_Hooker’s_ letter, if it should reach any Confederate officer other than
himself, would imperil his own life, not only refuses a reprieve for
_Alan Kendrick_ but orders that execution of the death sentence be
hastened. Then, half drunken and wholly bestial, he insults the
unfortunate _Alan_, who, pinioned and helpless, is on his way to the
gallows and, in his presence, threatens his sweetheart with outrage.
_Maryland_, in desperation, defending herself, stabs _Thorpe_ with a
bayonet (a weapon ingeniously introduced for this purpose among the
articles accessory to the stage setting, being thrust into a table-top
and used as a candlestick), wounding and disabling him. She then
liberates _Alan_, who makes his escape. _Thorpe_, rallying, orders the
church-bell rung, a prearranged signal warning all sentries that a
prisoner has broken jail; but _Maryland_, making her way to the belfry,
seizes the clapper of the great bell and, thus enacting the devoted
expedient of _Bessie_, in “Curfew Must Not Ring To-night,” prevents the
alarm and enables her lover to make good his escape.

In the Fourth Act _Thorpe’s_ double duplicity has been discovered in the
Rebel capital and he is ordered under arrest by _General Lee_; the
Confederate troops, defeated in a general engagement, are forced to
evacuate Boonsboro, and the play ends with a prospective reconciliation
of the lovers.

“The Heart of Maryland,” though somewhat intricate in its story (only
the main thread of which has been followed in the above recital), is
compact in construction, fluent and cumulative in dramatic movement and
interest, written with profound sincerity and contains passages of
tender feeling and afflicting pathos. The “Curfew” expedient, if, in
cool retrospect, it seems a little artificial, is, in representation, a
thrillingly effective climax to an affecting portrayal of distress and
danger. The first picture, exhibiting the ancestral home of the
_Calvert_ family, an old Colonial mansion, deep-bowered among ancient,
blooming lilac bushes and bathed in the fading glow of late afternoon
and sunset light, was one of truly memorable loveliness. Indeed, the
scenery investment, throughout, was of exceptional beauty and dramatic
appropriateness, and the manifold accessories of military environment,
with all “the proud control of fierce and bloody war,”--the suggested
presence and movement of large bodies of infantry and cavalry; the
denoted passage of heavy artillery; the stirring sounds of martial music
and of desperate battle; the red glare and dun smoke-pall of
conflagration, and the various employment and manipulation of light and
darkness to illustrate and intensify the dramatic theme,--were
extraordinarily deft in devisement and felicitous in effect. Belasco was
also peculiarly fortunate in selection of the actors who performed the
principal parts in his play. The handsome person and picturesque,
romantic mien of Maurice Barrymore, who appeared as _Alan Kendrick_,
were perfectly consonant with that character; John E. Kellerd gave an
impersonation of remarkable artistic merit--true to life and true to the
part--as the despicable yet formidable scoundrel _Thorpe_, and Mrs.
Carter, profiting richly by the zealous schooling of her mentor,
embodied _Maryland Calvert_ at first in a mood of piquant playfulness,
veiling serious feeling, then with genuine, wild and intense passion.
This was the cast in full of the performance at the Herald Square
Theatre:

_General Hugh Kendrick_                          Frank Mordaunt.
_Colonel Alan Kendrick_                       Maurice Barrymore.
_Colonel Fulton Thorpe_                         John E. Kellerd.
_Lieutenant Robert Telfair_                         Cyril Scott.
_Provost Sergeant Blount_                        Odell Williams.
_Tom Boone_                                    Henry Weaver, Jr.
_Lloyd Calvert_                                Edward J. Morgan.
_The Sexton_                                   John W. Jennings.
_Uncle Dan’l_                                      Scott Cooper
_Captain Leighton_                                   A. Pearson.
_Captain Blair_                                      A. C. Mora.
_Lieutenant Hayne_                                    W. H. Foy.
                                             { Frank   Stanwick.
_Aides-de-Camp to General Kendrick_          {  Robert McIntyre.
                                             {  William Johnson.
_Corporal Day_                                      Edwin Meyer.
_Corporal_                                       H. E. Bostwick.
_Bludsoe_                                         Edwin F. Mayo.
_Little True Blue_                            “Johnny” McKeever.
_O’Hara_                                         J. H. Hazelton.
_Ruggles_                                        Thomas Matlock.
_Forbes_                                       Joseph   Maxwell.
_Phil_                                         Joseph A. Webber.
_Sentry_                                            E. J. Boyce.
_Scout_                                         C. H. Robertson.
_Mrs. Clairborne Gordon_                            Helen Tracy.
_Maryland Calvert_                           Mrs. Leslie Carter.
_Phœbe Yancey_                                    Georgie Busby.
_Nanny McNair_                                    Angela McCall.

Popular approval of the representation was immediate and bounteous and
there was little critical cavilling in the press. On the first night in
New York, after the Third Act, the audience many times called the entire
company before the curtain and, at last, Belasco, in an obviously
painful state of nervous excitement, responding to vociferous demands,
made a brief and grateful speech, in the course of which he said:

     “It is very difficult for me to speak, to thank you. Your kind and
     generous approval to-night means so very, very much to Mrs. Carter
     and all the splendid company that has worked so loyally for the
     success of this play. It means more to me than any words of mine
     can say. This production to-night is the culmination of twenty-five
     years of work; of hard, hard work and often bitter disappointment.
     I have been a supernumerary, a call boy, an actor, a stage manager
     for others, an adapter of plays: now I am encouraged to hope I have
     proved myself a dramatist.... It is many long years since I first
     dreamed of an independent success in New York--a success I might
     keep in my own hands. If this is at last the turning of the tide
     that leads on to fortune, I shall never forget my debt to you: I
     shall strive, as long as I live, to give you, to give the people of
     this great and wonderful city, not only the best there is in me but
     the very best the Theatre can give. Thank you from my heart! I
     thank you--I thank you!”

It was, indeed, “the turning of the tide.” “The Heart of Maryland” was
played at the Herald Square Theatre for 229 consecutive performances,
and it occupied a large part of Belasco’s time and attention during the
period of about two years which followed its New York production.

The season ended at the Herald Square on May 16, 1896. From about that
date until June 23 Mrs. Carter and Belasco underwent the painful ordeal
incident to trial of his lawsuit against N. K. Fairbank,--which, as
already recorded, terminated on the latter date with a verdict in favor
of the manager. In the course of the next six weeks Belasco made a
revision of Clay M. Greene’s “Under the Polar Star,” which was produced
by William A. Brady, August 20, at the New York Academy of Music. On
October 5, at the Broad Street, Philadelphia, the first tour of “The
Heart of Maryland” was begun, under the personal direction of its
author. That tour was everywhere amply successful and it

Photograph by Sarony.            Belasco’s Collection.

MRS. LESLIE CARTER AS _MARYLAND CALVERT_, IN “THE HEART OF MARYLAND”.]

lasted without special incident,--except that toward its close Belasco
purchased (April, 1897) the interest of Mr. Max Bleiman in the
production,--until the following May 1. The season was ended on that
date at the Grand Opera House, New York, and Belasco soon afterward
visited San Francisco. The third season of “The Heart of Maryland” began
at the scene of so much of his early experience, the Baldwin Theatre, in
that city, August 17, and continued in unabated prosperity for about
seven months.

“THE FIRST BORN.”--A SUCCESS AND A FAILURE.

While Belasco was in San Francisco he witnessed several performances of
a play called “The First Born,” written by Francis Powers, which had
been produced, May 10, under the management of his brother, Frederick
Belasco, at the Alcazar Theatre, and he was so favorably impressed with
its merits that he arranged to present that drama,--which ran for ten
weeks in San Francisco,--in New York, in association with Charles
Frohman. That arrangement was successfully consummated, at the Manhattan
(previously the Standard) Theatre, October 5, 1897. “The First Born” is
a tragic sketch of character and life in the Chinese quarter of old San
Francisco,--a region with which the acquaintance of Belasco was
peculiarly intimate and exact and one of which the mingled squalor and
romance had always strongly attracted him. The posture of circumstances
and experience depicted in that play is simple and direct. _Man Low
Yek_, a rich Chinese merchant, has stolen _Chan Lee_, the wife of _Chan
Wang_, also a Chinese and a dweller in the Chinatown. That ravagement
_Wang_ has borne with equanimity; but when _Chan Lee_, returning to San
Francisco with her paramour, entices _Chan Toy_, their first born and
only son, from him and in her endeavor to steal the child accidentally
causes his death, the unfortunate _Wang_ becomes at first an image of
agonized paternal love and then an embodiment of implacable vengeance.
The play is in two acts. In the first, Chinatown is shown in the bright
light and bustle of a busy noonday and against that setting is displayed
the sudden bereavement and afflicting anguish of the father. In the
second, an alley-end in the same district is shown, with a glimpse of
contiguous gambling hells and opium dens, under the darkening shadows of
evening. There the inexorable avenger lounges, leaning against a door
post,--apparently an idler smoking his evening pipe and talking with a
Chinese girl, who leans from a window; in fact, vigilantly observant of
_Man Low Yek_, visible within a shop, and intent on slaying him. The
alley grows dark and becomes deserted. The neighboring houses are
illumined. The chink of money and the bickering chatter of unseen
gamblers are heard. A police officer saunters by and disappears. _Man
Low Yek_ comes forth from his shop, closing it after him. Then,
suddenly, as he passes, _Wang_, with fearful celerity, leaps upon him
wielding a hatchet, strikes him down, drags the dead body into
convenient concealment, and is back again at his former loitering place,
outwardly placid, before the fire in his pipe has had time to become
extinguished.

