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.”