stage manager, actor, dramatist: 1853-19--):
qualities of--ancestry and parentage, 1;
parents go to Calif.--birth of--and removed to Victoria, B. C., 2;
early influences affecting--education of--early years in
Roman Catholic monastery, 4;
residence of, in monastery--abiding effect of R. C.
influence on--runs away--joins travelling circus--befriended
by a clown, 5;
reclaimed by father and taken home--theatrical proclivity of--and
“first appearance” of on stage, 6;
his memory of appearing with Julia Dean--his recollections of early
actors characterized, 7;
frequent juvenile employment of--appears in “K. R. III.,” with C. Kean
and E. Tree--removal of, to San Francisco, 10;
a pupil at the Lincoln Grammar School, S. F.--his teachers--his talent
for declamation--recitations by, 11;
“mascot” of the Victoria Fire Department--pupil at Fourth Street School,
S. F.--wins Gold Medal in Tragedy--early reading--first
places of residence in S. F., 12;
first play by, date of, question about, etc.--boyhood custom of,
as writer--recollection of, _re_ his play, “The Roll of the Drum,” 13;
passion of, for stage--letter to, from boyhood friend--recitations
of, in boyhood--also early performances participated in by, 14;
recitation by, before Queen Emma of the Hawaiian Islands--removed
with parents from Victoria--filial devotion of--and early
propensity of, 15;
industry of, in childhood--public recitations--assists parents, 16;
hard early experience of--advancement--reading and recreation
in boyhood, 17;
effect of McCullough’s recitation of “The Little Hero” on--becomes
a stowaway--his story of his adventures as, 17, _et seq._;
leaves school--marriage of, 19;
early record and experience of, as actor, reciter, etc.--payment
of (period 1871-1879), 20;
bohemian adventures of, related to author--his mother’s name for,
and opinion about, 21;
miscellaneous knowledge accumulated by--tangled chronology of his
early life--his “The Story of My Life” examined and estimated
by author, 22, _et seq._;
incorrect recollections by, rectified, 23;
time, place, etc., of his first formal appearance on stage established, 24;
his first part--billed as “Walter Kingsley” when making first
appearance--reason for taking, and for dropping, that name--form
of his name in early playbills--childhood appearances of, 25;
appears with C. Kean--early appearances as super, reciter,
etc.--appears with Mme. Methua-Scheller (1869) in “Under the
Gas-Light”--and with J. Proctor in
“The Jibbenainosay”--Proctor’s reason for employing him, 26;
appears in Prof. Hager’s “The Great Republic”--his parts
in--appears in amateur performances at Platt’s Hall, S. F.--early
association with J. O. Barrows, 27;
smitten with Lotta--appears with amateur actors’ association
in S. F. (1871) and is commended by local newspaper--meets J.
McCullough, 28;
advantage of McC.’s friendship--early friendship with W. H.
Sedley-Smith, 29;
Sedley-Smith’s influence on--same employs, at Calif. Th. and
advice of same to, 33;
his actual adoption of stage--acts with J. Murphy, in “Help,” 34;
actors with whom associated in “Help”--date of his association
with Chapman Sisters, 35;
at the Metropolitan Th. in ’73, 36;
his parts in various performances at the Metro.--makes “a hit”
as _Prince Saucilita_, in “The Gold Demon,” 37;
earning extra pay, 38;
early acquaintances of--theatrical vagabondage of--and describes
same, 39, _et seq._;
early parts played by, 41;
eking out a living--early admiration, etc., of Walter
Montgomery, 42, _et seq._;
chief recitations by--appearances of, at Platt’s Hall,
about 1870--first meeting with future wife--impression of, 44;
serious injury to--near death--marriage of, 45;
travels with Chapman Sisters--returns to S. F.--employed
by J. H. Le Roy--suggests “The New Magdalen” for B. Pateman, 46;
his recollections of first performance of that play--and
of Miss Pateman--engaged at Shiels’ O. H., 48;
another engagement with Murphy--acts with L. Alberta--with
F. Cathcart and G. Darrell--various parts played by, 49;
acts for bft. J. Dunbar--goes to Virginia City, Nev., under
management J. Piper, 50;
varied experience in Virginia City, 51;
associated there with Mrs. D. P. Bowers--and regard for
same--meeting with Dion Boucicault--confusion
about--and facts considered--profound influence
on, of Boucicault--B.’s reminiscence of same, 52, _et seq._;
author’s opinion _re_ Boucicault’s employment of, in
Virginia City--opinion of, about Boucicault--first
S. F. appearance of, again mentioned, 57;
not in Virginia City before 1873--disappears from
S. F. records--and goes to Virginia C., 60;
concerning, and Boucicault, in Virginia C.--number of
engagements there filled by--period of his career, 1873-1876, 61;
actors associated with, in Virginia C. enumerated--and
painful experience of, with demented woman, 62;
freed from control of Piper--returns to S. F.--appears
with A. Neilson during her first S. F.
engagement--sees the Lingards in “La Tentation,” 63;
sees Raymond in “Led Astray”--consulted _re_ “The Gilded
Age”--his recollection of same and J. T. Raymond, 64;
employed by Lingard--and by Barton Hill--plays and actors
associated with, summer of 1874, 68;
his admiration for S. W. Piercy, 69;
“barnstorming” ventures by--employed by Mile. Zoe--and
appears with--secretary to T. Maguire--appears
with J. A. Herne, etc., 70;
the same--and sees Mayo in “Griffith Gaunt”--makes
a version of same--again works with J. H. Le Roy, 71;
works with Herne, etc.--assists in revival of “Oliver Twist”--revives
and produces “The Enchantress” for A. Bennett--and
appears in, with same, 72;
temperamental heedlessness of, _re_ dates--author’s
consequent difficulty in making Chronology, 73;
most important event of early life--nature of his
experience--“stars” associated with, 74;
his reminiscences of the “minstrel” “Jake”
Wallace--and of Frank M., and Mrs. Bates, 75;
admiration of, for J. E. Owens--and writes play
for--kindness to, and instruction of, by C. R. Thorne, Sr., 78;
“barnstorming” with a “beautiful school teacher”--friendship
with Mary Gladstane--and admiration for “Mary Warner,” 79;
plays produced by, with Miss Rogers--liking of, for
“Robert Macaire”--“specialties” of B.--makes wigs, 80;
returns to S. F. to study Hooley Comedy Co., W. H.