Belasco’s presentment of this play in New York was a gem of histrionic
illustration,--the grouping and movement of the players and the many
super-numeraries, the employment of light and sound, every expedient
alike of action and repose, every detail of dress, every accessory of
scenic embellishment, all were so adroitly used and blended as to create
an impression of perfect verisimilitude, and the spectator seemed to
behold two veritable segments of Chinatown life. The acting, especially
that of Mr. Powers as _Chan Wang_ and of May Buckley as _Loey Tsing_, a
Chinese girl who loves him, was exceptionally earnest and effective.
This was the cast:

_Loey Tsing_                                         May Buckley.
_Chow Pow_                                         Ellen Cummins.
_Chan Lee_                                      Carrie E. Powers.
_Dr. Pow Len_                                     George Osborne.
_Man Low Yek_                                     Charles Bryant.
_Chan Wang_                                       Francis Powers.
_Hop Kee_                                          J. H. Benrimo.
_Chum Woe_                                           Harry Spear.
_Kwakee_                                         John Armstrong.
_Duck Low_                                      George Fullerton.
_Sum Chow_                                          Harry Levain.
_A Chinese Ragpicker_                             Walter Belasco.
_A Provision Dealer_                                    Fong Get.
_Chan Toy_                                           Venie Wells.
_Way Get_                                     Joseph Silverstone.
                                           {      Ysobel Haskins.
_Tourists_                                 { Florence Haverleigh.
                                           {        L. I. Fuller.
                                           {         Hugo Toland.

“The First Born” was acted at the Manhattan Theatre in association with
“A Night Session,” a farce derived from the French: later, other farces
were performed with the Chinatown tragedy. Its success was decisive and
it was acted in New York until December 11;--at the Manhattan from
October 5 to November 6, and at the Garden Theatre (in association with
an English version, by Benjamin F. Roeder, of “L’Été de St. Martin,” by
Henri Meilhac and Ludovic Halévy) from November 29 onward. Belasco and
Frohman, elated by their American victory with this play, were eager to
repeat it in London. A second company was, accordingly, at once engaged,
rehearsed, and brought forward at the Manhattan,--the original company
sailing for England October 23, and emerging at the Duke of York’s
Theatre, London, November 6. The enterprising manager William A. Brady
had, however, hastened to the British capital before them with another
and similar play, called “The Cat and the Cherub,” which he presented at
the Lyric Theatre, October 30, thus fore-stalling “The First Born” and
causing its flat failure in London. It was withdrawn after one week,
Belasco and Frohman losing about $20,000 on their undertaking.

BELASCO’S SECOND ENGLISH VENTURE.--“THE HEART OF MARYLAND” IN LONDON.

During the dramatic season of 1897-’98 Belasco and Charles Frohman
arranged with the Messrs. Gatti, managers of the Adelphi Theatre,
London, for the production of “The Heart of Maryland” in the British
capital. The expenses of presenting that play were large, but so, also,
was public attendance on its performance, the average gross receipts
amounting to about $11,000 a week: that is, in three seasons the public
had paid a total of about one million and fifty thousand dollars to see
it. Belasco’s share of the profits had set him well forward in the path
of prosperity and he was at last able to formulate definite plans for
ventures which finally enabled him to seize a conspicuous, independent,
and influential place among the foremost theatrical managers of the
world. His expedition into England with Mrs. Carter and “The Heart of
Maryland” was one of the first of those ventures. The utility of his
play as a starring vehicle for that actress in America was practically
exhausted, but he felt strongly assured of further prosperity with it
abroad. Moreover, he knew that Mrs. Carter would be, by an English
success, exalted in the esteem of the American public--which is in some
respects provincial and is always impressed by foreign approval. And,
finally, he hoped that, while in London, he would be able to obtain a
suitable new play for her use. The third season of “The Heart of
Maryland,” accordingly, was closed at Hartford, Conn., March 26, 1898;
on March 30 Mrs. Carter, the other members of the theatrical company
which had been acting in it, and Belasco sailed for England on board the
steamship St. Paul, and on April 8 that play was performed at the
Adelphi Theatre, London. It was, originally, “booked” for a season of
one month, but it was received with such abundant popular favor that it
was acted there, to crowded houses, for twelve weeks,--receiving about
eighty performances. There was some adversity of critical comment in the
press, but only one stricture then made disturbed Belasco’s equanimity
and has rankled in his recollection,--namely, the unwarranted and mean
intimation that he had copied the stirring “mechanical effects” (so
called) used in course of the performance of his play from William
Gillette’s “Secret Service,” which had been brought out in London, May
15, 1897, at the Adelphi. Such gratuitous disparagement is
characteristic of a patronizing and carping spirit frequently
encountered in British journalism. Inquiry as to the facts in this case
at once displays its injustice. Belasco’s “The Heart of Maryland” was
begun in 1890, and the “mechanical effects” employed in it were devised
by its author during the four years that followed; they were,
furthermore, an elaboration and improvement of various contrivances
first used by him in his variant of “Not Guilty,”--San Francisco,
December 24, 1878,--and some of them were used by him in “The Girl I
Left Behind Me,”--January, 1893. Gillette’s “Secret Service” was tried
at the Broad Street Theatre, Philadelphia, May 13, 1895, where it
failed and was at once withdrawn. After having been entirely rewritten
that play was successfully produced at the Garrick Theatre, New York,
October 5, 1896,--one year later than “The Heart of Maryland.” “Secret
Service,” though a useful melodrama, is a hodge-podge fabrication (one
of its most essential situations is conveyed, bodily, from “Don Cæsar de
Bazan”) and is in every way inferior to “The Heart of Maryland”: if the
production of either of those plays owed anything to that of the other,
it is manifest that Belasco’s could not have been the debtor.

Belasco’s quest for a new drama for the use of Mrs. Carter seemed
destined to be a barren one, when, as the London career of “The Heart of
Maryland” was drawing toward its close, he chanced to read, in a
theatrical newspaper, an outline of the plot of a French play named
“Zaza,” which had been produced, May 12, 1898, at the Vaudeville
Theatre, Paris, and which he thought might be adapted to the use of his
star. On mentioning the play to Charles Frohman and inquiring whether he
knew anything about it Frohman informed him that he did not believe it
would prosper in America and that, therefore, he had permitted an option
on the American right of producing it to lapse. Belasco, nevertheless,
visited Paris, witnessed a performance of “Zaza,” as acted by Mme.
Gabrielle Réjane and her associates at the Vaudeville, and was so
impressed by it that he immediately cabled Frohman, urging him to
purchase the American rights of production,--which Frohman forthwith
did. On June 25 the London season of “The Heart of Maryland” ended, and
on September 1, on the steamship Majestic, Mrs. Carter, the “Maryland”
company, and Belasco sailed for home,--the latter having entered into an
engagement with Charles Frohman whereby that influential speculator in
theatrical wares agreed to produce “Zaza” in partnership with him and to
“present Mrs. Leslie Carter, by arrangement with David Belasco.” Belasco
was much elated at having made that contract. Writing about it, he says:
“Patience and perseverance had won! At last I had not only a star and a
play, but a partner with money, unlimited credit, and vast influence. As
soon as I returned to New York I began preparations for the next season,
and then I went cheerfully into exile to adapt ’Zaza.’”

“ZAZA,” AND THE ETHICAL QUESTION.

Two plays have been produced by Belasco the presentment of which, in my
judgment,--although both of them were received with extravagant favor by
numerous writers in the press and were acted profitably and with much
manifest public approbation for a long time,--should be recorded as a
grievous blot on the fair record of his professional career. One of
those plays is this notorious drama of “Zaza,” adapted and altered by
Belasco from the French original by MM. Pierre Berton (1840-1912) and
Charles Simon (1850-1910); the other is the vulgar and repulsive drama
called “The Easiest Way,” concocted by an American journalist, Mr.
Eugene Walter, containing a long-drawn portrayal expositive of the
immoral character, unchaste conduct, and necessarily wretched
retributive experience, of a courtesan. Both of those plays reflect the
gross aspect of what Carlyle happily designated Demirepdom,--a domain of
licentiousness and bestiality which should never be treated in Drama or
illustrated on the Stage.

Opinion on this point is, I am aware, sharply divided. Shakespeare, we
are continually reminded, speaking for himself (most inappropriately, by
the way) in the character of _Hamlet_, and referring to “the purpose of
playing,” says that its “end both at the first and now was, and is, to
hold, as ’twere, the mirror up to _nature_; to show _virtue_, her own
feature, _scorn_ her own image, and the very age and body of the time
his form and pressure.”

What does that mean? Does it mean that everything existent in Nature is
material suitable to be presented on the Stage? Does it mean that there
should be no restriction as to the choice of subjects, from “the age and
body of the time,” to be illustrated in public, before a mixed audience
of both sexes and of all ages and conditions? No sound, convincing
exposition of that view of the subject has ever been made, and I cannot
accept it. Shakespeare, in his plays, has depicted “people of all
sorts,” and among others he has depicted several sorts of depraved
women, one of them, _Cressida_, being a natural, typical, representative
harlot. It is, however, to be observed that he has not dilated on her
career, has not expatiated on her licentiousness, has not enumerated her
intrigues, has not analyzed her libidinous propensities, has not tinged
his portrayal of her misconduct with any sophistical coloring, has not
entered for her any plea in extenuation; has simply drawn her as a type
of rank carnality and so dismissed her. Such persons have always
existed, they exist now, and they always will exist. That it is
necessary, right, or defensible that they should be exploited in the
Theatre I have never been able to perceive,--whether they be depicted by
Shakespeare or by anybody else. From “Jane Shore” and “The Stranger” to
“Denise” and “Camille,” nothing has ever come of the long, dreary,
speciously sophistical exhibition of sexual vice and consequent misery
but corruption of the moral sense, loose, flabby thinking, cant, and
maudlin sentimentality. No good has come of it to anybody, least of all
to the victims of their evil passions.

