Part V
., Supreme Court, State of New York. This suit was fought with extreme acrimony at every point.
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 “The First Born” was acted at the Duke of York’s Theatre, London,--where it failed and was withdrawn after one week.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
[Illustration]
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.
DARLING OF THE GODS,” “THE (tragedy): 68; its existence due solely to B., 69; founded on B.’s early adaptation of “Il Carabiniere,” 71; first productions of--and original cast of, 72; described and critically considered, 73, _et seq._; beauties in production of, 80; fine acting, 81; B.’s recollection of creating scenic effects in “The D. of G.”--the River of Souls, etc., 83, _et seq._; Tree’s impression _re_ same, on reading description, 84; B. accused of plagiarism in connection with, 88, _et seq._; 186th performance of, 90; 91; 94; produced in London, 108, _et seq._; B. breaks with Syndicate over--and presents independently in St. Louis, 113; 129; 170; 181; 247; 312; 333.
Davenant, Sir William (Eng. soldier, th. man.: 1605-1668): 419.
Davenport, Edward Loomis (Am. actor and th. man.: 1815-1877): 214.
“David Garrick” (comedy): 123.
Dean, William (gen. st. man. for B.: 1868-1913): 222; 223; 224.
de Belleval, Comte ----: on character and person of du Barry, 34.
de Bergerac, Savinien Cyrano (Fr. novelist, dramatist, duellist, soldier, and poet: 1620-1655): 317.
Defoe, Daniel (Eng. author: 1659 [or 60?]-1731): 318.
“Delicate Ground” (satirical farce): 290.
De Mille, Cecil Blount (Am. actor and playwright: 1881-19--): 306.
DE MILLE, HENRY CHURCHILL (am. Playwright: 1850-1893): 260; 320; 321; 325.
DE MILLE, WILLIAM CHURCHILL (Am. playwright: 1878-19--): 260; B.’s production of his “The Woman,” 306, _et seq._; 322.
Destinn, Emmy (Aust. singer: 18-- - 19--): 214.
de Valois, Marguerite (1492-1549): 29.
Dewey, George (Admiral of the Navy, U. S.: 1837-1917): at first performance of “Adrea,” 183; 185.
Dickens, Charles, Sr. (the novelist and dramatist: 1812-1870): 162.
Discovery,” “The (play): 313.
DITRICHSTEIN, LEO (Aust.-Am. actor and playwright: 1867-19--): his adaptation of “Die Thür ins Freie,” 281; adopts “The Concert,” 289; his adaptation, “The Concert,” critically considered, 291, _et seq._
Dittenhoefer, Hon. Abram Jesse (Am. lawyer: 1836-19--): 51; statement by, _re_ outrage at Belasco Th., 93; 320.
“Divorçons” (comedy): 290.
“Dolce” (play): 68.
“Don Juan” (poem): 35.
Dragon-Fly,” “The (play): 68.
DRAMATIC MIRROR,” “THE N. Y. (th. newspaper): H. G. Fiske’s arraignment of Th. Syndicate in--and Syndicate suit against, 175, _et seq._; 320.
Dryden, John (Eng. poet, dramatist, etc.: 1633-1701): 313.
“Du Barri” (play--Richepin’s): produced in London--and a failure, 44.
DU BARRY, COUNTESS (Marie Jeanne Bécu: Fr. courtesan: 1746-1793): 29; influence of--slaughtered, 30; 31; B. on character of--author on same, 33; Voltaire on--and Comte de Belleval on character and person of, 34; 35; execution of, 36; 42.
“DU BARRY” (play--B.’s): 32; quality of--and described and critically considered, 34, _et seq._; first produced--and same in N. Y., 38; C. Frohman refuses “a half-interest” in--B., and author, on production of, 39; splendid setting of--and original cast of, 40; Richepin’s lawsuit against B. _re_, 42, _et seq._; that lawsuit discontinued, 44; ceremonies, and speech after New Year’s performance of, 45, _et seq._; 47; 48; reason for presenting at Criterion Th., 50; 52; revived for opening of the first Belasco Theatre, 60; souvenir programme of, 62; souvenir book about, 66; immense investment in, 70; 89; 91; 108; 181; 320; 321.
Dunlap, William (Am. th. man. and historian: 1766-1839): 150.
Dunn, Emma (Am. actress): in “The W. of V.,” 265.
E
EASIEST WAY,” “THE (play): quality of, 267; critical strictures on, 268; author’s attitude toward, 269; perfection of production of, 270; 423.
Edwardes, George (Eng. op. and th. man.: 18-- - 19--): 128.
Effects, dramatic: creation of--and representative, cited, 82; B. on, in “The M. M.,” 119.
Elliott, William (Am. actor and th. man.: 18-- - 19--): meeting of, and B.’s daughter--their marriage, 294; same at first opposed by B., 295.
Elizabeth, Queen of England (1533-1603): 30; 31.
English Gentleman,” “An (play): 123.
ERLANGER, ABRAHAM LINCOLN (Am. speculative th. man. and th. “booking agent”: 1860-19--): abstract of B.’s testimony _re_, and the Theatrical Syndicate, 17, _et seq._; his _flat denial_ of B.’s testimony, 20; author’s reasons for not believing “the things he swears to,” 21; B.’s statement _re_ threat of, quoted, 22; 154; 155; statement by, _re_ early th. man’s., actors, the Th. Syn., etc., quoted, 156; course of, _re_ B.’s booking of “The D. of the G.” in St. Louis, 168, _et seq._; H. G. Fiske’s allegation against, 174; power of--S. Untermyer’s arraignment of--and author’s opinion of it, 176, _et seq._; 113; 278.
Eudoxia, Roman Empress (---- - 462): 146.
Euripides: 317.
“Etelle” (play): 322.