Crane, etc.--employed by Hooley, 81;
willingness and simplicity of, _re_ labor--employed
by Emmet as dresser--and acts with, 82;
studies Daly’s productions--and refused engagement
by same--peddles “patent medicines,” 83;
prepares prompt books--marvellous resources of, 84;
first meeting of, with J. A. Sawtell--later association--joins Thorne, Sr.,
at his Palace Th.--and not paid by, 85;
plays acted in with Thorne, Sr.--appears with F. Jones, 86;
prompter and assistant stage manager at Baldwin’s Academy of Music, S.
F.--associated with B. Sullivan--and others, 87;
plays acted in by, with Sullivan--he returns to Maguire’s New Th., 88;
views of, _re_ difficult parts--interesting reminiscence of Sullivan--goes
“barnstorming” again, 89;
acts in bfts.--sees E. Adams--sees G. Rignold in “King Henry V.,” 90;
and sees Barrett in same--diverse activities of--acts with
G. F. Rowe--appears
again in “Under the Gas-Light”--meets Eleanor Carey, 92;
makes play on “Article 47” for Miss Carey, 93;
period of his life, 1876-1879, _et seq._--sees and studies
E. Booth--and appears
with same at Calif. Th.--his Booth relics--works for
Ward and W. Montague, 96;
travels with F. M. Phelps--and joins F. Gardner in
“The Egyptian Mystery,” 97;
his appearance with same--and plays written by, for, enumerated, 99;
recitations by, in same association--and his reminiscence
of--experiments in stage
lighting, 99;
travels with “The Egyptian Mystery”--sees Modjeska’s
first Am. appearance, 100;
recollections of same, 102;
acting and stage managing with T. W. Keene, 103;
acting with the “Frayne Troupe”--plays old women--and
goes to Bush St. Th., S. F., 104;
at the Baldwin again--directs the N. Y. Union Square
Theatre Co. in S. F.--and travels
and acts with--tribute to, by that co., 105;
letter to, from F. F. Mackay on behalf of same--his
“Dearer than Life” and his “Olivia”
produced, 106;
his “Olivia”--and alters “A Woman of the People,” 107;
makes “Proof Positive” for R. Wood--directs C. Morris--and
adapts “Not Guilty,” 108;
his “Not Guilty” produced in S. F.--recollections of
that production--leaves the Baldwin, 110;
contemptible treatment of, _re_ “Not Guilty”--Baldwin
intervenes--and an experience with
D. Thompson and J. M. Hill, 111, _et seq._;
returns to S. F. and to the Baldwin--adapts and produces
“Within an Inch of His Life,” 113;
“fire effect” in same, 114;
S. Morse’s “Passion Play” produced by, etc., 115, _et seq._;
his opinion of O’Neill’s _Jesus Christ_--he adapts
“La Famille Benoiton!”--and writes
“The Millionaire’s Daughter,” 125;
his account of producing same, 126, _et seq._;
accused of plagiarism--and comment thereon, 128;
detraction of B.--reason for, and examined, 129, _et seq._;
nature of early influences affecting, 133;
characteristics of--and early influences on, again, 134;
sees opening of the California Theatre, S. F., 135;
special histrionic idols of--a Shakespearean student
and scholar--and nature of early training as such, 136;
plays of S. familiar to--parts in S. plays acted
by--and women of, acted by, 137;
pre-eminently qualified to produce Shakespeare--and
reasons why he has not yet done so in N. Y., 138;
on _Shylock_, D. Warfield as, etc., 139;
a prescient manager--his repertory as an actor--more
than 170 parts and plays enumerated, 140, _et seq._;
his “The Story of My Life” critically examined by author, 148, _et seq._;
author and, on stage deaths, etc., 150;
not the inventor of “natural” acting, 155;
not a disparager of the Past, 157;
in boyhood, sees and studies Daly’s Co., 158;
great service of, to Stage, 159;
and nature of--his qualities--and influences affecting, 161;
detraction of, by criticasters, 162;
enduring nature of his achievements,
163;
birth of--and misleading accounts of his early career, 164, _et seq._;
errors of, _re_ Barrett, McCullough, Montgomery,
etc., corrected, 165, _et seq._;
views of, _re_ “one-part actors,” Salvini, Irving,
Jefferson, etc., contravened, 168, _et seq._;
R. Coghlan engaged at his request, 177;
Miss Coghlan’s attitude toward, 178;
they become good friends--Miss C. appears under
his direction--he writes play for same, 179;
Wallack wishes to buy that play, 180;
B.’s recollection of Herne and K. Corcoran, 181;
bft. for B. and Herne, 182;
B. on same--and Maguire and Baldwin, 183;
he makes version of “L’Assommoir,” 185;
and same is produced by, 186;
friction at rehearsals of same, 187;
he projects play of “Chums” for O’Neill and Morrison, 188;
writes and produces same with Herne and his wife, 189;
failure thereof, 190;
leaves S. F. to venture in East, 191;
arranges to bring out “Chums” in Chicago as “Hearts of Oak,” 192;
success of venture in Chicago, 193;
dissension between, and Herne begins, 195;
B. and Herne come to N. Y., 196;
consequence to, of failure in N. Y., 206;
badly treated by Herne--and sells “Hearts of Oak” interest, 207;
account of his return to S. F., 208, _et seq._;
re-employed in minor capacity at the Baldwin--and
his recollections of Miss Neilson and her farewell, 209, _et seq._;
his “Paul Arniff,” 214;
produced, 215;
his version of “True to the Core,” 220;
various productions directed by--his recollections