Altruism should prevail in the conduct of life, and with all fine
natures it does prevail. The instinctive desire, while not universal nor
perhaps general, is very considerable to help the weak, to shield the
innocent, to liberate the oppressed, to comfort the afflicted, to find
excuses for frailty, to take a charitable view of human infirmity; but
while lovely in itself and beneficent in some of its results, it is, in
vital particulars, ineffectual: it cannot eliminate depravity from a
nature that is innately wicked, and it cannot dispel remorse,--or even
mitigate that agony,--from a mind innately conscientious.

Belasco, by obtruding harlots on the stage,--as he has not scrupled to
do, in presenting to public observance _Zaza_ and _Laura
Murdoch_,--follows many precedents and impliedly approves the
exploitation of such persons,--unfortunate, pitiable, deplorable,
sometimes amiable and gentle, more frequently hard, fierce, treacherous,
and wicked. His published writings avow his views on this subject, and I
have found his private assurances concurrent with his published
writings. Those views do more credit to the kindness of his disposition
than to the clarity of his thought. From his youth onward he has been
deeply interested in aberrant women, studious of their aberrancy,
solicitous for their rescue and reformation, charitable toward them,
wishful to befriend them, and strenuous, when writing about them, to
place them in the best possible light. “Whenever I rehearse a situation
of passion, of crime, of wrongdoing” (so he writes), “I remember _the
heart_. _I make an excuse_--seek out the _motive_, to put the actor in
touch with the culprit’s _point of view_. The _excuse is always there_.”
No form of reasoning could be more sophistical, more delusive, more
mischievous. The _reason_ for sin, for crime, for wrongdoing, _is_
always there: but a broad distinction exists between the _reason_ and
the _excuse_. Some persons, naturally good, nevertheless do wrong,
commit crime, sin against themselves and against both moral law and
social order, because they cannot help it, because they are weak and
cannot resist temptation. Other persons commit crime knowingly,
deliberately, intentionally, because they wish to do so, because they
delight in doing so, and find their greatest possible gratification in
acts of wickedness. Selfishness and greed are, in a vast number of
cases, impervious to anything other than the operation of external
forces painful to themselves: there are persons who possess no moral
sense whatever. The notion that there is a substratum of goodness in
every human being is one of the most flagrant delusions that ever
entered the mind of sensible persons acquainted with the history of the
world and aware of what is passing around them every hour. “I remember
_the heart_” says Belasco: it would not be amiss to remember what was
long ago said of that interesting organ by one of the wise prophets of
his nation: “The heart is deceitful above all things, and desperately
wicked.” It is in the highest degree creditable to Belasco as a man that
he possesses a tenderly compassionate, humane spirit and has always
practically acted on the impulse of it; neither wisdom nor justice is
discernible in the “moral teaching” that he has liberated by his
indiscriminate subservience to it in the instances I have named.

PRODUCTION, AND CONTENTS, OF “ZAZA.”

“Zaza” was first produced, December 25, 1898, at the Lafayette Opera
House (now, 1917, the Belasco Theatre), Washington, D. C. The first
presentment of it in New York occurred, January 9, 1899, at the Garrick
Theatre, where it was acted till June 17, receiving 164 performances.
“Zaza” is not so much a play as it is a series of loosely jointed,
sequent episodes. The story is simple and vulgar. _Zaza_ is a French
prostitute. She has passed from the streets to the stage of country
music halls and has become a singer. She is a common, shameless,
termagant wanton, possessed, however, of an animal allurement which
infatuates a man of respectable position and outwardly decent character.
His name is _Dufrène_. By him she is removed from a life of
miscellaneous degradation and,--“purified” by “love”!--she dwells with
him, in contentment, for six months,--remarking, as she pulls on her
stockings, “I do think it’s the most beautiful thing in the world when
two lovers come together.” At the end of that time she discovers that
her paramour is married, and that he maintains his wife and their child
in a respectable rural home and, at intervals, bestows upon them the
boon of his precious company. With the tigerish resentment often
characteristic of her class, she immediately repairs to that home,
intent to “revenge” herself upon _Dufrène’s_ wife by revealing the
husband’s infidelity. Her amiable purpose is diverted by an encounter
with his child, whose prattle so profoundly affects her supersensitive
“better feelings” that she quits the field, returns to her civic bower,
which has been provided by _Dufrène_, there provokes a violent quarrel
with that hypocritical libertine, so enrages him that he threatens to
strike her, and finally elicits from him the assurance that his wife is
much more precious to him than his harlot is. The separation of this
edifying couple ensues. Stimulated by this experience of “purification
by love,” _Zaza_ determines to achieve artistic greatness without
further delay, and this she incontinently does, becoming, within two
years,--“through much misery, much grief, much work, and a little luck,”
as she expresses it,--a great artist, wealthy and (general concomitant
of wealth!) respected, and, most delightful of all, a paragon of virtue,
gently dismissing her recalcitrant paramour, _Dufrène_ (who, unable to
forget the rapturous interlude of his amatory association with her, has
sought to renew it), in the peaceful seclusion of the Champs Elysees!

The play of “Zaza,” in the French original, is even more offensive than
in Belasco’s adaptation, but it possesses more unity as a dramatic
fabric and more authenticity as a portrayal of a revolting phase of
life. Belasco’s version is much the superior as a commercial and
theatrically useful vehicle. His purpose in adapting the play for the
English-speaking Stage is thus stated by himself: “I wanted my audience
to find some _excuse_ for _Zaza’s_ past and to have less pity for the
wife. When the play was produced in America and _Zaza sacrificed her own
feelings for the sake of a child_ the audience was so entirely in her
favor that she won the tears of New York and, later on [_sic_], of
London.” “The tears” of New York, London, or any other residential
locality are not difficult to “win” when an experienced hand at the
theatrical fount pumps hard enough for them. Freed of flummery, what
does this play signify? A woman essentially vile in nature, degraded by
a career of vice, gross in her conduct, vitiated in her principles and
feelings, is sentimentally affected by the babble of a child, and her
holy “sacrifice of her own feelings” consists in abstention from
wrecking the happiness of an innocent and injured woman who has never
done her any harm. As a matter of fact, such a drab as _Zaza_ would not
have denied herself that gratification for the sake of a whole regiment
of children,--but truth was not the goal desired: that object was
profitable effect. Such dramas as “Zaza” defile the public mind and
degrade the Stage, and it would be propitious for the community if they
could be played on from a fire hose and washed into the sewer where they
belong.

MRS. CARTER’S IMPERSONATION OF _ZAZA_.

Mrs. Carter’s performance of the patchouly-scented heroine of this
tainted trash was much admired and extravagantly commended. As a work of
dramatic art it was trivial: as a violent theatrical display of common
surface traits,--a demonstration, in “Ercles’ vein,” of ability to tear
a cat,--it was highly effective. The language of the gutter was spoken
in the tone and with the manner of the gutter. The method of the
execution was direct, broad, swift,--and coarse. The best technical
merit of it was clarity of utterance. In _Zaza’s_ scene with the child
Mrs. Carter was mechanical and monotonous. It was the utter, reckless
abandon, the uncontrolled physical and vocal vehemence, the virago-like
intensity of her abuse of her lover, which, communicating themselves to
the nerves of her auditors and overwhelming them by violence, gained the
actress her success in the part. If to “tear a passion to tatters, to
very rags,” to take up the carpet tacks

Photograph by Sarony.            Belasco’s Collection.

MRS. LESLIE CARTER AS _ZAZA_]

and demolish the furniture, be to act greatly, then Mrs. Carter’s _Zaza_
was a great piece of acting; not otherwise. Her popularity was
unequivocal, and it constituted a triumph for Belasco even more
remarkable than for her.

This was the original cast of “Zaza,” at the Garrick Theatre, New York,
January 9, 1899:

_Bernard Dufrène_                  Charles A. Stevenson.
_Duc de Brissac_                         Albert Bruning.
_Cascart_                              Mark Smith (Jr.).
_Jacques Rigault_                           Hugo Toland.
_Chamblay, Jr_                            Gilmore Scott.
_Hector_                                  Lester Gruner.
_Blac_                                    Harold Howard.
_Brigard_                                  W. B. Murray.
_Mounet-Pombla_                         Gerard Anderson.
_Joly_                                 Herbert Millward.
_Carvallo Bros._ (_acrobats_)    Leona and Master Bimbi.
_Jabowski_                                Walter Stuart.
_Adolphe_                               Lawrence Reeves.
_Coachman_                         Alfred Hollingsworth.
_Criquet_                                    Edgar Hart.
_Rosa Bonné_                                Marie Bates.
_Madame Dufrène_                           Mabel Howard.
_Divonne_                                  Lizzie DuRoy.
_Lizette_                                    Emma Chase.
_Toto_                                      Helen Thill.
_Florianne_                             Anne Sutherland.
_Alice Morel_                              Maude Winter.
_Lolotte_                                   Marie Thill.
_Juliette_                               Eleanor Stuart.
_Niniche_                             Elizabeth Belknap.
_Leonie_                                    Corah Adams.
_Clairette_                              Helma Horneman.
_Adele_                            Aurelia A. Granville.
_Flower Girl_                            Louisa Burnham.
_Nathalie_                                  Helen Tracy.
_Zaza_                               Mrs. Leslie Carter.

(Mem. When “Zaza” was revived, in 1905, a minor character called
_Lisvon_ was added: it was played by Amelia G. Granville.)

DEATH OF BELASCO’S MOTHER.--“CAN THE DEAD COME BACK?”--A STRANGE
EXPERIENCE.