F
Fanciulla del West,” “La (opera--on “The Girl of the Golden West”): produced, 214; original cast of, 215.
Farquhar, George (Eng. dram.: 1678-1707): 313.
Fielding, Henry (Eng. novelist and playwright: 1707-1754): 313.
Fields, Charles J.: 274.
FIGHTING HOPE,” “THE (melod.): produced by B., 206; cast of, 207; “rectified” by B.--critically considered, 208, _et seq._
Fiske, Harrison Grey (Am. journalist and th. man.: 1867-19--): 49; conflict of, with Th. Syndicate, 154; his arraignment of Th. Syndicate--and is sued by, 175; his answer to suit, 176; Syndicate suit against, discontinued--and author’s comment thereon, 177, _et seq._; 275; 320.
Fiske, Minnie Maddern (Mrs. Harrison Grey Fiske: Am. actress: 1865-19--): 49; 154.
Fitzgerald, Hon. James J. (Judge, N. Y.): decision of, against B., quoted--and author on same, 23, _et seq._
Flying Dutchman,” “The (play on--by B.): 300.
Flying Scud,” “The (melod.): 221.
Forbes-Robertson, Sir Johnston (kt., cr. 1913: Scotch-Eng. actor, th. man., and playwright: 1853-19--): 260.
Ford, James Lauren (Am. journalist and story writer: 1854-19--): 66.
Ford, John T. (Am. th. man.: 1829-1894): 153.
“Forget-Me-Not” (melod.): 312.
Forrest, Edwin (Am. actor: 1806-1872): 214.
Freedman, Hon. John Joseph (Judge, N. Y. Sup. Ct.: 1835-19--): decision of, for B., against Richepin, 44.
FROHMAN, CHARLES (Am. spec. th. man.: 1860-1915): 1; 19; refuses “a half-interest” in B.’s “Du Barry,” 39; 49; not exempt from B.’s arraignment of Th. Syn., 50; significant letter of, to B., 92; 93; 156; statement by, _re_ alleged purpose in formation of the Th. Syn., quoted, 158; 171; 191; 361; reconciled with B.--and death of, 362; revives “A. C. C.” with B., 363; 429; 430; brief sketch of character of, 431; not a true th. man.--quality of, revealed, 432; relative rank of, contrasted with B., 433.
Frohman, Daniel (Am. th. man.: 1839-19--): 432.
Fyles, Franklyn (originally, Franklin Files: Am. journalist and playwright: 1847-1911): 325.
G
Gall, Charles F.: 274.
Galland, Bertha (Am. actress: 1876-19--): 103.
Gallinger, Hon. Jacob H---- (U. S. Senator: 1837-1918): helps B., 178.
“Gallops” (play): 221; 224.
Garrick, David (Eng. actor, th. man., and dramatist: 1716-1779): inspiration of dramatists of era of, 147; unjustly stigmatized, 310; 419.
Gatti-Casazza, Giulio (It. op. man.: 1869-19--): 214; 215.
Gay Lord Quex,” “The (play): 269.
Gest, Morris (Rus.-Am. th. man.): marriage of, to B.’s daughter, 298.
Gilbert, John Gibbs (Am. actor and st. man.: 1810-1889): 249.
Gilbert, Sir William Schwenck (Eng. dramatist and poet: 1836-1911): 85.
Gilfert, Charles (Ger.-Am. th. man.: 1787-1829): 152.
Gillette, William Hooker (Am. actor and playwright: 1855-19--): 192.
Girl I Left Behind Me,” “The (melod.): 312; 333.
GIRL OF THE GOLDEN WEST,” “THE (melod.): 67; 129; letter to Mrs. Bates--and another to B. Bates, _re_, 194; first performance of--and story of, epitomized and critically considered, 197, _et seq._; original cast of, 201; great dramatic merit of chief passage in--and origin of same, 202, _et seq._; production of, “a masterpiece of stagecraft”--and wonderful storm in, described, 205, _et seq._; success of, 208; selected by Puccini as subject for opera--and that opera produced, 214; cast of Puccini’s opera about, 215; B.’s reminiscence of operatic production of, 216; tribute to B. _re_ opera production of, 217; 260; 336.
Gladstone, William Ewart (Eng. statesman: 1809-1898): 163.
Goelet, Robert Walton (Am. capitalist: 1880-19--): 216.
Goethe, Johann Wolfgang von (Ger. poet, th. man., etc.: 1749-1832): 239.
Goldknopf, Abraham: his assertion that “The Woman” was stolen from his “Tainted Philanthropy,” 309; 322.
Goldsmith, Oliver (Eng. poet, dramatist, etc.: 1728-1774): 239; quoted, _re_ eunuchs of criticasterism, 304.
GOOD LITTLE DEVIL,” “A (extravaganza): 267; produced--and considered, 348, _et seq._; cast of, 349.
Gordon, Mackenzie, 274.
GOVERNOR’S LADY,” “THE (play): 373; produced--described and considered, 377, _et seq._; cast of, 380.
“Grandfather Whitehead” (play): 249.
GRAND ARMY MAN,” “A (drama): 124; writing of--first produced--and classification of, 249; story of, described and critically considered, 250, _et seq._; Warfield’s impersonation in, 250; cast of, 256; 259; 423.
Greene, Clay M. (Am. playwright: 1850-19--): 325.
Greenberg, Joseph: 274.
Gressit, Henry (Am. th. man.): 92.
“Guillaume Tell” (opera--It.): 317.
Gunter, Archibald Clavering (Am. novelist and playwright: 1848-1907): 324.
H
Hackett, James Henry (Am. actor and th. man.: 1800-1871): 150.
Hamblin, Thomas Sowerby (Eng. Am. actor and th. man.: 1801-1853): 419.
Hammerstein, Oscar (Ger.-Am. spec. th. and op. man.: 1847-19--): oppressed by Th. Syndicate--and offers th. to B., 50; 51; 52; 55.