and estimate of W. E. Sheridan, 221;
impression made on, by Sheridan--and gives imitations
of that actor--recollections of Laura Don, 225, _et seq._;
produces “Wedded by Fate”--and recollections of
H. B. McDowell, 227;
again associated with Geo. Darrell, 229;
his play of “La Belle Russe,” 230, _et seq._;
same produced--and success of, 236;
requests Tearle to inform Wallack concerning
same--his “The Stranglers of Paris,” 237;
same produced--story and quality of, 238;
takes “La Belle Russe” to N. Y., 241;
harsh treatment of, by Maguire, 242;
sells “La Belle Russe” outright, 243;
returns to S. F. and the Baldwin, 244;
errors of, _re_ Wallack, corrected, 245, _et seq._;
his “La Belle Russe” produced at Wallack’s, 246;
directing for Sheridan again, in S. F., 247;
his “The Curse of Cain”--recollections of--and
views of the character of Cain, 248, _et seq._;
fidelity of, to Maguire, 253;
associated with G. Frohman, 254;
and revives his alteration of “The Octoroon” with G. Frohman, 255;
description of “effects” in, 256;
writes “American Born,” 257;
produces same, 258;
first meeting of, and C. Frohman, 259, _et seq._;
accepts employment at Madison Square Theatre,
N. Y.--leaves S. F. with G. Frohman’s Co., 261;
letter to, from F. F. Mackaye, 262;
retrospect of his early career--and partial list of
plays produced by, prior to 1882, 263, _et seq._;
produces “American Born” in Chicago, 269;
recollections of same--and of journey East, 270, _et seq._;
interview with Dr. Mallory--engagement at
Mad. Sq. Th. confirmed--and comment on by author,
etc., 275, _et seq._;
hard terms of contract with, 277;
unrecognized labors of, 278;
plays produced by, at Mad. Sq. Th., prior to 1884, 279;
production--contents--significance of his “May Blossom,” 280, _et seq._;
faints at first performance of “May Blossom”--gratitude
of, to author, 287;
accused of plagiarism, 288;
and cleared of charge, 289;
goes to England for first time--author and, meet for
first time, 290, _et seq._;
adapts “Called Back,” 291;
friction with Palmer--interview with same and Boucicault, 293;
he leaves the Mad. Sq. Th.--project of starring as
_Hamlet_, etc., 294, _et seq._;
association with S. Mackaye, 296;
quarrel with, and same ended, 297;
writes “Valerie” for L. Wallack, 298;
particulars of that task, 299;
his “Valerie” considered, 300, _et seq._;
feeling of, toward Wallack, 305;
errors of, corrected, 306;
returns to S. F., 307;
his “Valerie” in S. F., 308;
cast of same--and other plays produced, 309;
extraordinary performance for bft. of--cast, etc., 310, _et seq._;
returns to N. Y., 311;
engaged at the Lyceum Theatre, 313;
makes “The Highest Bidder” for E. H. Sothern, 314, _et seq._;
produces “The Great Pink Pearl” and “Editha’s
Burglar”--develops Elsie Leslie, 317;
with Greene, writes “Pawn Ticket 210” for Lotta, 318, _et seq._;
productive industry of--produces “Baron Rudolph”
(rewritten in style of Howard)--and strives
to save Knight from failure in, 321, _et seq._;
his recollections of G. Knight and this play (“Only a Tramp”), 325;
commissioned to write second play for the Lyceum, 326;
takes Henry C. De Mille into collaboration--they write
“The Wife”--and B.’s recollections of, etc., 327, _et seq._;
success of “The Wife” due to scene invented by--method
of collaboration of, and De Mille, 334;
he forces “The Wife” into success, 336;
B. and De Mille commissioned to write play for younger
Sothern--and B. revises Gillette’s “She,” etc., 337, _et seq._;
his work as a teacher of acting--goes to Echo Lake and
writes “Lord Chumley” with De Mille, 340;
on actors and their choice of parts--persuades Sothern
to act _Chumley_, 341;
recollections of writing “Lord Chumley,” 343;
varied labors of--and revises “The Kaffir Diamond,” 345, _et seq._;
his view of schools of acting, 349;
a master--and wholly exceptional as a teacher of acting,
etc., 351, _et seq._;
“Electra” revived under his direction--his recollections of, 353;
anticipates G. Barker and “modern methods” by more than
a quarter-of-a-century--miscellaneous work of, at Lyceum, 355;
places “Robert Elsmere” on the stage for Gillette--commissioned
to write third play for Lyceum, 356, _et seq._;
on best subjects for the Drama--and writes “The Charity
Ball” with De Mille, 357, _et seq._;
association of, with Mrs. Leslie Carter, 361;
first meeting of, and same, 362;
Mrs. Carter seeks, at Echo Lake, 363;
impressed by latent talent of same--and determines to train her, 363;
unable to hold rehearsals for lack of a stage--undertakes
to revise and produce
“The Prince and the Pauper” in return for use of a
stage, 365, _et seq._;
quality of, when angered--opinion of Elsie Leslie--and
her supporting co., 367;
his bargain for stage of the Lyceum repudiated, 368;
his bitter resentment of--and retires from the Lyceum, 369;
his shackled situation, after twenty years of labor, 370;
desperate resolution of, 371;
training Mrs. Carter--and his situation grows worse, 372;
proposal to, by C. Frohman--and same accepted--“Men and Women”
written for C. Frohman, 382;
seeks play for Mrs. Carter--and employs P. M. Potter, 384;
arrangement of, with N. K. Fairbank, to “back” Mrs.