The instant and immense popular success of “Zaza” was embittered for
Belasco by close association with a loss and sorrow that time has not
lightened,--the death of his beloved mother, which befell on January 11,
1899, at No. 174 Clara Street, San Francisco. During rehearsals of his
play and its presentments in Washington Belasco, so he has told me, “had
_felt_ that she was ill,” but had no thought that her condition was
critical. Writing about her death, he gives the following interesting
account of a strange experience:

     “Ever since my boyhood I have been interested in the subject of
     spiritualism. For many years I have asked myself the question:
     ’_Can_ the dead come back?’... One morning, after a late
     rehearsal, I reached home at three o’clock, completely fagged out.
     No sooner had I fallen asleep than I seemed to waken, and there
     stood my mother beside my bed. ’Davie, Davie, Davie,’ she said
     three times, smiled, and bending over kissed me good-bye. She said
     other things--told me she was happy--not to grieve. I could not
     stir, but kept my eyes fixed upon her as she moved towards the door
     and disappeared. How long I lay staring into the darkness I do not
     know, but at last I managed to collect myself, put on my
     dressing-gown, and, still dazed, went downstairs to a little
     sitting-room. My family heard me. ’What are you doing downstairs?’
     my youngest child, Augusta, asked, and she tried to coax me back to
     bed. I went to my room, but I could not sleep. When I told my
     family of my vision, and that I believed my mother was dead, they
     suggested that I was overwrought and tired and had seen my mother
     in a dream.

     “I went to rehearsal the next morning, and during an interval had
     luncheon at Churchill’s--then a small coffeehouse--with a member of
     the theatre staff. I sat there, much troubled, thinking of the
     figure of my mother as she appeared in the dawn. My companion
     noticed my silence, and, when I told him of my experience, tried to
     reassure me. As we rose to go he handed me some letters and
     telegrams he had found in the box-office. Among the telegrams was
     one telling me the sad news of my mother’s death. Later I found
     that she died at the exact time she appeared at my bedside. At the
     very moment I saw her she was passing out of the world. Several
     years after, when I paid a visit to San Francisco, my brothers and
     sisters told me my mother smiled and murmured my name three times
     before she died.... I do not know that the dead _do_ come back. I
     _do_ know that at the time of passing the spirit sends a thought
     through space, and this thought is so powerful that the receiver
     can see the sender. This was proved by my dear mother. She came to
     me no more, however.”

In speaking of his parents Belasco has deeply impressed me by the fervor
and sincerity of his filial affections. “My mother,” he has said, “was
the best loved woman in Victoria and in San Francisco,--and she was the
truest, best friend I ever had or shall have. She was called ’the Good
Angel’ of the poorer quarters. As she grew older, in the latter city,
when going about in streetcars, conductors would, when she wished to
leave, escort her to the sidewalk, or would bring her to the car, if she
wished to board it. When she died she had the greatest funeral a private
person ever had in San Francisco. My brother told me it seemed as though
every vehicle in town was in the line. She was very poetic, romantic,
and keenly imaginative and gentleness itself. Any good I have ever done
I owe to her.”--In a letter to a friend he writes thus about his mother:

     “ ... I cannot tell you how close we were--how she seemed always to
     understand me without words and often [seemed] to be near me when I
     was in trouble and needed help. You know, I believe such feelings
     are inspired by something real: ’the realities of the spirit are
     more real than anything else.’... Very often we exchanged
     messages just by sending flowers, and it was the same way with my
     little ’Gussie.’... Flowers have always been a passion with me.
     Ever since I was a little boy, in Vancouver, and my mother used to
     come and find me dreaming among them on the hillside, I have loved
     them all.... But the violets were always my favorites, as they were
     hers. She always had them about her, from girlhood, and, indeed, my
     father wooed her with them. There was a bunch of them beside her in
     the little cellar-room where I was born (so she used to tell me),
     and when they brought me to her on a pillow she took some in her
     hand and sprinkled them over me. All my clothes, when I was a baby,
     had a violet embroidered on them, somewhere. The last gift I ever
     received from my mother was a black silk scarf, with violets
     embroidered on it,--and long, long hours it must have taken her to
     do it, for she could hardly hold a needle. Once, when I was a boy,
     I took $20 from a secret little hoard of hers, to pay for an
     operation on my throat which I didn’t want her to know about. Of
     course she missed it but she never said a word, and when I had
     saved up the money I just put it in a bunch of violets and left it
     for her. And when at last she went away and I could not be there I
     sent violets to cover her grave and say my ’Good-bye.’”

BLANCHE BATES AND “NAUGHTY ANTHONY.”

Much the most interesting person and much the ablest performer who has
appeared under the management of Belasco is Blanche Bates. At the zenith
of her career she exhibited a combination of brilliant beauty,
inspiriting animation and impetuous vigor quite extraordinary and
irresistibly winning. Her lovely dark eyes sparkled with glee. Her
handsome countenance radiated gladness. She seemed incarnate joy. Her
voice was clear, liquid, sweet; her enunciation distinct, her bearing
distinguished, her action free and graceful. I have seldom seen an
actress whose mere presence conveyed such a delightful sense of
abounding vitality and happiness. In the last ten years no actress in
our country has equalled her in brilliancy and power. She might have
grasped the supremacy of the American Stage, alike in Comedy and
Tragedy, personating such representative parts as Shakespeare’s
_Beatrice_ and _Cleopatra_ and taking by right the place once occupied
by Ada Rehan and afterward by Julia Marlowe. While under Belasco’s
management she did give three performances which deservedly are
remembered among the best of her time,--namely, _Cigarette_, in “Under
Two Flags”; _Yo-San_, in “The Darling of the Gods,” and _The Girl_, in
“The Girl of the Golden West.” But, although incontestably she possesses
intellectual character, a strain of capricious levity is also among her
attributes; she has weakly acquiesced to the dictates of vacuous social
taste and sordid commercial spirit, paltered with her great talents,
thrown away high ambition and golden opportunity, and so came at last
to mere failure and obscurity. Her nature and her artistic style require
for their full and free arousal and exercise parts of romantic,
passionate, picturesque character, admitting of large, bold, sparkling
treatment. She acted under Belasco’s direction for about twelve years:
since leaving it, in 1912, she has done nothing in the Theatre of
importance. “The modern, ’drawing-room drama’ in which she aspired to
play,”--so Belasco once remarked to me,--“is not, to my mind, suited to
her, and so we parted.”

Blanche Bates is a native of Portland, Oregon, born August 25, 1872; her
father was manager of the Oro Fino Theatre, Portland, at the time of her
birth. Her youth was passed in San Francisco, where she was well
educated. She went on the stage in 1894, appearing at Stockwell’s
Theatre (later called the Columbia), in that city, in a play called
“This Picture and That.” Her novitiate was served chiefly under the
management of T. Daniel Frawley. For several years she acted in cities
in the Far West, playing all sorts of parts. At one time, in California,
she was professionally associated with that fine comedian Frank Worthing
(Francis George Pentland, 1866-1910), who materially helped to develop
and train her histrionic talents. Belasco first became acquainted with
her while she was yet a child, at the time of his professional alliance
with her mother, Mrs. F. M. Bates. In 1896, during Mrs. Carter’s first
season in “The Heart of Maryland,” Blanche visited New York, witnessed
that performance, and applied to Belasco for employment. At the moment
it was not possible for him to engage her, but he was neither forgetful
of an old promise of his made to Mrs. Bates that he would assist her
daughter, if ever he should be able to do so, nor unmindful of the
beauty, talent, and charming personality of the applicant, and he
assured her that she “should have a chance” at the first opportunity.
That opportunity did not present itself for nearly three years.
Meanwhile, Miss Bates returned to California and acted there, for about
two years more, with the Frawley company. In the Spring of 1898 she was
engaged by Augustin Daly and for a short time she acted under his
management. On February 9, 1899, she made a single brilliantly
successful appearance, at Daly’s Theatre, as the _Countess Mirtza_, on
the occasion of the first presentment in this country of the popular
melodrama of “The Great Ruby.” She disagreed, however, with the
autocratic Daly and immediately retired from his company. On March 13,
1899, acting at the Broadway Theatre, New York, in association with
Belasco’s old friend and comrade

Photograph by Sarony.            Belasco’s Collection.

BELASCO, ABOUT 1899-1900]

James O’Neill, she distinguished herself as _Milady_, in “The Three
Guardsmen,” and on October 19, that year, at the Herald Square Theatre,
she gave a notably fine performance,--splendidly effective in the
principal scene,--of _Hannah Jacobs_, in Israel Zangwill’s stage
synopsis of his novel of “The Children of the Ghetto.” A few weeks later
Belasco informed Miss Bates that if she were willing to begin in a farce
which he did not much esteem he was ready to undertake her management
preparatory to “giving her her chance.” “The Children of the Ghetto” had
proved a failure, and the actress joyfully accepted the manager’s
proposal.

Blanche Bates first acted under Belasco’s management, December 25, 1899,
at the Columbia Theatre, Washington, D. C., appearing as _Cora_, the
principal person in Belasco’s “Naughty Anthony”: on January 8, 1900, she
appeared in it at the Herald Square Theatre, New York. The title of that
farce is not altogether felicitous, because possibly suggestive of
impropriety, but there is nothing mischievous in the fabric itself. The
piece is incorporative of one scene, varied and rewritten, from an
unremembered farce of other days, and, with its freightage of old but
always effective stage subterfuges and comic “business,” it reminded
experienced observers of such plays, far and forgot now, as “Flies in
the Web,” “My Neighbor’s Wife,” “Playing with Fire,” “To Oblige Benson,”
etc. In it Belasco made use of one of the oldest theatrical expedients
for creating comic confusion and mirthful effect,--the expedient of a
mistaken identity. The chief male in it is _Anthony Depew_, a moral
professor of the Chautauqua brotherhood, who becomes enamoured of a
coquettish girl, in the hosiery business, and whose exploits in
osculation lead him into a troublesome dilemma, from which he endeavors
to escape by pretending to be somebody else. This kind of perplexity has
been common on the stage since the distant days of “The Three Singles;
or, Two and the Deuce.” Such themes do not require much comment. The
chief fact to be recorded in this case is the uncommon felicity of the
cast and the excellence of the stage direction. But such an actor as
Frank Worthing (who was essentially a light comedian, and, as such, the
most conspicuous local performer of the day, in his particular line) and
such an actress as Miss Bates were practically wasted in so ephemeral a
trifle. This was the cast in full:

_Cowley_                               Albert Bruning.
_Adam Budd_                        William J. LeMoyne.
_Zachary Chillinton_                    William Elton.
_Jack Cheviot_                        Charles Wyngate.
_Mr. Heusted_                     Claude Gillingwater.
_Mr. Brigham_                            E. P. Wilkes.
_Miss Rinkett_                            Fanny Young.
_Cowley_                               Albert Bruning.
_Knox_                                 Samuel Edwards.
_Ed_                                    Brandon Tynan.
_Mrs. Zachary Chillingham_              Maud Harrison.
_Rosy_                                    Mary Barker.
_Winnie_                                Olive Redpath.
_Cora_                                  Blanche Bates.