Hare (Fairs), Sir John (kt., cr. 1907: Eng. actor and th. man.): 14.
Harris, Henry B. (Am. sp. th. man.: 18-- - 1912): 429.
Harris, William (Am. th. man.: 1845-1916): 429.
Harte, Francis Bret (Am. poet and journalist: 1839-1902): 66; 203.
Hartman, Louis (el. expert): 245.
HAYMAN, AL. (Am. spec. th. man. and th. proprietor: 18[52?]-1917): 19; 156; Fiske’s allegation against, 176; 191; 429.
HEART OF MARYLAND,” “THE (melod--B.’s) : 47; 67; 151.
Heart of Mid-Lothian,” “The (play): 253.
HEART OF WETONA,” “THE (melodrama): 368; 369; produced and critically considered, 372; cast of, 373.
“Hearts of Oak” (melod.): 312.
Heir-at-Law,” “The (comedy): 123.
Henry the Eighth, King of England (1457-1547): 242.
Herald,” “The N. Y. (newspaper): 158.
Herne, James A[lfred] (James Ahearn: Am. actor, playwright, and stage man.: 1839-1902): 325.
Hoadley, Rev. John (Eng. dramatist: 1711-1776): 313.
Holinshed, Raphael (Eng. historian: 1520-1580): 317; 318.
Holland (Joseph, Jr.) Benefit: 193.
Holmes, Oliver Wendell (Am. poet, author, physician, lawyer: 1809-1894): 36; 62.
Holt, Hon. Henry Winston (Am. judge, 18th Jud. Dist., Va.: 1864-19--): 322.
“Home” (comedy): 123; 221.
Homer: 317.
Hopwood, Avery (Am. playwright: 1884-19--): 207; 325.
Horace: 317.
Howard, Bronson (Am. dramatist: 1843-1908): speech of, at laying cornerstone of B.’s Stuyvesant Th., 236; 319; 325.
Howe & Hummel (attorneys): 42.
Hughes, Grace B. (Mary Montague): suit of, against B.--and decision against her, 104, _et seq._; 321.
Hummel, Abraham (lawyer): attorney against B.--and imprisonment--disbarment of, 42; 44; 91; 92; 93.
Hurlbut, William J. (Am. playwright): 206; 325.
I
Illington, Margaret (Mrs. Daniel Frohman--Mrs. Edward J. Bowes: Am. actress: 1881-19--): 90.
“In Gay New York” (extravaganza): 9.
Inspector,” “The (play): 9.
Iroquois Theatre, Chicago: destruction of--and lawsuit growing out of comment thereon, 173, _et seq._
IRVING, SIR HENRY (kt., cr. 1895: Eng. actor and th. man.: 1838-1905; originally, John Henry Brodribb): 82; 161; B.’s tribute to memory of, 196, _et seq._; 216; unjustly stigmatized, 311; 428; 429.
“IS MATRIMONY A FAILURE?” (farcical comedy): produced by B.--and, critically considered 281; cast of--and J. Cowl’s performance in, 283.
J
“Jack Sheppard” (novel): 336.
Jackson, Helen Hunt (Helen Maria Fiske, Mrs. Edward Bissell Hunt, Mrs. William S. Jackson: Am. novelist and poet: 1831-1885): 226.
James, David, Jr. (Eng. actor): letter of B. to, 128; 129.
Japanese Nightingale,” “A (story): 88; dramatization of, produced, 90.
Jefferson, Joseph (the fourth: Am. actor, playwright, and stage manager: 1829-1905): 14; performances by, 123; 124; 214.
Jerome, Jerome Klapka (Eng. novelist and dramatist: 1859-19--): injustice of, to B., 257; 258; 259.
“Jesse Brown; or, The Relief of Lucknow”: 312.
Jilt,” “The (play): 221.
Journal of a Modern Lady,” “The (satire): 316.
“Just a Wife” (play): 281; authorship of--and critically considered, 287, _et seq._; cast of, 289.
Justinian (Roman Emp.: 483-565): 144.
K
Kadelberg, Gustav (Ger. dramatist: 1851-19--): 281.
Kahn, Otto Hermann (Am. banker and th. patron: 1867): 216.
“Kassa” (play): 68.
Kean, Charles John (Eng. actor, th. man., and st. man.: 1811-1868): 420.
Keenan, Frank (Am. actor): 203; in “The W. of V.,” 265.
Kemble, John Philip (Eng. actor, th. man., and dramatist: 1757-1823): unjustly stigmatized, 310; 419.
Kendal, Madge (Margaret Robertson, Mrs. William Hunter Kendal [Grimston]: Eng. actress and th. man.: 1849-19--): 268.
Kendal, William Hunter ([Grimston] Eng. actor and th. man.: 1843-1917): 268.
“King Henry VIII” (play--S.’s): 318.
KLAW & ERLANGER (Am. speculative th. mang’s. and booking agents): 17; 18; 19; 20; 22; 23; 24; accusation against, by Warfield, 26; 89; they produce “A Japanese Nightingale,” 90; 126; 156; 157; 172; libel suit of, against “Life”--cause of--lost by--and significance of decision against, 174; 175; 176; 191; 275.
Klaw, Marc (Am. spec. th. man.: 1858-19--): 22; 429.
Klein, Charles (Am. dramatist: 1867-1915): engaged by B. to work on “The Auctioneer,” 11; 12; engaged by B. to work on “The M. M.,” 114; letter of B. to _re_ “The M. M.,” 122; 325; 341.
Knoblauch, Edward (Am.-Eng. dram.: 1874-18--): B.’s pride in producing his “Marie-Odile”--and that play considered, 356, _et seq._
L
Lacombe, Hon. Emile Henry (Judge, U. S. Cir. Ct: 1846-19--): decision by, for B., in G. B. Hughes’ “plagiarism” suit, 104; 105; 321; 324.
