts.”
1887. March. 23. Under Belasco’s direction, pupils of the Lyceum Theatre School of Acting gave a performance, at the Lyceum, of an English translation of Molière’s “Les Précieuses Ridicules.”
May. 3. First production, at the Lyceum Theatre, of “The Highest Bidder,” made by Belasco on the basis of a play called “Trade,”--which was written by John Maddison Morton and Robert Reece, for the elder Sothern. Notable success.
July. 16. End of the original “run” of “The Highest Bidder,” and close of the season at the Lyceum Theatre.
August. 22. Revival of “The Highest Bidder” at the Lyceum.
September. 12. “Pawn Ticket 210,” by Belasco and Clay M. Greene, was produced by Lotta, at McVicker’s Theatre, Chicago.
19. Cecil Raleigh’s farce, “The Great Pink Pearl,” and Augustus Thomas’ one-act drama, “Editha’s Burglar,” were produced, under Belasco’s stage direction, at the Lyceum.
October. 24. At the Fourteenth Street Theatre “Baron Rudolph,”--originally entitled “Only a Tramp,”--by Bronson Howard, first rewritten as well as renamed by Howard; then, at Howard’s request, altered and improved by Belasco, was produced, for the first time in New York, by George S. Knight,--Charles Frohman representing Knight in the business management and Belasco stage directing the performance. Failure: the play was kept on the stage four weeks, to bad business. (In its original form Knight first presented “Baron Rudolph” in New York, at the Windsor Theatre, October 17, 1881.)
November. 1. At the Lyceum occurred the first performance on any stage of “The Wife,” by Belasco and Henry C. DeMille.
19. “Baron Rudolph” was withdrawn at the Fourteenth Street Theatre.
December. --. During this month Belasco revised and rectified William Gillette’s dramatization of Haggard’s “She,”--which had been produced at Niblo’s Garden on November 29. His work, for which he received $1,000, made a popular success of that spectacle.
1888. June. 16. 239th consecutive performance of “The Wife,” and close of the Lyceum Theatre.
August. 21. The Lyceum was reopened for the season with first performance anywhere of Belasco and De Mille’s “Lord Chumley.”
September. 11. Belasco’s revision of E. J. Schwartz’s “The Kaffir Diamond” was produced at the Broadway Theatre, New York, with Louis Aldrich in the chief part. (Belasco was paid $300 for his work on this play.)
November. 11. --th and last performance at the Lyceum of “Lord Chumley.”
1889. March. 11. The fifth annual performance of the Academy of Dramatic Art (formerly the New York School of Acting) occurred at the Lyceum Theatre, under the direction of Belasco, Franklin H. Sargent, and Henry C. De Mille,--pupils of that school appearing in an English version of Sophocles’ “Electra.”
18. “The Marquis,” a version of Sardou’s “Ferréol,” prepared by Belasco, was produced under his stage direction at the Lyceum. Failure.
29. Revival of Belasco-De Mille drama of “The Wife,” at the Lyceum.
April. 29. A play by William Gillette, based on Mrs. Humphry Ward’s novel of “Robert Elsmere” and bearing the same name, was produced at the Union Square Theatre under the stage direction of Belasco--by special arrangement with the directorate of the Lyceum Theatre: Belasco received $500 for his labor on this production.
May. 6. James Albery’s play of “Featherbrain” (adapted from a French farce called “Tête de Linotte”) was produced, under stage management of Belasco, at the Madison Square Theatre--a special company organized by Daniel Frohman appearing in it.
18. Close of the season at the Lyceum.
(Month, date?) Belasco and De Mille were commissioned to write a new play for the season of 1889-’90, at the Lyceum.
--. First meeting of David Belasco and Mrs. Leslie Carter.
September. --. Mrs. Leslie Carter sought Belasco at Echo Lake, New Jersey, and obtained his promise to undertake her training for the stage.
November. 19. First performance anywhere of “The Charity Ball,” by Belasco and De Mille, stage direction of the former.
This was the last play for the Lyceum with which Belasco was concerned.
December. --. Belasco, being in need of the use of a stage for rehearsals of Mrs. Carter, agreed to revise a play by Mrs. Abby Sage Richardson, based on Mark Twain’s “The Prince and the Pauper,” and to rehearse a company in it, on the understanding that, as payment, he should be permitted to rehearse Mrs. Carter on the stage of the Lyceum Theatre.
1890. January. 20. Belasco’s revision of “The Prince and the Pauper” was acted at the Broadway Theatre, Elsie Leslie appearing in it as Tom Canty and as _Prince Edward of Wales_.