Belasco’s serious purpose, in this play, underlying the quest of
laughter, was to satirize moral humbug, and that good purpose he
accomplished. _Anthony Depew_ is an amiable impostor, established at
Chautauqua, New York, to give lessons in moral conduct to persons who
deem themselves tempted to go astray. He goes astray himself, as far as
compromising osculation, and he causes all manner of disturbance, in
several households, by fixing the guilt of a kiss upon an innocent
booby, who is his landlord. Worthing embodied that humbug in an
admirable manner. His plan was definite, his execution firm and true,
his satire cumulative; and from first to last he never swerved from that
demeanor of perfect gravity which makes absurd proceedings irresistibly
amusing. Miss Bates, even more than usually beautiful as _Cora_, made
the tempter of _Anthony_ a compound of demure simplicity and arch,
piquant glee, and, in her complete frustration of the _Professor’s_
moral heroics, she was a delightful incarnation of honest, healthful,
triumphant woman nature. A colloquy of these two players, as preceptor
and pupil, has seldom been surpassed for pure fun. Specification of the
fantastic situations in which the _Professor_ involves himself and his
landlord, _Adam Budd_,--abundantly comical in the seemingly
unpremeditated humor, the soft, silky manner, and the grotesque
personality assumed by Le Moyne,--would be a tedious business. Good
acting, however, did not suffice to sustain the play in public favor.
Writing about this venture Belasco says:

     “At the time I wrote ’Naughty Anthony’ the country was farce
     mad,--but the public will not accept me as a farce writer, and it
     was a failure. I believed, at the time, that had somebody else
     produced my play it might have succeeded, and this actually proved
     to be the case; for when I sold the piece and it was taken on the
     road, with my name omitted from the programme, it made money,
     although it had cost me a pretty penny. I soon saw that ’Naughty
     Anthony’ must be withdrawn or something added to the bill in order
     to keep it going.”

“MADAME BUTTERFLY.”

Some little while before the production of “Naughty Anthony” Belasco had
received from a stranger a letter in which he was urged to read a
story, called “Madame Butterfly,” by John Luther Long, with a view to
making it into a play. When anxiously casting about for some means of
providing required reinforcement for his farce he chanced to recollect
that suggestion, procured a copy of Long’s book containing his tragic
tale, read it and was so much impressed by the possibilities which he
perceived of basing on it a striking theatrical novelty that he entered
into communication with Long and arranged with him for the use of his
story. This proved, in several ways, a most fortunate occurrence: it led
to a valued and lasting friendship and, ultimately, to the writing of
two other memorable dramas,--“The Darling of the Gods” and “Adrea,”--as
well as to the composition of a beautiful and extraordinarily popular
opera, and it resulted, directly, in the making and production, by
Belasco, of one of the most effective short plays of the last
twenty-five years,--the success of which did much to sustain him under
the disappointment of failure and the burden of heavy loss.

Belasco’s tragedy of “Madame Butterfly” is comprised in one act, of two
scenes, which, connected by a pictorial intercalation, are presented
without a break, and it implicates eight persons, besides its heroine,
all of whom are merely incidental to depiction of her tragic fate. The
substance of its story is contained in Goldsmith’s familiar lines about
the sad consequences of lovely woman’s genuflexion to folly. A man
commits the worst and meanest of all acts, the wronging of an innocent
girl, and then deserts her. The case has often been stated--but it is
not less pathetic because it is familiar. In this instance the girl is a
Japanese, and in Japan, and thus the image of her joy, sorrow,
desolation, and death are investable with opulent color and quaint
accessories. Her name is _Cho-Cho-San_, and, by her lover, she is called
“_Madame Butterfly_.” Her family is one of good position, but her
father, a soldier of the emperor, having been defeated in battle, has
killed himself, and her relatives, being poor, have induced
_Cho-Cho-San_, in order that she may be able to provide maintenance for
them, to enter into the relation of housekeeping prostitute with an
officer of the United States Navy, _Lieutenant B. F. Pinkerton_ by name,
who is stationed for a few months at Higashi, Japan, and who feels
himself to be in need of female companionship and that “comfort other
than pecuniary” specified by Patrick Henry. According to the enlightened
and advanced customs of Japan (which various English-speaking exponents
of progress and free-everything, including free-“love,” are laboring to
establish in our benighted country) this relationship is not degrading
and despicable but respectable and, in circumstances which are of
frequent occurrence, to be desired. As _Butterfly_ expresses it, though
the naval officer is described by the Japanese as “a barbarian and a
beast,” “Aevery one say: ’yaes, take him--take him beas’--he’s got
moaneys,’ so I say for jus’ liddle while, perhaps I can stan’.”
_Pinkerton_, however, proves to be a delightful companion who wins the
love of the Japanese girl and, with the crass cruelty common among
viciously self-indulgent men, he assures that forlorn waif that her
marriage to him is not merely a temporary arrangement of convenience,
terminable, according to Japanese law, by the mere act of desertion, but
is a binding, permanent one, according to American custom and law and
that she is, in fact, _Mrs. B. F. Pinkerton_. Having led her to believe
this, the amiable _Pinkerton_ presently departs upon his ship, after
making _Butterfly_ a present of money, informing her that he has “had a
very nice time” and assuring her that he will come back “when the robins
nest again.” The girl, confidently awaiting the return of her lover,
whom she declares and believes to be her lawful husband, after a little
time becomes a mother by him. Two years pass--during which she refuses
many suitors--and the money given her by _Pinkerton_ has been all but
exhausted: _Butterfly_ is confronted by the alternative of beggary or
starvation, yet she contemptuously rejects all proffers of rich
alliances, serenely trusting in the faith of _Pinkerton_. Then, at last,
he comes back, and she is apprised that though for two weeks after
leaving her he was “dotty in love with her” he recovered from his
sublime passion and that he has married another woman (who magnanimously
offers to take away her child and rear it!)--whereupon _Madame
Butterfly_ kills herself.

The play is a situation, and, though some of its detail is trivial, it
reveals elemental extremes and contrasts of much human experience; in
its essential passages it possesses the cardinal merits of simplicity
and directness, and in representation its effect is tragic and
afflictingly pathetic. One feature of its performance, devised by
Belasco, was, in respect to execution, unique,--namely, the
intercalation whereby the two scenes of the tragedy are connected. When,
at evening, the forlorn _Butterfly_,--after two years “jus’
waitin’--sometimes cry in’--sometimes watchin’--but always
waitin’!”--sees the warship to which _Pinkerton_ is attached entering
the harbor of Higashi she believes that her “husband” will immediately
repair to their abode and she becomes almost delirious with joy. She
prepares for his

Photograph by Byron.            Belasco’s Collection.

“Too bad--those robin--never nes’--again!”

THE DEATH SCENE, BELASCO’S “MADAME BUTTERFLY”

BLANCHE BATES AS _CHO-CHO-SAN_. FRANK WORTHING AS _LIEUTENANT B. F.
PINKERTON_]

reception, attiring herself and their little child in fine array and
decking the house with flowers and lighted lanterns. Then, with the
child and a servant maid, she takes station at a window, to give him
welcome--and there she waits and watches through the night, until the
morning breaks. The lapse of time was, in the performance, skilfully and
impressively denoted,--the shades of evening darkening into night; stars
becoming visible, then brilliant, then fading from view; the lighted
lanterns one by one flickering out; the gray light of dawn revealing the
servant and the child prone upon the floor sunk in slumber, with the
deserted mother standing over them, pale and wan, still gazing fixedly
down the vacant road, while the rosy glow of sunrise grew into the full
light of day and the sweet sound of the waking songs of birds floated in
from a flowering grove of cherry trees. In the representation this
scene, during which no word was spoken and no motion made, occupied
_fourteen minutes_--and surely no tribute to Belasco’s resource and
skill in stage management and stage mechanics could be more significant
than the fact that during all that time never did the interest of his
audiences waver nor their attention flag.

At the end, when _Butterfly_ knows her lover faithless and her life
ruined and desolate, she takes her father’s sword,--on which is graven
his dying monition, “To _die_ with honor, when we can no longer live
with honor,”--and with it deals herself a mortal stroke. This desperate
deed is done out of the audience’s sight and as, with ghastly face and a
scarf bound round her throat to hide the wound, she staggers forward to
clasp her child to her breast, _Pinkerton_ enters the room and
_Butterfly_, holding the child in her arms, sinks at his feet, turning
on him a look of anguish as she murmurs “Too bad--those robin’--never
nes’--again!”--and so dies.