“Lalla Rookh” (poem): 74.
Lancashire Witches,” “The (novel): 336.
“Lend Me Five Shillings” (farce): 123.
Leroux, Gaston (Fr. dramatist): 283.
Leslie, Henry (Eng. dramatist: 1829-1881): 312.
Leventritt, Hon. David (Judge, N. Y. Sup. Ct.: ---- -19--): grants receivership for “The Auctioneer,” 25; refuses mandate against Warfield, 27; 28; 90; decision of, in favor of B., 127.
Levinsky, Arthur L.: 274.
Liebler & Co. (Am. spec. th. mang’s.): 87.
“Life” (N. Y. weekly): cartoon in, _re_ burning of Iroquois Th.--and lawsuit against, by K. & E., 172.
LILY,” “THE (play): 281; adapted from Fr. by B.--produced--and critically considered, 283, _et seq._; cast of, 287.
Lincoln Grammar School, S. F.: 271; 272; 273.
LITTLE LADY IN BLUE,” “THE (play): story of--and produced, 413; letter about, by W. W., 414; cast of, 416.
Livy: 317.
Locke, Edward (Am. playwright): 325; 343; 347.
Löhr, Marie (Mrs. Anthony Leyland Val Prinsep: Eng. actress: 1890-19--): acts _Yo-San_ in London, 109.
LONG, JOHN LUTHER (Am. novelist and playwright: 1861-19--): 67; a collaborator with B.--and plays associated with, 68; 69; collaboration with, in a Japanese tragedy proposed by B., 71; 89; writes “Adrea” with B., 134; letter of, to B., _re_ “Adrea,” 135; 185; letter to, by B., 193; 325.
Longson, Lila: 323.
“Lord Dundreary” (“Our American Cousin”): 123.
Louis the Fifteenth (King of Fr.: 1710-1774): 29; 30; 35.
Lucretius, 317.
Ludlow, Noah Miller (Am. th. man.: 1795-1886): 152.
“Lycidas” (poem): 314.
Lys,” “Le (play): 283--and see Lily,” “The.
Mc--M
McBride, J. J.: 274.
McCullough, John Edward (Ir.-Am. actor and th. man.: 1832-1885): 48; 153; 420; 428.
McKay, George L.: 322; 323.
“Macbeth”: 162; 318.
Mack, Willard (Am. actor and playwright): 325.
Mackaye, James Steele (Am. actor, th. man., playwright, inventor, etc.: 1842-1894): 244.
“Madame Butterfly” (tragedy--B.’s): 68; 71; effect in, devised by B., 82.
“Magda” (play): 268.
Maguire, Thomas (Calif. th. man.: died, 1896): 319.
MAN INSIDE,” “THE (play): 387; reason of B.’s interest in, 389; critically considered, 392, _et seq._; produced--and cast of, 393.
Managers, theatrical: accomplishment by early, 152.
Mansfield, Richard (Am. actor: 1854-1907): 48; 82; 268.
Mapes, Victor (Am. journalist and playwright: 1870-19--): 323.
Marbury, Elisabeth (Am. play broker): suggests part for Mrs. Carter--and brings B. and Richepin together, 31; 259.
Margaret, Queen of Scotland: 29.
“MARIE-ODILE” (play): method of lighting used in, by B., 248; produced--and critically considered, 356, _et seq._
Mariner’s Compass,” “The (melodrama): 312.
Marks, Prof. Bernhard: 272; 274.
Matthews, Fannie Aymar: 320.
Maude, Cyril (Eng. actor and th. man.: 1862-19--): 128.
“May Blossom” (melod.): 67; 320.
Mayer, Hon. Julius M. (Judge U. S. Dist Ct: 1865-19--): 322; 323.
Merry Whirl,” “The (extravaganza): 9.
Middleton, George (Am. playwright): 325.
Miller, Charles A.: 274.
Millionaire’s Daughter,” “The (melod.): 319.
Milton, John (the poet: 1609-1674): 314; 317.
“Mr. Bluebeard” (extravaganza): 172.
Modjeska, Mme. Helena (Helen Opid--Mrs. Gustave S. Modrzejewska--Mrs. Charles [Karol] Bozenta Chlapowska: Polish-Am. actress: 1840-1909): 268; 431; B.’s view of, 449.
Molière, Jean-Baptiste Poquelin de (Fr. actor, th. man., and dramatist: 1712-1763): 239; 313; 314; 317.
Molineux, Roland Burnham (chemist and playwright: 18-- -1917): charged with murder, 387; trials of--and acquitted, 388; B. appealed to by his parents and agrees to read play by, 389; revises his play--and distressing experience with, 390; creates disturbance--and ordered out of th.--death of, 391; 392; 395.
Moore, Eva (Mrs. Henry V. Esmond [Henry V. Jack]: Eng. actress: 1870-19--): 103.
Moore, Thomas (Ir. poet: 1779-1852): 74; quoted, _re_ “plagiarism,” 311.
Morse, Salmi (Samuel Morse: Ger.-Am. playwright: 1826-1883): 247.
Morton, Paul (Secy. Navy, U. S. A., railroad man): 183.
Murphy, Mark (actor): 9.
Murphy, Thomas (dramatist): 313.
MUSIC MASTER,” “THE (play): 8; B. employs C. Klein to work on, 114; first produced--authorship of--and described and critically considered, 115, _et seq._; B.’s recollections _re_ writing and early performances of, etc., 118, _et seq._; original cast of, 120; B.’s speech on first night of, in N. Y., 121; letter by B. about, 122; amazing record of, 125; 126; Brooks’ claim _re_--and decision in favor of B., 127; B.’s feeling about, and Warfield, 128; 192; 254.