January-February. Belasco was active in planning a play for Mrs. Carter, called “The Heart of Maryland,” in negotiation for its production under the management of A. M. Palmer, and in training of Mrs. Carter.
February. 26. The bargain between Daniel Frohman and Belasco, for the latter to use the stage of the Lyceum Theatre, was wrongfully abrogated by the directors of that institution. Belasco soon afterward resigned his place at the Lyceum.
March. 27. Belasco ended his association with the Lyceum Theatre.
May. 24. 200th performance of “The Charity Ball,” and close of the Lyceum Theatre.
October. 21. A melodrama entitled “Men and Women,” by Belasco and De Mille, was produced at Proctor’s Twenty-third Street Theatre, by Charles Frohman, under the stage direction of Belasco: and, to accommodate Miss Annie A. Adams, an old friend, Belasco wrote in this play a small part for Miss Maude Adams.
November. 10. Belasco, with E. D. Price as business manager (the financial capital having been provided by Mr. N. K. Fairbank, of Chicago), presented Mrs. Leslie Carter, at the Broadway Theatre, as a star, in a play by Mr. Paul M. Potter, called “The Ugly Duckling”; that was _Mrs. Carter’s first appearance on the stage_.
1891. March. 14. End of tour of Mrs. Carter in “The Ugly Duckling,” and of career of that play, in Kansas City, Mo.
25. 200th consecutive performance of “Men and Women” at Proctor’s Twenty-third Street Theatre.
28. Last performance of “Men and Women,”--original production.
April. 15. Belasco, Mrs. Carter, and Mrs. Dudley, her mother, sailed for England, on board SS. City of New York, and proceeded to Paris, to see the French play with music afterward presented in America as “Miss Helyett.”
November. 3. “Miss Helyett,” a farce with music, adapted from the French by Belasco, was, by him, in association with Charles Frohman, produced at the Star Theatre, New York,--Mrs. Carter appearing in it as _Miss Helyett_.
December. 17. 50th performance of “Miss Helyett” at the Star.
1892. January. 10. Last performance of “Miss Helyett” at the Star.
11. “Miss Helyett” was transferred from the Star to the Standard Theatre.
29. 100th performance of “Miss Helyett.”
February. 13. Close of the New York engagement of Mrs. Carter in “Miss Helyett”: she then went on a tour in that play, under the management of Frohman and Belasco, which lasted until the end of the theatrical season of 1891-’92.
During the greater part of the remainder of 1892 Belasco’s attention was bestowed principally on the writing of “The Girl I Left Behind Me.”
1893. January. 16. “The Girl I Left Behind Me,” by Belasco and Franklyn Fyles, was produced, by Charles Frohman, for the first time anywhere, at the New National Theatre, Washington, D. C.,--under the stage management of Belasco.
25. The Empire Theatre, New York, was opened, under the management of Charles Frohman, with a performance of “The Girl I Left Behind Me.”
March. 29. “The Girl I Left Behind Me” was played at the Empire with an entirely new cast--the original company, with one or two exceptions, going to Chicago, where, during the World’s Columbian Exposition, it was presented in that drama, at the Schiller (now, 1917, the Garrick) Theatre, for many weeks.
June. 24. 288th consecutive performance of “The Girl I Left Behind Me,” at the Empire, and close of the first season at that theatre.
October. 24. First performance in New York, at the Empire Theatre, of “The Younger Son,” adapted by Belasco from a German play called “Schlimme Saat” (“Evil Seeds”). Failure: it was withdrawn after four performances.
1894. August. 22. Belasco left New York, taking his brother Frederick with him, for San Francisco,--called there by the illness of his mother, who was thought to be dying.
1895. October. 9. Belasco’s play of “The Heart of Maryland” was presented, by the author, in association with Mr. Max Bleiman, of New York, for the first time anywhere, at the Grand Opera House, Washington, D. C.
22. “The Heart of Maryland” was acted for the first time in New York, at the Herald Square Theatre: notable success.
1896. March. 3. 150th performance of “The Heart of Maryland.”
31. An extra performance of “The Heart of Maryland” was given at the Herald Square Theatre, for the benefit of the Hebrew Infant Asylum.
April. 18. 200th performance of “The Heart of Maryland,” and distribution of souvenirs at the Herald Square.
May. 16. End of the “run” of “The Heart of Maryland,” and close of the season at the Herald Square Theatre: 229 consecutive performances had been given of this fine melodrama.
June. 3. Trial of Belasco’s suit against N. K. Fairbank, to recover $65,000, losses, expenses, etc., incidental to instruction of Mrs. Carter and her tour in “The Ugly Duckling,” was begun before Justice Leonard Giegerich and a jury, in