Carter--disappointed by Potter, 384;
employs Gordon--and throws out all his work--revises
“The Ugly Duckling”--and produces same, 385;
difficulties in starring Mrs. Carter, 387;
deserted by Fairbank, 388;
Fairbank repudiates obligations to--and B. sues him, 389;
B.’s suit against Fairbank--and origin of preposterous
story about B.’s methods of instruction, 390;
Mrs. Carter’s acknowledgment of debt to--and his view of Fairbank, 391;
writing “The Heart of Maryland”--and bitter struggle of, 392;
shifts to make a living, 393;
reminiscence of, about Mrs. Carter, 394;
proposal to, by C. Frohman, for managerial alliance, 395;
same accepted--and adapts “Miss Helyett” for American
stage--interviews of, with Audran and Wyndham, 396;
with C. Frohman he produces “Miss Helyett”--and his work on same, 397;
meets Audran and obtains letter of commendation from, 398;
lays aside “The Heart of Maryland” to assist C.
Frohman--takes F. Fyles into collaboration--and
appreciative remembrance of, 402;
writes “The Girl I Left Behind Me” with Fyles, 403;
shrewd judgment in selecting novel theme for, 404;
his play of “The Girl I Left Behind Me” critically
examined in detail, etc., 406, _et seq._;
instructive observations of, _re_ suggestion in art, 418;
disregards the principle, 419;
remarks of, _re_ origin of “The Girl I Left Behind Me,” 420, _et seq._;
relations of, with C. Frohman, 421;
important letter to, from C. Frohman, 422;
his “dreams”--seeks, and gains, the co-operation of R. M. Hooley, 425;
arrangement with Hooley to produce “The Heart of Maryland”--and that project
blocked by sudden death of Hooley--B. extruded
from Chicago in favor of Klaw & Erlanger, 427;
adapts “The Younger Son” to assist C. Frohman at the Empire, 428;
comment on failure of, 430;
again revises “The Heart of Maryland”--and interjects “local color,” 431;
significant comment by, _re_ difficulty in producing
“The Heart of Maryland,” 432, _et seq._;
author’s endorsement of his views thereon--and B.’s desperate straits, 433;
Palmer accepts “The Heart of Maryland,” 434;
same is unable to fulfil contract and produce--B. again defeated, 435;
reminiscence of final efforts to bring out “The Heart
of Maryland,” 436, _et seq._;
at last produces that play--the turning-point in his career, 437;
comment on his experience in business dealings, 438;
his “The Heart of Maryland” critically examined in detail, 438, _et seq._;
his speech on first night of that play in N. Y., 445;
success at last--trial of his suit against Fairbank--revises
“Under the Polar Star”--visits S. F.--and buys “The First Born,” 447;
his beautiful presentment of that play in N. Y., 449; 450;
with C. Frohman presents “The First Born” in London, 451;
sails for England--and with same presents “The Heart of
Maryland” in London, 452, _et seq._;
newspaper injustice to, _re_ that play of his and
“Secret Service,” 453, _et seq._;
quest of a new play--and reads about “Zaza,” 454;
sees that play--and arranges with C. Frohman to buy
and produce--returns to Am., 455;
author’s strictures on his play of “Zaza” and production of same by, 456;
compassionate nature of--and his moral attitude more
emotional than rational, 459, _et seq._;
first production of “Zaza”--and same in N. Y., 461;
success of Mrs. Carter is due to, 465;
death of his mother--strange experience of, at time--and views
of, on spiritualism, 466, _et seq._;
filial affections of--and reminiscence of his
mother--and significant letter from, 468, _et seq._;
serious purpose of, in “Naughty Anthony,” 475;
his comment on failure of same, and causes thereof, 476;
reads story of “Madame Butterfly”--and writes a tragedy
based on--same critically considered in detail, 477, _et seq._;
produces that tragedy--and success thereof, 482;
presents “Zaza” in London--and disgust of Fr. authors thereof, 484;
B.’s amusing reminiscence of same, 485, _et seq._;
takes “Madame Butterfly” to Eng., 486;
with C. Frohman presents same in London--and achieves
memorable success with, 487;
great tribute of audience to, at first Eng. presentation
of “Madame Butterfly,” 488, _et seq._;
gives operatic rights of, to Puccini, 489;
lends scene models for operatic production of, 490;
meets Lady V. S. Meux--and is invited to abandon Mrs.
Carter’s direction and assume that of Mrs. J. B. Potter, 492;
his desire to conduct a London theatre--Lady Meux offers
to build one for him--he declines both her proposals--and
comment thereon, 493.
Belasco, Mrs. David (Cecilia Loverich): first meeting with B., 44;
marriage of, 45.
Belasco, Frederick (1862-19--): birth of, 3; 447.
BELASCO, HUMPHREY ABRAHAM (father of D. B.: 1830-1911):
nationality of--and birth, 1;
goes with wife to Calif.--thence to Victoria, 2;
traces runaway son--affiliations of, with actors, 6;
removes family from Victoria, 10;
removes family to S. F., 15.