N
New Magdalen,” “The (play): 312.
Newnes, Sir George (bart. cr. 1895: publisher: 1851-19--): 128.
Nicholson, Donald G. (Am. journalist): 160.
Nickinson, John (Can. actor): 249.
Nirdlinger, Samuel Frederick (known as S. F. Nixon: Am. spec. th. man.: 1848-19--): 19; 156; 429.
Nixon & Zimmermann (Am. spec. th. mang’s.): 191.
Nixon, S. F.: see Nirdlinger.
“NOBODY’S WIDOW” (farce): produced--and cast of, 207; critically considered, 209, _et seq._
“No Name” (novel): 286.
Nutmeg Match,” “A (farce): 9.
O
“Ode on Immortality,” etc. (Wordsworth’s): 314.
“O’Dowd’s Neighbors” (farce): 9.
Olcott, Hon. William Morrow Knox (Am. lawyer: 1862-19--): made receiver for “The Auctioneer,” 25; 27.
“Old Dog Tray” (song): 206.
“Old Friends”: literary recollections by W. W., 314.
“Olivia” (play): 253.
O’Neil, Nance (Gertrude Lamson: Am. actress: 1874-19--): characterized, as actress--and her performance in “The Lily,” 286.
Only Levi,” “The (title): 11; see Auctioneer,” “The.
Opera Singer,” “The (play, unfinished by B.): 192.
P-(Q)
Paine, Albert Bigelow (Am. writer: 1861-19--): disparagement of B. by--and comment thereon by author, 67, _et seq._
PALMER, ALBERT MARSHALL (Am. th. man.: 1839-1905): 48; 61; 268; 319; 320.
Parisian Romance,” “A (play): 268.
Parsons, Theophilus (Am. lawyer: 17-- -18--): expounds Swedenborgian views _re_ death, to author, 299.
Passing of the Third Floor Back,” “The (play): B. causes to be written, 257, _et seq._
Passion Play,” “The: in S. F., 247.
“Patrie” (melod.): 81.
Payne, William Louis (th. agent): marriage of, and Mrs. Carter, 187.
“Peter Grimm”: see Return of Peter Grimm,” “The.
PHANTOM RIVAL,” “THE (play): 248; 402; critically considered, 403, _et seq._; produced--and cast of, 406.
Phelps, Pauline (Am. playwright): 249; 256; 259; 325.
Pickford, Mary (motion picture perf.): 266.
“Pizarro” (tragedy): 82.
Placide, Henry (Am. actor: 1810-1870): 14; 249.
PLAGIARISM: decision _re_, for B., 104; charges of, against B.--and whole subject thereof examined in detail, 310, _et seq._; C. Reade quoted _re_, 315, _et seq._
Plautus: 317.
Plutarch: 318.
Polk, Willis: 274.
“POLLY WITH A PAST” (farce): 325; considered, 462; first produced, 463; cast of--performances in, 464.
Pompadour, Jeanne Antoinette Poisson Le Normant D’Étioles, Marquise de (Fr. courtesan and political intrigante: 1721-1764): 29.
Poor Gentleman,” “The (comedy): 124.
“Pop Goes the Weasel” (song): 206.
Porter’s Knot,” “The (play): 249.
Post,” “The Washington (newspaper): letter to, by B., 180.
Potter, Mrs. James Brown (Cora Urquhart: Am.-Eng. actress and th. man.: 1859-19--): produces “Du Barri” in London--and fails in same, 44.
Potter, Paul Meredith (Am. journalist and playwright: 1853-19--): employed by B. to make ver. of “Under Two Flags,” 2; 325.
Price, Edward D. (Am. th. agent): 130.
Pride of Jennico,” “The (novel): 94.
Puccini, Giacomo (It. composer: 1858-19--): seeking characteristic subject for “American” opera, 213; selects B.’s “The Girl of the Golden West”--letter from, to B.--and writes “La Fanciulla del West,” 212; the same produced, 214; 216.
R
Rachel, Mlle. (Rachel Félix: Fr. actress: 1820-1858): M. Arnold’s admiration of, 160.
Racine, Jean (Fr. dramatist and poet: 1639-1699): 239; 314.
“Ramona” (novel): 226; 231.
Reade, Charles (Eng. novelist, dramatist, and th. man.: 1815-1884): quoted _re_ plagiarism, 315; 316; 318.
Redding, Joseph D.: 274.
Referee,” “The London: letter to, by B., 191.
Regular Fix,” “A (farce): 124.
Reinhardt, Max (Ger. actor, th. man., and stage man.: 1873-19--): 247.
Relph, George (Eng. actor): 109.
“Repka Stroon” (play--B.’s): 187.
Republic Theatre, N. Y.: that name restored to first Belasco Th., 289.
RETURN OF PETER GRIMM,” “THE (play--B.’s): 67; Tree arranges to produce in London, 111; 124; stage lighting in, 247; fragmentary, unrevised notes on, 298; critically described and considered, 299, _et seq._; first produced--and first time of, in N. Y.--cast of, 304; B.’s sole authorship of, questioned, 305; and letter by B., maintaining his claim, 306; 336.
RICHEPIN, JEAN (Fr. poet, novelist, and dramatic author: 1849-19--): introduced to B.--proposes to write play about du Barry, 31; resultant play by, unsatisfactory to B.--and “advance royalties” paid to, 32; his play rejected by B., 33; his “Du Barry” lawsuit against B., 42, _et seq._; decision against, in same suit--and his “Du Barri” produced in London, 44; 321.
Richman, Charles J. (Am. actor: 1870-19--): 233.
Rivals,” “The (comedy): 123.
Robertson, Peter (Am. journalist: 1847-1911): letter of B. to, 130; letter of, to B., 132; 325.
