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