BELASCO, MRS. HUMPHREY ABRAHAM (Reina Martin, mother of
D. B.: 1830-1899): nativity of--and birth, 1;
goes with husband to S. F.--birth of first child--goes to Victoria, 2;
children of, born in Victoria, 3;
her early name for B.--and opinion about, 21;
death of--and B.’s strange experience at time of, 466, _et seq._
Belasco, Israel (1861----): birth, 3.
Belasco, Walter (1864-19--): birth, 3.
“Belle Lemar” (melod.): 439.
BELLE RUSSE,” “LA (melod.): object of B. in writing, 230;
story of, 231, _et seq._;
produced--and success of, 236;
original cast of, 237;
B. takes to N. Y., 241;
desired by various managers, 241;
sold outright--and produced in N. Y., 243;
B. Howard’s opinion of, etc., 244; 246; 268; 298; 432.
Bellew (Higgin), Harold Kyrle (Eng.-Am. actor: 1845-1911): 298;
admirable performance of, as _Challoner_, 303.
Bellows, Charles: 349.
Bells,” “The (melod.): 168; 170; 172; 247.
Bells,” “The (poem): 43.
Belot, Adolph (Fr. novelist and dramatist: 1829-1890): 238.
“Ben Battle” (poem): 43.
Bennett, Amy (Am. actress): B. revises and directs
revival of “The Enchantress” for, 72.
Bennett, Julia (Mrs. Jacob Barrow: 1824-18--): 153.
Bergere, Valerie (Am. actress): 491; 492.
“Bernardino del Carpio” (poem): 11; 20; 44.
Bert, Frederick W. (Am. th. agent and man.): 91.
Berton, Pierre (Fr. journalist and playwright: 1840-1912): 456; 484; 485; 486.
Bernhardt, Sarah (Sarah Frances--Mme. Jacques Damala:
Fr. actress, sculptor, and th. man.: 184[4?]-19--): 151.
Big Bonanza,” “The (play): produced in N. Y., 80; 82.
Billings, Arthur D. (Am. actor: 18----1882): 46; 47; 62; 87;
bft. to, 100.
Bishop, Charles B. (Am. actor, and M.D.: 18---1889): 105.
Black Hand; or, The Lost Will,” “The (melod.): B. acts in, 86.
Blaine, Mrs. James G., Jr. (Mary Nevin): 340.
Blake, William Rufus (Am. actor: 1805-1863): 157.
“Bleak House” (dramatization of): Mme. Janauschek
in--and B. makes version of, 84.
Bleiman, Max: 436; 437; 447.
Blinn, Holbrook (Am. actor: 1872-19--): 11.
Boker, George Henry (Am. poet and dramatist: 1823-1890): 9.
BOOTH, EDWIN THOMAS (am. Actor and Th. Man.: 1833-1893):
early S. F. “hit” by, in mimicry, 38;
returns to S. F.--and B. meets, 93;
repertory of, at Calif. Th.--and B. appears with, 94;
B.’s recollections of--and relics of, 95, _et seq._;
132; 151; 168; 170; 171; 273.
Booth, Junius Brutus, Sr. (Eng.-Am. tragedian: 1796-1852): as _King Lear_, 32.
Booth, Junius Brutus, Jr. (Am. actor and th. man.: 1821-1883): 131.
Booth’s Theatre, N. Y.: “Daddy O’Dowd” first produced at, 58.
Boston Museum: 8.
Boucheron, Maxime (Fr. librettist): 397.
BOUCICAULT, DION (Dionysius Lardner Boucicault
[originally Bourcicault]: Irish-Am. dramatist,
actor, and th. man.: 182[2?]-1890):
first meeting of, with B.--confusion regarding--profound
influence of, on B.--his “Led Astray”--B.’s
reminiscence of, etc., 52, _et seq._; 54;
and Mrs. (Agnes Robertson) return to Am. and appear
in “Arrah-na-Pogue”--tour by--many projects of--first
appearance of, as _Daddy O’Dowd_, 58;
at first Am. appearance of T. Salvini--author on
first production of his “Led Astray,” 59;
author on methods of--first appearance of, in S. F., 60; 69; 106;
effect of, on B., 160; 165; 169; 173; 174;
imitates Jefferson’s Rip, 175; 255; 276; 293; 294;
designations of dramatic forms by, 377; 412; 419; 439.
“Boucicault in California” (entertainment): 60.
Bowers, Mrs. David P. (Elizabeth Crocker--Mrs. ----
Brown--Mrs. James C. McCollom: 1830-1895): 51;
B. acts with--and his regard for, 52; 133; 136.
Bowery Theatre, N. Y. (old): Julia Dean makes first N. Y. appearance at, 8.
“Box and Cox” (farce): 372.
Boyesen, Hjalmar Hjorth: 279.
Bozenta, Charles (Charles [Karol] Bozenta Chlapowski:
Polish-Am. journalist and th. man.: 1838-1914): 310.
Bradley, A. D. (Am. stage man. and actor): 230.
Brady, William A. (Am. th. man.: 1865-19--): 446; 451.
“Brass” (play): 92.
Bridge of Sighs,” “The (poem): 43.
Broadway Theatre, N. Y. (old): Julia Dean at, 8; 9.
Brooke, Gustavus Vaughan (Irish actor: 1819-1867): 131.
Brooks, Joseph (Am. th. agent and man.: 1849-1916): 196; 251; 438.
Brougham, John (Irish-Am. actor, dramatist, and
th. man.: 1810-1880): his designation of Lotta, 27; 43; 132; 177.
Brown, Henry (Am. actor and stage man.): 104; 115.
Bruce,” “The (poem): 43.
Buchanan, McKean (Am. actor and th. man.: 1823-1872): 131.
Buckland, Wilfred (Am. th. designer): 349.
Buckley, Edward J. (Am. actor: 18---18--): 87; 89; bft., 92; 135.