Robertson, Thomas William (Eng. actor and dramatist: 1829-1871): 221.
“Robinson Crusoe” (romance): 317; 318.
ROEDER, BENJAMIN FRANKLIN (general business manager for David Belasco): 19; 20; 66; 112; 114; 188; 190; 259; beginning of association with B., 437; B.’s tribute to, 438; author’s comment on, 439.
Rogers, ---- (explorer): 317; 318.
Rogers, Samuel (Eng. poet: 1763-1855): 36.
“Rosalie, the Prairie Flower” (song): 206.
ROSE OF THE RANCHO,” “THE (melod.--B.): 212; origin of--B.’s stipulation _re_, 224; first produced--quality of--B.’s purpose in, 225; resemblance of, to “Ramona”--and synopsis of, 226, _et seq._; critically considered, 229, _et seq._; cast of, 231; Miss Starr’s performance in, 232, _et seq._; B.’s recollections _re_ “lighting effects” in, 234; 235; 260; 273; 294.
Russell, John H. (Am. th. man.): 9.
S
Salvini, Tommaso (It. actor and th. man.: 1829-1916): 9; B.’s estimate of, 449.
“Sam” (farce): 123.
Sardou, Victorien (Fr. dramatist: 1831-1908): 312.
Savoy Th., London: first th. lighted by electricity, 245.
Scarborough, George (Am. playwright): 325; letter of, to B., 326.
Schiller, Johann Christoph Friedrich von (Ger. poet, dramatist, and philosopher: 1759-1805): 239.
Schley, Winfield Scott (Admiral, U. S. N.: 1839-1911): 183; 185.
Schrader, Frederick Franklin (Am. journalist: 1857-19--): letter to, from B., 195.
School for Scandal,” “The (comedy): 105; 311.
Schumann-Heink, Mme. Ernestine (Ger.-Am. opera singer: 1861-19--): proposes that B. undertake her management and introduce her on dramatic stage--play planned for, etc., 192.
Scott, Hon. Francis Markoe (Judge, N. Y. Sup. Ct.): 94.
Scott, Sir Walter (the poet and novelist: 1771-1832): 164; remark of, _re_ originality, 313; 317; 318.
Seaver, William (Am. journalist: died, 1883): 133.
Second Mrs. Tanquerey,” “The (play): 268.
SECRET,” “THE (play): B.’s reasons for producing, 350; qualities of--and critically considered, 352; performance of--cast of, 355.
Secret Orchard,” “The (novel): 94.
“SEVEN CHANCES” (farce): 373; 410; described--produced--considered, 411; cast of, 412.
Shakespeare, William: 239; 313; 317; 318.
“Shenandoah” (melod.): 92.
Shepherd, Hon. William Bostwick (Judge, N. Dist. Fla.: 1860-19--): 323.
SHERIDAN, RICHARD BRINSLEY BUTLER (Ir.-Eng. dramatist, th. man., orator, etc.: 1751-1816): 105; 239; defended against charge of plagiarism, 311; 313; 314.
Shiels, John Wilson, M. D.: 273; 274.
Short, Marion (Am. playwright): 249; 256; 258; 325.
Shubert, Lee (Am. spec. th. man.: 1875-19--): statement by, _re_ Syndicate, B., and Fiske, 278; 429.
Shubert, Sam. S. (Am. th. man.: 1873-1905): arranges alliance with B.--and B.’s recollection and estimate of, 216; death of, 217.
Shubert, the Messrs. Sam. S. & Lee, Inc. (Am. spec. th. mang’s.): B.’s alliance with, 218.
Simon, Charles (Fr. journalist and playwright: 1850-1910): 325.
Simpson, Edmund (Am. th. man.): 150.
Singers, operatic: true histrionic impersonation not possible to, 214.
Smith, Mark, Sr. (Am. actor: 1829-1884): 250.
Smith, Winchell (Am. playwright: 1872-19--): 289; 323; 325.
Smyth, William G. (Am. th. agent): 113.
Sothern, Edward Askew (Eng. actor: 1826-1881): performances by, 123.
Sophocles: 314.
Stage aspirants: B.’s admonition to, 398, _et seq._
Stage: characteristics of, in the Present, 290; view of, author’s--and subscribed to by B., 427.
Stage lighting: in “The Rose of the Rancho,” 234; pioneer achievements in, 244; B.’s study of--and influence on, 245; in “Peter Grimm,” 247.
Star Dreamer,” “The (novel): 94.
STARR, FRANCES GRANT (Am. actress: 1886-19--): 212; 294; birth--first appearance of, on stage--first seen by B., 221; B.’s recollection of--and his engagement of, 222, _et seq._; first appearance of, under B., 224; performance of, in “The R. of R.,” 232, _et seq._; 235; presented in “The Case of Becky”--and B.’s recollections _re_, 345; method used by, in, 346; B. casts, as _Gabrielle_, in “The Secret,” 352; her performance of, 355; as _Marie-Odile_, 360; 416.
Steele, Sir Richard (Eng. dramatist: 1672-1729): 313.
Stevenson, Charles A. (Am. actor): presents loving cup to B., on behalf of “Du Barry” Co., 46.
Stuart, Mary, Queen o’ Scots (1542-1587): 28.
Stuyvesant Theatre, David Belasco’s: name changed to Belasco (_q.v._), 289.
Sudermann, Hermann (Ger. dramatist and novelist: 1857-19--): 268.
Sullivan, Sir Arthur Seymour (Eng. musical composer: 1842-1900): 85.
“Sweet Jasmine” (play): 331.
“SWEET KITTY BELLAIRS” (comedy--B.’s): first produced--and in N. Y., 95; described and critically considered, 96, _et seq._; original cast of, 102; various productions of, 103; B. accused of plagiarism in connection with--trial of suit--and B. vindicated, etc., 104, _et seq._; letters _re_, 106, _et seq._; 111; 320; 321.