“Madame Butterfly” was first presented at the Herald Square Theatre,
March 5, 1900. The scenic habiliment in which Belasco attired that
tragedy was one of great beauty and perfect taste and it had never been
equalled by anything rightly comparable, excepting Augustin Daly’s
exquisite setting of “Heart of Ruby” (a play on a Japanese theme adapted
by Justin Huntly McCarthy from Mme. Judith Gautier’s “La Marchande de
Sourires”), produced at Daly’s Theatre, January 15, 1895,--which was a
complete failure: it cost Daly about $25,000 and it was withdrawn after
seven performances. Belasco’s Japanese venture, happily, was fortunate
from the first, creating a profound impression and achieving instant
success. A notably effective scenic innovation was the precedent use of
“picture drops,” delicately painted and very lovely pictures showing
various aspects of Japan,--a rice field, a flower garden, a distant
prospect of a snow-capped volcano in the light of the setting sun, and
other views,--by way of creating a Japanese atmosphere before the scene
of the drama was disclosed. Blanche Bates embodied the hapless
_Butterfly_ and animated the character with a winning show of woman’s
fidelity, with a lovely artlessness of manner and speech, and with
occasional flashes of that vivid emotional fire which was her supreme
attribute. Her personation at first caused laughter and at last touched
the source of tears,--but the predominant figure in the history of this
play, both at the first and now, was and is that of Belasco: more,
perhaps, in respect to “Madame Butterfly” than of any other of his
productions it may properly be said that his personality seemed to have
permeated every detail of this performance and its environment. This was
the original cast:

_Cho-Cho-San_ (_Madame Butterfly_)          Blanche Bates.
_Suzuki_, her servant                         Marie Bates.
_Mr. Sharpless_, American Consul      Claude Gillingwater.
_Lieutenant B. F. Pinkerton_               Frank Worthing.
_Yamadori_                                 Albert Bruning.
_Nakodo_                                      E. P. Wilks.
_Kate_, _Mrs. Pinkerton_                  Katherine Black.
_Trouble_, the child                          Kittie ----.
_Attendant_                                  William Lamp.
_Attendant_                             Westropp Saunders.

“ZAZA” ABROAD.

The Belasco season at the Herald Square Theatre was ended on March 24,
and on April 5, on board the steamship St. Paul, he sailed for England,
with Mrs. Leslie Carter and a numerous theatrical company, to present
that actress, in partnership with Charles Frohman, in “Zaza,” at the
Garrick Theatre, London. That project had been planned by the two
managers many months before and it was triumphantly fulfilled on April
16,--Belasco’s version of the French play and Mrs. Carter’s performance
in it being received in the British capital with rapturous applause and
remaining current there until July 28. The principal persons who seem to
have entertained seriously dissenting and dissatisfied views as to
Belasco’s treatment of the subject were the authors of the French
original, MM. Berton and Simon, whose conceit was great and whose
indignation was lively because their noxious drama had not been deemed
sacrosanct but had been freely altered.

Photograph by Dupont.            Belasco’s Collection.

GIACOMO PUCCINI

     INSCRIPTION:

     “_Al mio collaboratore e amico Sig. David Belasco: greato ricordo_

GIACOMO PUCCINI”]

VIEWS OF THE FRENCH DRAMATISTS.

Belasco, in his “Story,” gives some account of the attitude of the
French authors toward his adaptation of their play, to which,
undoubtedly, they were indebted for profit and reputation they would not
otherwise have obtained:

     “During the summer of 1900 we took ’Zaza’ to London. Before opening
     there I went to Paris to visit the authors, Berton and Simon. They
     had been paid large sums for the American rights of ’Zaza,’ and as
     the success of ’Zaza’ in America led to its revival in Paris their
     profits were enormous. Naturally, I was a welcome guest and my
     weekend visit was very agreeable, as it was made to the
     accompaniment of a song of praise--of superlative gratitude. What I
     had accomplished was remarkable! Superb! There was no other man,
     etc., etc. In the meanwhile I was wondering what they would say
     when they saw the manuscript of ’Zaza.’ They came to London for the
     first night, preceded by a huge hamper of flowers for Mrs. Carter.
     The opening was a brilliant function. The late King Edward, then
     Prince of Wales, was present; also King George, then Duke of York.
     I remember the military bearing of Clement Scott in his
     scarlet-lined coat, and the rough and ready appearance of Bernard
     Shaw, in his soft shirt and crush hat. What the latter thought of
     Mrs. Carter found its caustic way into the columns of ’The Saturday
     Review’; what the audience thought was told by the growing
     enthusiasm as the play progressed; what Berton and Simon thought
     was shown by a certain coolness in their attitude toward me. Their
     enthusiasm died a natural death after the Second Act, and the more
     demonstrative the audience the less pleased were they. At the close
     of the Third Act they left the house, telling me in heated terms
     that I had ruined their climax and it was not their play at all.
     Curiously enough, they did not see the humor of the situation. My
     version made their fortune because it made the woman possible to an
     English-speaking audience. The authors were in the odd position of
     quarreling with their bread and butter (an unusual situation for
     playwrights). They grew angrier and angrier as the play gained
     favor with the public, and their royalties were increased week
     after week. Those were strenuous days. However, they calmed down,
     and in the course of time Monsieur Berton asked me to forget the
     letter of denunciation he wrote to me from Paris.”

“WITH SPEED FOR ENGLAND.”--ANOTHER SUCCESS IN LONDON.

The success which Belasco had gained with “Madame Butterfly” in New York
was so great that, had he chosen to do so, he could have successfully
prolonged his season there, at the Herald Square Theatre, throughout the
summer of 1900. But his plans for producing “Zaza” in London were
complete and he was bound “with speed for England”; he determined,
therefore, to carry his little Japanese tragedy with him, having it in
mind to show theatre-goers in the British capital, simultaneously, two
vividly contrasted specimens of his theatrical resource and power. At
first, he was disposed to transport the company, headed by Blanche
Bates, as well as the production,--that is, the scenery, dresses,
“properties” and effects. But when he sought to do this it proved to be
impracticable: the only arrangement that he found it feasible to make
was one with his partner in the “Zaza” venture, Charles Frohman, who, at
the time, was successfully presenting, at the Duke of York’s Theatre,
London, Jerome K. Jerome’s comedy of “Miss Hobbs.” With Frohman,
accordingly, Belasco arranged to bring forward “Madame Butterfly” as an
“afterpiece” to “Miss Hobbs,”--and as it was manifestly injudicious
unnecessarily to maintain two stars at one and the same theatre, Belasco
decided (to the lively disgust of Miss Bates) to cast the player of
_Miss Hobbs_, Miss Evelyn Millard, at that time a popular favorite in
London, for _Madame Butterfly_, depending on himself to train and guide
her through the performance of that part. This self-confidence was fully
justified,--the little tragedy being received with profound admiration
both by the press and the public. It was acted at the Duke of York’s,
April 28, with this cast:

_Cho-Cho-San_ (_Madame Butterfly_)           Evelyn Millard.
_Mr. Sharpless_                         Claude Gillingwater.
_Lieutenant B. F. Pinkerton_               Allan Aynesworth.
_Yamadori_                                   William H. Day.
_Nakado_                                    J. C. Buckstone.
_Suzuki_                                      Susie Vaughan.
_Kate, Mrs. Pinkerton_                 Janet Evelyn Sothern.

PUCCINI AND BELASCO.

Belasco, as he told me, declined to attend the first London performance
of his “Butterfly.” “I didn’t know how it might go,” he said, “--and I
didn’t intend to be called out and ’boo-ed.’ Frohman was very confident
and kept telling me it would be all right, but I didn’t go ’round (I was
busy, too, at the Garrick) till right at the end and then I only went
’in front.’” At the end, however, the enthusiasm of the audience was so
great and the calls for him were so long and urgent that he was at last
compelled to go upon the stage and make his grateful acknowledgments. “I
sometimes feel,” said Belasco, “that the tribute of that English
audience, at first sitting in absolute silence, except for the sound of
some women crying, then calling and calling for me and waiting and
waiting, while Frohman came ’round in front and found me and insisted
upon my going to the stage, was the most gratifying I ever received.
Giacomo Puccini, the Italian composer, was in front that night and
after the curtain fell he came behind the scenes to embrace me
enthusiastically and to beg me to let him use ’Madame Butterfly’ as an
opera libretto. I agreed at once and told him he could do anything he
liked with the play and make any sort of contract he liked--because it
is not possible to discuss business arrangements with an impulsive
Italian who has tears in his eyes and both his arms round your neck! I
never believed he did see ’Madame Butterfly’ that first night; he only
heard the music he was _going_ to write. Afterward I came to know him
well, and found him the most agreeable and simple-hearted fellow in the
world,--a great artist without the so-called ’temperament.’”

“MADAME BUTTERFLY” AS AN OPERA.--A PROPOSAL BY LADY VALERIE MEUX.

Puccini’s opera, entitled “Madama Butterfly,” was first performed in New
York, in an English version, under the management of Henry Savage, at
the Garden Theatre, November 12, 1906. Elza Szamosy, an Hungarian, sang
_Cio-Cio-San_; Harriet Behne _Suzuki_; Joseph F. Sheehan _Pinkerton_,
and Winifred Goff _Mr. Sharpless_. The first performance of it in
Italian occurred in New York, at the Metropolitan Opera House, February
11, 1907, when,--with its composer among the audience--it was sung by
the following cast:

_Cio-Cio-San_                         Geraldine Farrar.
_Suzuki_                                  Louise Homer.
_Kate, Mrs. Pinkerton_                  Laura Mapleson.
_La Madre_                            Josephine Jacoby.
_La Cugina_                              ---- Shearman.
_La Zia_                                    ---- Moran.
_Lieutenant Pinkerton_                   Enrico Caruso.
_Mr. Sharpless_                         Antonio Scotti.
_Goro_                                    Albert Reiss.
_Yamadori_                                 ---- Paroli.
_Lo Zio Bonzo_                          Adolf Mühlmann.
_Yakuside_                                Giulio Rossi.
_Il Commissario Imperiale_                  ---- Bégué.
_Un Ufficiale del Registro_         Francesco Navarini.