Buckley (Uhl), May (Am. actress: 1875-19--): 449.
Buckley, Mrs. Edward J.: 135.
Bulletin,” “The San Francisco Evening (newspaper): on B.’s
“Not Guilty,” 110;
on acting of Daly’s Co., 159.
Bullock, William (Am. journalist): 357.
Burgess, Neil (Am. actor: 1846-1910): 375.
Burke, Charles St. Thomas (Am. actor: 1822-1854): 172; 173; 341.
Burnett, Mrs. Frances Hodgson (Frances Eliza Hodgson)
(Am. novelist and playwright: 1849-19--): 317.
Burr, ---- (school teacher): 4.
Burroughs, Claude (Am. actor: 18---1876): --.
Burroughs, W. F.: 135.
Burt, Frederick W. (Am. th. agent and man.): 207.
Burton, William Evans (Eng.-Am. actor and th. man.: 1804-1860): 158.
Bush Street Theatre, S. F.: B. acts at, with O. D. Byron, 104.
Bustle Among the Petticoats,” “A (farce): 375.
Byron, George Gordon, sixth Lord (the poet: 1788-1824): 120; 412.
Byron, Henry James (Eng. dramatist, actor, and th. man.:
1835-1884): 36; 106; 220; 343.
Byron, Oliver Doud (Am. actor: 1842-19--): B. acts with, in S. F., 105.
C
“Cain” (poem--Byron’s): 120.
Caldwell, W. (actor): 135.
California (State of): “gold fever” in, 2.
California Theatre, S. F.: Boucicault’s first Calif. appearance made at, 60;
A. Neilson’s first Calif. appearance made at, 63;
L. Barrett at, in “K. Henry V.,” 91;
opened--and dramatic co. there, 135;
eng. of L. Wallack at, 180.
Call,” “The San Francisco (newspaper): 103.
“Called Back” (melod.): 290; 291, _et seq._; 293; 294.
Callender’s Negro Minstrels: 255.
Calvert, Charles (Eng. actor and th. man.: 1828-1879): 90;
trains G. Rignold, 91;
his revival of “K. Henry V.,” 92.
“Camilla’s Husband” (play): 179.
“Camille” (play): 458.
Campbell, Bartley (Am. dramatist: 1844-1888): 80;
version of “Ultimo” by, 81; 221; 348.
Carey, Eleanor (Am. actress): first appearance of, in S. F.--and B. meets, 92;
reopens Grand O. H., S. F., 97;
B. makes play for, on “Article 47,” 93.
“Carlotta! Queen of the Arena” (play): 72.
Carlyle, Thomas (the historian: 1795-1881): 456.
“Carmen” (opera): 111.
Carr, Mary (actress): 153.
CARTER, MRS. LESLIE (Caroline Louise Dudley--Mrs. William
Louis Payne: Am. actress: 186[4?]-19--):
association of, with B.--and biographical
particulars concerning, 361, _et seq._;
divorced, 362;
first meets B.--crude aspirations of, 362;
follows B. to Echo Lake--and impresses him with talent, 363;
B. determines to train, 364; 366;
antagonism toward, 368; 369; 370; 371;
B.’s training of, 372, _et seq._;
play for, sought by B., 383;
“backing” obtained for--and first appearance of, on stage, 385; 386;
comment on her performance of _Kate Graydon_--difficulties in managing, 387;
first tour of, ended, 388; 389;
fiction _re_ B.’s method of training--letter of,
acknowledging her debt to B., 390, _et seq._;
her recollection of a dark period, 392;
thinks of becoming a “beauty doctor”--managerial
antipathy toward, 393, _et seq._; 394;
goes to Paris to see farce, 396; 421; 422; 425;
B. arranges to bring her out in Chicago, 426; 427; 431; 433; 434;
as _Maryland Calvert_, 444; 446;
sails for Eng., 452; 454;
sails for Am., 455; 472;
acts _Zaza_ in London, 484; 485;
B. invited to
give up direction of, 492;
he refuses same, 493.
“Caryswold” (melod.): 257.
Cat and the Cherub,” “The (play): 451.
Cathcart, Fanny (Mrs. Geo. Darrell: actress): B.
acts with, and G. Darrell, 49.
Cathcart, James F. (Eng.-Aus’n. actor: 1829-1903): 87; 133.
“Caught in a Corner” (play): rewritten by B., 295.
Cayvan, Georgia (Am. actress: 1858-1906): first distinctive success of, 285;
as B.’s _May Blossom_, 328;
hostile to Mrs. L. Carter, 328; 369.
Celebrated Case,” “A (play): 105.
Chanfrau, Francis [usually Frank] S. (Am. actor
and th. man.: 1824-1884): 133; 168.
Chapman, Edith: 349.
Chapman, Logan (actor): 261.
Chapman, William B. (actor): 173.
Chapman Sisters, Ella and Blanche (Am. burlesque actresses): 35; 36; 37;
B. travels with, 46.
Charge of the Light Brigade,” “The (poem): 43.
CHARITY BALL,” “THE (domestic drama): high rank of, 357;
story of, 358, _et seq._;
production--performance--and cast of, 360; 432.
Charke, Charlotte (Charlotte Cibber--Mrs. Richard
Charke: Eng. actress: died, 1760): 40.
“Charles O’Malley” (dramatization of): S. Cowell acts in, 71; 72.
“Childe Harold” (poem): 412.
Children of the Ghetto,” “The (novel): stage synopsis of--a failure, 473.
Chippendale, William H. (actor and th. man.: 1802-1888): 153.
“Chispa” (play): 247; 254.
CHRISTMAS NIGHT; OR, THE CONVICT’S RETURN,” “THE (play): 98.