Swift, Jonathan (Dean of St. Patrick’s, Dublin: satirist: 1667-1745): 316.
SYNDICATE, THE THEATRICAL (or “Trust”): beginning of B.’s conflict with, 16; abstract of B.’s testimony _re_ A. Erlanger and, in lawsuit by J. Brooks, etc., 17, _et seq._; membership of, 19; menace of, to B., 49; same, 50; 112; B. breaks with, over “The D. of G.,” 113; 128; 129; 130; 133; climax of B.’s conflict with, reached, 151; an examination of the whole subject of, 152; value of B.’s opposition to, 153; fight against, by Mr. and Mrs. H. G. Fiske--Daly opposed to, 154; B. opposed by--Mrs. Fiske, Mme. Bernhardt, and--strove to exclude B. from Washington--and general ignorance concerning, 155; what it was--composition--methods, 156; substance of pretensions of, epitomized, 157; A. L. Erlanger on, _re_ early th. mang’s., actors, etc., quoted, 158; author begins to be conscious of oppugnant influence of, in “N. Y. Tribune,” 161; provisions of the covenant binding members of, 167, _et seq._; specific instance of oppression of B. by, 170; divergent views of, set forth, 172, _et seq._; H. G. Fiske’s arraignment of, in “N. Y. Dramatic Mirror”--and sues Fiske for libel, claiming $100,000 damages, 175; Fiske’s answer to that suit, 176; accusations _made_ against not _proved_--and reasons for believing Fiske’s accusations true, 177, _et seq._; Washington closed against B. by, 179; denounced by B. in speech, 185; 189; 191; 195; surrenders, 274; arrangement of, and Fiske and B., 275; author’s view, _re_, 276; 277.
T
“Tainted Philanthropy” (play): 309; 322.
Taylor, James J.: 274.
Taylor, Howard P. (Am. journalist, playwright, etc.): 320.
TEMPERAMENTAL JOURNEY,” “THE (satirical farce): produced--theme of--and critically considered, 383, _et seq._; cast of, 385.
Tennyson, Alfred, first Lord (the poet: 1809-1892): 29; 239.
Thackeray, William Makepeace (Eng. novelist: 1811-1863): 162.
Theatre: first lighted by electricity, 245.
Theodora (Rom. Empress): 144.
Ticket-of-Leave Man,” “The (play): 8.
“TIGER ROSE” (melod.): 325; how written--first produced, 465; story of, 466, _et seq._; L. Ulric in, 469.
Tosca,” “La (melod.): 81; 319.
Toscanini, Arturo (It. musical conductor: 18-- -19--): 213; 214; 215.
TREE (SIR HERBERT BEERBOHM-TREE, kt.: Eng. actor and th. man.: 1853-1917): produces “The D. of G.” in London--and acts _Zakkuri_, 109; speech of--and tribute to B., 110; arranges to produce “The Return of Peter Grimm” in London--sudden death of, 111; 138.
Tribune,” “The N. Y. (newspaper): author begins to be conscious of power of Th. Syndicate in, 161.
Tully, Richard Walton, (Am. actor, playwright, and th. man.: 18-- - 19--): 224; 325.
“Twelfth Night”: effect in, devised by A. Daly, 82.
Tyler, George Crouse (Am. sp. th. man.: 1867-19--): 429.
U
ULRIC, LENORE (Am. actress: 189- - 19--): 325; B.’s opinion _re_, 366; birth--childhood--early appearances of, 367; impression made by, on B., at rehearsal, 368; in “The Girl,” 369; “The Heart of Wetona” produced with, 370; her performance of _Wetona_, 372; her performance of _Rose Bocion_, in “Tiger Rose”--and qualities of, 469; 470.
“Under Two Flags” (melod.): B. determines to revive, 1; quality of--and B.’s production of, 2, _et seq._; cast of, 6; 204.
Untermyer, Samuel (lawyer: 1858-19--): on contradictory testimony of B. and Erlanger, 21; his arraignment of Erlanger and the Th. Syndicate--and author’s opinion thereof, 178, _et seq._; 179.
V
Valentinian (Rom. Emp.: 321-375): 146.
“Van Der Decken” (drama--B.’s): 67; 124.
Vanishing Bride,” “The (play): 373; produced--and B.’s reasons for discarding, 374; cast of, 375.
“Vathek” (“The History of the Caliph Vathek”: romance): 74.
VERY MINUTE,” “THE (play): author’s comments _re_, 416; first produced--and cast of, 417.
Villiers, Barbara (---- - ----): 29.
Virgil: 317.
Voltaire, Jean François Marie Arouet (Fr. philosopher, dramatist, etc.: 1694-1778): on du Barry, 34; 316.
W
Wallace, Hon. William James (Judge, U. S. Cirt. Ct.: 1837-19--): 174.
Wallack, James William (the Elder: Eng.-Am. actor and th. man.: 1795-1864): 150.
WALLACK, LESTER (John Johnstone Wallack: Am. actor, th. man., and dramatist: 1820-1888): 48; 49; 61; 151; 159; 268; 420.
Walter, Eugene (Am. journalist and playwright: 1876-19--): 267; writes “Just a Wife”--and preoccupation of mind of, 287; 325; his “The Easiest Way,” 268.