Referring to the production of this opera at the Metropolitan, Belasco
writes: “I loaned my models [for the scenery] and sent over my
electricians.”--I have not heard Puccini’s music. My old friend and
colleague Henry Edward Krehbiel has written of it:

     “ ... Genuine Japanese tunes come to the surface of the
     instrumental flood at intervals and tunes which copy their
     characteristics of rhythm, melody, and color. As a rule this is a
     dangerous proceeding except in comedy which aims to chastise the
     foibles and follies of a people and a period. Nothing is more
     admirable, however, than Signor

Photograph by Aime Dupont.            Belasco’s Collection.

GERALDINE FARRAR AS _CHI-CHI-SAN_, IN PUCCINI’S OPERA, “MADAMA
BUTTERFLY,” BASED ON BELASCO’S TRAGEDY]

     Puccini’s use of it to heighten the dramatic climaxes; the merry
     tune with which _Cio-Cio-San_ diverts her child in the Second Act
     and the use of a bald native tune thundered out _fortissimo_ in
     naked unison with the periodic punctuations of harmony at the close
     are striking cases in point. Nor should the local color in the
     delineation of the break of day in the beginning of the Third Act
     and the charmingly felicitous use of mellifluous songs in the
     Marriage Scene be overlooked. Always the effect is musical and
     dramatically helpful. As for the rest there are many moments of a
     strange charm in the score, music filled with a haunting tenderness
     and poetic loveliness, music in which there is a beautiful meeting
     of the external picture and the spiritual content of the scene.
     Notable among these moments is the scene in which _Butterfly_ and
     her attendant scatter flowers throughout the room in expectation of
     _Pinkerton’s_ return. Here melodies and harmonies are exhaled like
     the odors of the flowers.”

And elsewhere Mr. Krehbiel remarks that

     “there is nothing more admirable in the score of ’Madama Butterfly’
     than the refined and ingenious skill with which the composer bent
     the square-toed rhythms and monotonous tunes of Japanese music to
     his purposes.”

“Madame Butterfly” ran at the Duke of York’s Theatre until July 13. In
America it was presented, throughout the season of 1900-’01, beginning
at Elmira, New York, September 17, in association with “Naughty
Anthony,” by a company headed by Miss Valerie Bergere and Charles E.
Evans. On February 18, 1901, the tragedy was acted at Proctor’s Fifth
Avenue Theatre, New York, and ran till May 11. Miss Bergere performed as
_Cho-Cho-San_ until March 29, when she was succeeded by the French
actress Mlle. Pilar-Morin. Since then “Butterfly” has been acted
unnumbered times.

During the summer season of “Zaza” in London (1900), Belasco was
approached by the eccentric Lady Valerie Meux, a person of great wealth
and peculiar antecedents, with a proposal that he give up the management
and direction of Mrs. Carter and assume that of Mrs. Cora Urquhart
Potter, in whom she was then much interested. Belasco was well
acquainted with Mrs. Potter, who, indeed, was one of the many amateur
players trained by him while at the Madison Square Theatre (1884, _et
seq._) and for whose professional appearance on the stage, under the
management of Daniel Frohman, he had arranged, in 1886,--an arrangement
which Mrs. Potter suddenly abrogated. Belasco esteemed her histrionic
abilities much higher than ever there was warrant for doing (he has
written about her: “If I could have succeeded in drawing her away from
society, from the host of admirers and over-zealous friends who fondled
and petted her and kept her from really working, and if she could have
appreciated the simplicity of life, she could have taken _front rank_ in
her profession”), but he would not give up the direction or Mrs.
Carter’s career and therefore he declined Lady Meux’s proposal. That
singular person then expressed a wish that he should transfer his
theatrical activities from America to England, offered to build for him
“the finest playhouse in the land” and to provide him with ample money
with which to conduct it, so that he “might be free and untrammelled by
financial cares” and fulfil all his ambitions. “Of course,” he has said,
in telling me of these incidents, “her offer had a tempting sound, but
nothing could have induced me to accept it. Not only would I not
consider deserting Mrs. Carter, but I knew that Mrs. Potter could never
give up the social world for the exclusive hard work of the Stage. And
also I knew that within a year, perhaps less, Lady Meux would have grown
tired of her fancy and my position would be intolerable. I wanted a
theatre in London--in fact, I want one now and, perhaps, in spite of the
war, I may have one yet--but not one tied up in apron-strings.” His
decision to reject the offers of Lady Meux certainly was wise.

INDEX TO VOLUME ONE

INDEX TO VOLUME ONE

_B._=_David Belasco._

A

Abbey, Henry Eugene
        (Am. th. man.: 1848-1896): plans
        to produce S. Morse’s “Passion Play” in N. Y., 122.

Abbey’s New Park Th., N. Y., burned, 122.

Academy of Music, N. Y.: Salvini’s first Am. appearance at, 59.

“Across the Continent” (play): B. acts in, 104.

Acting: schools of and teaching of--the subject
      critically considered, 348, _et seq._

Actors: early, in Calif., 131.

Adams, Annie (Asenath Annie Adams--Mrs. James Kiskaden--Mrs.
      Harvey K. Glidden: Am. actress: 1849-1916): 62.

Adams, Edwin (Am. actor: 1834-1877): in S. F., 90; 204.

Adams, John (actor): 132.

Adams (Kiskaden), Maude (Am. actress: 1872-19--): 62.

“Adolph Challet” (play): 237.

“ADREA” (tragedy): 477.

“Adrienne Lecouvreur” (play): 103.

“Agnes” (play): 105.

“Aladdin No. 2; or, The Wonderful Scamp” (burlesque): 37; 221.

Alberta, Laura (Am. actress): B. acts with, in S. F., 49; 74; 229.

Albery, James (Eng. dramatist: 1838-1889): 336.

Aldrich, Louis (Moses Lyon: Am. actor: 1843-1901): 345;
  good acting by, 346;
  sketch of, 347, _et seq._

Allemany, Archbishop, of S. F.: approves “The Passion Play,” 116.

Allen, Charles E. (actor): 36.

Allen, Charles L. (lawyer): 390.

Allen, Charles Leslie (Am. actor: 1830-1917): 382.

“All the Comforts of Home” (farce): 375.

“Alpine Roses” (play): 279; 280.

Alta California,” “The (S. F. newspaper): notice in,
      quoted _re_ “Passion Play,” 118.

Amberg, Gustav (Ger.-Am. th. man.): 251.

“AMERICAN BORN” (melod.): written--and produced--cast
      of, 257, _et seq._; 260; 261; 269; 270; 276.

American Theatre, S. F.: Julia Dean, lessee of, 7.

“Amy Robsart” (play): 210.

Anderson, David H. (Am. actor: 1814-1884): 36.

“Andrea” (play): 311.

Andrews, Lillian (Am. actress): 187.

Apostate,” “The (tragedy): 94; 160.

“Armadale” (Collins’ novel): dramatization of, 92.

“Arrah-na-Pogue” (comedy): Boucicault and wife in, 58; 225; 261.

Art, dramatic: suggestion in--instructive comment _re_, by B., 418.

“Article 47” (play): B.’s version of, 93.

ASSOMMOIR,” “L’ (novel): Daly’s view of Fr. dramatization of, 184;
  same makes and produces Eng. version--which fails--B.
      makes version--which succeeds, 185;
  cast of B.’s version of, 186;
  difficulties during rehearsals of, 187;
  run of, 188; 189.

“As You Like It”: 43; 137.

Atkinson, Henry (actor): 135.

Audran, Edmond (Fr. musician: 1840-1901): 396;
  writes letter praising Mrs. Carter, 398.

AUCTIONEER,” “THE (play): 139.

B

Bachelor of Arts,” “A (farce): 344.

Bailey, Philip James (the poet: 1820-1902): 249.

Baker and Farron [theatrical] Company: 88; 89.

Baker, Emily: 87.

Baldwin, Edward J. (“Lucky Baldwin”): builds Baldwin’s A. of M., S. F., 86;
  not friendly with T. Maguire, 87;
  supports “The Passion Play” in S. F., 115;
  withdraws support of Maguire, 183.

Baldwin’s Academy of Music, S. F.: built, 86;
  opened with “K. R. III.”--and B. employed at, 87;
  Sullivan’s repertory at--and Gates Opera Co. at, 88;
  G. F. Rowe at, 92;
  farewell engagement of A. Neilson at, 210;
  Maguire loses, 253.

Bandmann, Daniel Edward (German-Am. actor: 1840-1905): 133.

Banishment of Catiline,” “The (poem): recited by B., 26.

Banker’s Daughter,” “The (play): _re_ authorship of--and
      first produced, 125; 126;
  resemblance of “The Millionaire’s Daughter” to, 128;
  engagement of, in S. F., cancelled, 129; 328.

Banks, Maude: 349.

Barker, H. Granville (Eng. actor, playwright and th.
      man.: 1874-19--): and “modern” methods of, anticipated by B., 355.

Barnes, George E. (dramatic reviewer in S. F.): 103.

“BARON RUDOLPH” (melod.): production of--and story--failure
      of, 321, _et seq._;
  rewritten by Howard--and by B., 324;
  cast of, 326.

BARRETT, LAWRENCE P. (Am. actor and th. man.: 1838-1891): 42;
  acts _King Henry the Fifth_ in S. F., 91; 95;
  first appearance of, in S. F., 135;
  feeling of, toward McCullough--and characters of _Cassius_,
      and _Antony_, 165;
  first plays _Cassius_--and same, in S. F., 166.

Barrett, Hon. George C. (Judge--N. Y.): 122.