Chronicle,” “The San Francisco (newspaper): 248.
“CHUMS” (play): 188--and see “Hearts of Oak.”
Cibber, Colley (Eng. actor, dramatist, th. man., etc.: 1671-1757): 87; 137.
“Cinderella” (burlesque): 46.
Clandestine Marriage,” “The (comedy): 160.
Clarke (O’Neill), George (Irish-Am. actor: 1840-1906): 299.
Clarke, John Sleeper (Am.-Eng. actor and th. man.: 1833-1899): 295.
Claxton, Kate (Mrs. Charles A. Stevenson) (Am. actress: 18---19--): 229.
Clemens, Samuel Langhorne (Mark Twain: Am. author: 1835-1910): Densmore’s
ver. of his “The Gilded Age”--letter about same
from, to Howells, quoted, 65;
Raymond’s letter about his “The Golden Age,” 66;
play suggested to, by Elsie Leslie, 365; 366.
Coggswell, William J. (actor): 69.
Coghlan, Charles Francis (Eng.-Am. actor, th. man.,
and dramatist: 1842-1899): 133; 177.
Coghlan, Rose (Mrs. John A. Sullivan: Eng.-Am. actress: 1852-19--): 133;
comes to Am.--and first appearance there--engaged
by Maguire at B.’s request, 177;
attitude of, toward B., 178;
they become friends--first appearance of, in S.
F.--play written for, by B., 179;
she appears in same, 180; 183; 184;
experience of, in rehearsing “L’Assommoir,” 187;
ends S. F. engagement, 188; 237; 246.
Colleen Bawn,” “The (drama): 36.
Collins, John (actor): 132.
Collins, William Wilkie (Eng. novelist and dramatist: 1824-1889): 46;
his “The New Magdalen” dramatized and produced--comment
thereon by, 47; 92; 231.
Colton, “Harry” (actor): 261.
Colville, Samuel (Am. th. man.: 1825-1886): 131; 246.
Comedy of Error,” “The: 137.
Congreve, William (Eng. dramatist: 1670-1729): 302; 330.
Conjugal Lesson,” “A (farce): 80.
Cooke, T. P.: 220.
Cooper, James: marriage of, and J. Dean, 10.
CORCORAN, KATHERINE (Mrs. James A. Herne: Am. actress: 185[8?]-19--): 180;
meeting of, and Herne, 181;
appears in “Chums,” 190;
advises B. and her husband to go East, 191;
first appearance in Chicago, 193;
performance of, in “Hearts of Oak,” 204.
“Coriolanus”: 137.
Corrigan, Emmett (Am. actor): 416.
Corsican Brothers,” “The (melod.): scene in, estimated, 128.
Couldock, Charles Walter (Eng.-Am. actor: 1815-1896): 254; 273.
County Fair,” “The (melod.): 375.
Courtaine, Henry (Am. actor): 36.
Courtaine, Mrs. Henry (Am. actress): 104.
Cowell, Sydney (Mrs. George Giddens: Eng.-Am. actress): 62.
Crane, William Henry (Am. actor and th. man.: 1845-19--): 87; 133.
Crazy Horse (Indian chief): 404.
“Creatures of Impulse” (play): 69.
Creole,” “The (B.’s version of “Article 47”): 93.
Criticism, dramatic: incompetence, the evil of, 155, _et seq._;
folly of much of contemporaneous, 151.
Croly, Vida (Am. actress): 355.
Crook, General George, U. S. A., (1828-1890): 420.
Crook, Mrs. George: relates interesting reminiscence to B., 420, _et seq._
Crow, “Jim” (negro slave): 38.
“Cupid’s Lawsuit” (farce): 176.
“Curfew Must Not Ring To-Night” (poem): 11; 44; 442.
CURSE OF CAIN,” “THE (melod.): 248;
story, 249, _et seq._;
cast of, 252.
Curtis, Maurice Bertram (Maurice Bertram Strelinger:
Am. actor: 18-- ----): 104; 295.
Custer, General George Armstrong (1839-1876): 404.
“Cymbeline”: 137.
D
“Dakolar” (melod.): 296; 311.
DALY, AUGUSTIN (Am. journalist, th. man., dramatist,
and stage man.: 1838-1899): 56; 70;
production of his “The Big Bonanza,” 80;
the same, forestalled in S. F., 82;
not to be excluded from S. F., 83; 92; 127;
begins management--his co. in S. F., 158;
acting of same described, 159; 180;
“Life” of, by his brother--and opinion of, _re_ “L’Assommoir,” 184;
produces revision of same, 185; 228; 306; 392;
fails with “Heart of Ruby,” 482.
Daly, Hon. Joseph Francis (Judge--N. Y.: 1840-1916): 184.
Danicheffs,” “The (melod.): 179.
Danites,” “The (play): 105.
“Dark Deeds” (melod.): 49.
“Darling” (melod.): 36.
DARLING OF THE GODS,” “THE (tragedy): 162; 470; 477.
Darrell, George (Australian actor and th. man.): 49; 229.
Daughter of the Nile,” “A (play): 227.
Dauvray, Helen (Am. actress and th. man.): 312; 337.
Davenport, Edward Loomis (Am. actor and th. man.: 1815-1877): 72; 153; 197.
Davenport, Louise (Mrs. William E. Sheridan: actress): 225.
“David Copperfield” (novel): B. makes dramatization of, 84.
Davis, Phœbe (Mrs. Joseph R. Grismer: Am. actress: 1864- ----): 254.
Davis, “Rellie” (actress): 261.
Dawn of Freedom,” “The (melod.): B. in, 86.