WARFIELD, DAVID (Am. actor: 1866-19--): 6; engaged by B.--and stipulations of their contract, 7; B.’s recollections of, in youth--birth of, and sketch of career of, 8, _et seq._; probable standing of, without B.’s direction, 10; “The Auctioneer” written for--and appearance of, in same, 11; comment on, by B., 13; B.’s estimate of, and author’s, as an actor--immense obligation of, to B.--as _Simon Levi_, 14; 16; 17; 18; 19; 22; 24; refuses to act in “The A.,” except under management of B.--statements by--and judicial cognizance of same taken, 25, _et seq._; mandatory injunction to, denied, 27; long period of idleness through fidelity to B., 28; 48; 49; 51; 86; refutes charge that B. “stole” his services, 87; 112; B. engages C. Klein to work on “The Music Master” for, 114; wisdom of devising _von Barwig_ for, 117; his performance of that part, 118; 119; 120; B. on, as _von Barwig_--not a “one part” actor, 123; plays acted in by, 124; amazing record of, in “The M. M.,” 125; B.’s feeling about, and “The M. M.,” 128; 172; 192; 235; felicitous vehicle for, 250; his treatment of situations in “A G. A. M.,” 253; his impersonation in “A G. A. M.”--and quality of, as actor, 254; 255; “The Passing of the Third Floor Back” for, 257; 258; 259; his only approaches to realm of imagination, 300; his personation of _Peter Grimm_, 302; quality of that performance, 303; 306.
Warren, William, Jr. (Am. actor: 1812-1888): 14; 249.
Warren, William, Sr. (Eng.-Am. actor and th. man.: 1767-1832): 152.
WARRENS OF VIRGINIA,” “THE (melod.): first produced--story of--and critically considered, 260; cast of, 266; B.’s recollections of, 267.
“Washington Life” (play): 321.
Weber & Fields (Am. vaudeville mang’s.): 7; 10; 87.
Wemyss, Francis Courtney (Eng.-Am. th. man.: 1797-1859): 152.
“What’s Wrong” (play): 373; produced, 374; cast of, 375.
Wife,” “The (play--Knowles’): 320.
Wife,” “The (play--B.’s): 321.
Wills, William Gorman (Ir.-Eng. poet, dramatist, and novelist: 1830-1891): 93; 264.
Winthrop, Henry Rogers: 216.
Wood, William B. (Am. actor, th. man., and th. historian: 1779-1861): 152.
“Woodcock’s Little Game” (farce): 124.
Woodes, ---- (explorer): 317; 318.
Woods, Al. H. (Am. spec. th. man.: 18-- -19--): 430.
Wolff, Pierre (Fr. dramatist: 18-- -19--): 283.
WOMAN,” “THE (melod.): B. works on--and produces, 306; characterized--described--critically considered, 307, _et seq._; cast of--and A. Goldknopf’s charge of plagiarism in, 309; 320; 322.
Wooing of Wistaria,” “The (story): 88.
Woolsey, Col. Charles W.: 296.
Wordsworth, William (Eng. poet: 1770-1850): 314.
Worthing, Frank (George Francis Pentland: Scotch-Am. actor: 1866-1910): admirable performance by, 282.
Wycherley, William (Eng. dramatist: _cir._ 1640-1716): 313.
(X)-Y-Z
Yaco (or Yakko), Mme. Sada (Mrs. Otto Kawakani: Japanese actress): 109.
“YEARS OF DISCRETION” (satirical farce): produced--and theme of, 281; cast of, 282.
“Young April” (novel): 94.
Young, Waldemar: 274.
Young, William (Am. dramatist): 325
Zangarini, G. (It. librettist): 213.
“Zaza” (play--B.’s): 43; revival of--and outrage on first night of, 91, _et seq._; 92; 269; 270; 423.
ZIMMERMAN, J. FREDERICK, Sr. (Am. spec. th. man.: 18-- -19--): 19; 156; H. G. Fiske’s allegation against, 176; 429.
FOOTNOTES:
[1] And, preëminently, William Winter, who was not only the friend but in many instances the guide, adviser, and assistant of all those managers, as well as of many others: no other single person has ever, directly and indirectly, exerted a greater or more unselfish influence for the good of the Theatre than that of Winter.--J. W.
[2] Whence derived I do not know: obviously, it was not written by Mr. Winter,--but it is accurate.--J. W.
[3] The first recorded instance of a theatre lighted throughout by electricity is that of the Savoy, in London, 1882,--but I think it probable that practical stage lighting by electricity had been achieved in this country at an earlier date. Electric light was used to illumine a cyclorama in Paris, France, as early as 1857,--but that, of course, was light from a primitive arc lamp.
[4] At which time Mr. H. Granville Barker was two years old!--J. W.
[5] In the original cast: this character was cut out of the play before the New York opening.
[6] Several other names could appropriately be added to that list--notably, those of Willard Mack (whose play of “Tiger Rose” owes its extraordinary success entirely to the revision and stage management of Belasco and the remarkably interesting and sympathetic acting of Miss Lenore Ulric), George Middleton, and Guy Bolton. Messrs. Middleton and Bolton figure as authors of “Polly with a Past,”--which, though it is an extremely slender farce, was one of the few substantial successes of the current (1917-’18) theatrical season: it was entirely reshaped and made practicable by Belasco.--J. W.
[7] Lester Wallack’s last appearance on the stage occurred May 29, 1886, at the Grand Opera House, New York, and Wallack’s Company was then disbanded. He was born January 1, 1820, and died September 6, 1888. He surrendered his theatre into the hands of Theodore Moss in 1887, being then sixty-seven years old. Moss had a considerable part in the management of Wallack’s Theatre for several years before that.
Beerbohm-Tree, referred to above as “Belasco’s only competitor,” died, July 2, 1917, in his sixty-fourth year. He was five months younger than Belasco was at that time.
[8] At Wallack’s Theatre, March 19, 1896, by Mr. and Mrs. Robert Taber (Julia Marlowe): see “Shakespeare on the Stage--Third Series,” page 370.--J. W.
[9] =GRAND OPERA HOUSE, CHICAGO, THURSDAY MATINEE=:--
April 19, 1906. A special performance in honor of Mme. Sarah Bernhardt. David Belasco presents Mrs. Leslie Carter in “Adrea.”