DEAN, JULIA (Hayne) (Mrs. Arthur Hayne--Mrs. James Cooper: Am. actress
and th. man.: 1830-1868): B. in
childhood, appears with--and sketch of, 7, _et seq._; 132; 164.
“Dearer than Life” (melod.): 106.
De Bar, Benedict (Eng.-Am. actor and th. man.: 1814-1877): 133.
de Belleville, Frederic (Belgian-Am, actor: 1857-19--): 382.
“Deborah” (melod.): 103.
“Delmar’s Daughter” (play): 279.
DE MILLE, HENRY CHURCHILL (Am. playwright: 1850-1893): 313; 326;
becomes collaborator with B., 327, _et seq._;
336; 337; 340; 343; 356; 373; 377; 378; 380; 383.
Denin, Kate (Mrs. John Wilson: Am. actress: 1837-1907):
acts with B. and Thorn, Sr., 86; 132.
“Denise” (melod.): 458.
Densmore, Gilbert S. (Am. journalist):
his version of “The Gilded Age”--and B.’s recollection of, 64;
Clemens on same, 65;
Raymond on, 66.
Detraction: of eminent persons, author on, 129, _et seq._
Dickens, Charles, Sr. (the novelist and dramatist: 1812-1870): 43.
Dickson, James B. (Am. th. man. and actor): 196; 251.
Dillon, John (actor): 261.
Dillon, Louise (actress): 355.
“Diplomacy” (play): 189, 237; 299.
Dithman, Edward Augustus (Am. journalist: 1854-1917): 245.
Dittenhoefer, Hon. Abram Jesse (Am. lawyer: 1836-19--): 389.
“Divorce” (play): revived in S. F., 70;
B. on same, 181.
Dockstader’s Minstrels: 375.
DOLL MASTER,” “THE (melod.): 418.
“Dombey & Son” (novel): B. makes dramatization of, 84.
“Don Cæsar de Bazan” (play): 69; 87.
Don, Laura (Anna Laura Fish--Mrs. Thomas B.
McDonough--Mrs. George W. Fox: Am. actress: died, 1886): 224;
B.’s recollection of, 225, _et seq._
“Donna Diana; or, Love’s Masque” (play): 51.
Donnelly, see Murphy, Joseph.
“Dora” (play): adapted and directed by B., 84.
Dorr, Dorothy (Mrs. H. J. W. Dam: Am. actress: 1867-19--): 349.
Douglas, Mrs. Belle (actress): 87.
Doyle, W. F. (actor): 261.
Drake, Samuel (Eng. actor: 1872-1847): grandfather of Julia Dean, 8.
Drake, Julia (Mrs. Thomas Fosdick--Mrs. Edmund
Dean--Mrs. Samuel Drake: Eng.-Am. actress): 8.
Drew, Mrs. John (Louisa Lane--Mrs. Henry Hunt--Mrs.
George Mossop: Eng.-Am. actress and th. man.: 1820-1897): 206; 207.
“Drifting Apart” (play): 198; 199.
Dudley, Mrs. Caroline: 392.
Dudley, W. C. (Am. actor): 35.
Duff, John (Am. speculative th. man.: 18-- -1889): 184.
Dunbar, James: 50.
Dunn, John (Am. actor): 131.
Dunning, Alice (Mrs. William Horace Lingard:
Eng.-Am. actress: 18-- -1897): 133.
Duret, Marie (“The Limpet”--actress): 131.
E
“Easiest Way,” “The (play): 456.
“East Lynne” (play): 7; 52; 79; 261.
Eaves, Albert G. (th. costumer): 375.
Eberle, Robert (Am. actor and stage man.): 217.
Eddy, Edward (Am. actor: 1822-1875): 193.
“Editha’s Burglar” (play): 317; 318; 365.
Edmonds, Charles (actor): 47.
Edmonds, Mrs. Charles (actress): 48.
Edouin, “Willie” (Eng. actor: 1845-1908): 135.
Edwards, Charles (actor): 69.
Edwards, Henry (Am. actor, stage man., and
naturalist: 1824-1891): 36; 135, _et seq._;
acts _Antony_, 166; 298.
Edwards, R. M. (play agent): early friend of B., 39.
Egyptian Hall, S. F.: 98; 99; 100.
EGYPTIAN MYSTERY,” “THE (illusion, etc.):
B. associated with--and described by B., 97, _et seq._
“Electra” (tragedy--of Sophocles): revival
of, under B.’s direction, 353, _et seq._
Ellsler, Effie (Am. actress): 254.
Emanuel the First, King of Portugal (1495-1521): 1.
Emery, Samuel (Eng. actor: 1818-1881): 153.
Emily, “Virgie” (actress): 261.
Emmet, J. K. (Am. actor: 1841-1891): B.
works for--and acts with, 82; 168; 192.
Emma, Queen of the Hawaiian Islands: recitation of B. and others before, 15.
Empire Theatre, N. Y.: origin of, 400, _et seq._;
opened with “The Girl I Left Behind Me,” 405.
Enchantress,” “The (musical play): revised and directed by B., 72.
“Enoch Arden” (play--on the poem): 202.
Été de St. Martin,” “L’ (comedy): 450.
Ethel, Agnes (Mrs. Francis W. Tracy--Mrs.
---- Rondebush: Am. actress: 1853-1908): 299.
Eustace, “Jennie” (actress): 349.
Evans, Charles (Am. th. man.): 436; 492.
Eviction,” “The (melod.): 227.
Ewer, Rev. Ferdinand Cartwright (1820-1883):
funeral sermon of Julia Dean preached by, etc., 10.
Eytinge, Rose (Mrs. David Barnes--Mrs. George
H. Butler--Mrs. Cyril Searle: Am. actress: 1835-1911): 53.