Barrows, James O. (Am. actor): schoolboy companion of B.--wins
      medal in Comedy, 12;
  B.’s early friendship with, 27.

Barry, William (actor): 131.

Barrymore, Maurice (Eng.-Am. actor and dramatist: 1848-1905): 309; 427.

BATES, BLANCHE (Mrs. Milton F. Davis--Mrs. George Creel: Am.
      actress: 1872-19--): 35; 62; 74;
  B.’s first meeting with, 77;
  mother’s ambition for--and B.’s promise _re_, 78;
  beauty--qualities--potentialities of, 469, _et seq._;
  lapse of, into obscurity--and biographical particulars _re_, 471, _et seq._;
  first acts under B.’s management in “Naughty Anthony,” 473, _et seq._;
  as _Cora_, in same, 474;
  same, 475;
  her performance of _Madame Butterfly_, 483; 487.

Bates, Frank Mark (Am. actor: 18---18--): 75;
  murdered, 76.

BATES, MRS. FRANK MARK (Frances Marion Hinckley--Mrs. Charles
      L. Lord: Am. actress: 1848-1908): 35; 74;
  B.’s recollection of, and of her husband, 75, _et seq._;
  B. acts _Armand Duval_ with, 76;
  B.’s promise to, _re_ daughter, 77;
  on B.’s facility in adapting plays, 84; 133; 472.

Beauty and the Brigands,” “The (burlesque): 37.

Behne, Harriet (singer): 489.

Belasco, Augusta (Mrs. William Elliott): 469.

=BELASCO, DAVID= (American theatrical manager, playwright,
      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.

Eyre, Gerald (actor): 235; 237; 298.

F

Fairbank, N. K. (capitalist): agrees to “back” B. and Mrs. Carter, 385;
  withdraws support and repudiates obligations,
        _re_ Mrs. Carter’s tour--sued by B., 389;
  defeated by B., 390;
  B.’s kindly feeling toward--and admits he was “badly advised,” 391; 446.

“Fairfax” (play): 221.

Falconer, Edmund (Eng. dram.: 1815-1879): 28.

Fall of Tarquin,” “The (tragedy): 94.

Famille Benoiton!” “La (farce): adapted by B., 125.

Fast Family,” “A (farce--same as preceding): 125.

“Faust” (play): 98; 249.

“Faustus” (spectacle): B. in, 86.

Fawcett, George (Am. actor: 1860-19--): 349.

“Fazio” (tragedy): 9; 160.

“Featherbrain” (play): 336.

Fechter, Charles Albert: (French actor and
        th. man.: 1824-1879): Stuart’s Park Th. opened
        with performance by, 59; 69.

“Fedora” (melod.): 292.

“Fernande” (comedy): 299.

“Ferréol” (play): 355.

“Festus” (poem): 249.

Feuillet, Octave (Fr. dramatist: 1821-1890): 24; 53; 59; 63.

Field, Edward Captain: 227.

Fifth Avenue Theatre, N. Y.: the second, “The Big Bonanza,” produced at, 80.

Figaro,” “The San Francisco (th. news sheet): early notice of B. in, 28;
  commendation of same in, 37.

Fire-Fly Social and Dramatic Club,” “The, of S. F.: B.’s association with, 28.

First Born,” “The (tragedy):
  B. buys--and in association with C. Frohman, produces in N. Y., 447;
  story of, 448, _et seq._;
  cast, 450;
  produced in London--forestalled there, and failure of, 451.

Fischer, Alice (Mrs. William Harcourt [King]: Am. actress: 1869-19--): 349.

Fisher, Charles (actor: 1816-1891): 204.

Fisk, James, Jr. (capitalist, etc.): 272.

Fiske, Harrison Grey (Am. journalist and th. man.: 1867-19--): 288; 289.

“Flies in the Web” (farce): 474.

Florence (Conlin), William James (Irish-Am,
        actor and th. man.: 1831-1891): 133;
  a delicate artist, etc., 158; 321.

Florence (Conlin), Mrs. William James (Malvina
        Pray--Mrs. Joseph Littell--Mrs. George
        Howard Coveny: Am. actress: 1831-1906): 133.

Flynn, Thomas (actor: 17-- -1849): the first _Rip Van Winkle_, 173.

Fool’s Revenge,” “The (tragedy): 86; 94; 222; 247.

Foote, Samuel (Eng. actor and mimic: 1720-1777): 38.

“Forbidden Fruit” (play): 57.

Ford, Harriet: 349.

“Forget Me Not” (play): 221; 231.

Forrest, Edwin (Am. actor: 1806-1872): 132; 134;
  death of, as _Hamlet_, 150; 151.

Fortesque (Finney), May (Eng. actress): 313.

Forty Thieves,” “The (burlesque): 86.

Francœur, Joseph W. (actor): 252; 261.

Franks, Frederick (actor): 135.

Franks, Mrs. Frederick (actress): 135.

Frawley, Timothy Daniel (Am. actor and th. man.: 18-- -19--): 471; 472.

Frayne, Frank I. (Am. actor and th. man.: 18-- -18--): 74; 104.

Freedom of the Press,” “The (play): B. appears in, 27.

French, Samuel (’s Standard Drama): 39.

French Spy,” “The (play): 70.

FROHMAN, CHARLES (Am. speculative th. man.:
        1860-1915): “Life” of--B. associated
        with--and B.’s recollections of, 269,
        _et seq._; 292; 311;
  proposal of, to B.--same accepted--and “Men
        and Women” written for, 373, _et seq._; 383;
  suggests a venture with B., 395;
  buys “Miss Helyett” on B.’s advice, 396;
  “Life” of, 401;
  relations of, with B., 421;
  important letter from, to B., 422; 425;
  B. adapts “The Younger Son” for, 428; 435; 447;
  with B., presents “The First Born” in London, 451;
  with same, presents “The Heart of Maryland” in London, 453; 454;
  arranges with B. for Am. presentation of Mrs. Carter in “Zaza,” 455;
  with B. presents “Zaza” in London, 484; 487.

FROHMAN, DANIEL (Am. th. man. and moving picture operative: 1853-19--): 254;
  engages B. as stage manager of Mad. Sq. Th., N. Y., 260; 271; 275; 312;
  engages B. as stage manager, playwright,
        etc., of the Lyceum Theatre, N. Y., 313; 328; 329;
  commissions B. to write a second play for Lyceum, 312; 326; 336; 340;
  B.’s bargain with, _re_ use of a stage and “The Prince and the Pauper,” 366;
  same repudiated, 368;
  B.’s resentment of unfair treatment by--and letter to, 369;
  suggests name of “The Girl I Left Behind Me” for B.’s play, 403.

FROHMAN, GUSTAVE (Am. speculative th. man. and agent: 185[1?]-19--):
  associated with B., 254; 255; 260;
  B. leaves S. F. in employment of, 261; 269; 281; 292.

“Frou-Frou” (play): 80.

Fyles, Franklyn (originally, Franklin Files)
        (Am. journalist and playwright: 1847-1911): 401;
collaborates with B. in “The Girl I Left Behind Me,” 403; 405.

G

Gaboriau, Émile (Fr. novelist: 1833-1873): 113.

Galley Slave,” “The (melod.): 221.

Gambler’s Fate,” “The (melod.): 346.

Gamester,” “The (play): 88; 252.

Gannon, Mary (Mrs. George Stevenson: 1829-1868): 153.

Gardner, Frank (th. man, and capitalist):
        B. associated with, in “The Egyptian Mystery,” etc., 97, _et seq._

Garrick, David (Eng. actor, th. man.,
        and dramatist: 1716-1779): 137; 151; 154.

“Gaspardo; or, The Three Banished Men of Milan” (melod.): B. in, 86.

Gates, Daniel Virgil (actor): 131.

Gatti, Messrs. (Eng. th. man.): 451.

Gautier, Mme. Judith (Fr. dramatist): 482.

Genest, Rev. John (Eng. th. historian: 1764-1839): 163.

Giddens, George (Eng. actor: 1845-19--): 62.

Gilbert, John Gibbs (Am. actor: 1810-1889): 153; 177; 298.

Gilbert, Sir William Schwenck, kt. (Eng. dramatist and poet: 1836-1911): 313.

Gilded Age,” “The (story): Densmore’s
        dramatization of, produced--and B. on, 64;
  Clemens to Howells on, quoted, 65, _et seq._;
  Raymond’s letter about--and Twain’s version of, 66, _et seq._;
  author on worth of--and Raymond’s performance in, 67, _et seq._;
  acted in N. Y., 68; 165.

Gillette, William Hooker (Am. actor and playwright:
        1855-19--): 317; 337; 339; 356; 375; 387; 439; 453.

GIRL I LEFT BEHIND ME,” “THE (melod.): written, 403;
  excellence of--story of--and critically considered
        in detail, 406, _et seq._;
  produced--and Empire Th., N. Y., opened with, 405;
  success of, 415;
  cast of, 416; 417; 418; 419;
  origin of, 420, _et seq._; 421; 422; 426; 427; 428; 432; 453.

GIRL OF THE GOLDEN WEST,” “THE (melod.): Puccini’s opera on B.’s play of, 75;
  Sawtell engaged for, 85; 470.

Gladstane, Mary (Am. actress: 1830-18--): B.’s
       admiration of--and gives prompt book to B., 79.

Goethe, Johann Wolfgang von (Ger. poet: 1749-1832): 249.

Gold Demon,” “The (burlesque): B. makes hit in, 37.

Golden Era,” “The, San Francisco (newspaper): 66.

“Golden Game” (melod.): 221.

Goldsmith, Oliver (the poet, novelist, and dramatist:
        1728-1774): 106; 107; 478.

Good, Brent: 336.

Goodwin, Frank L. (th. agent and man.): 243.

Gordon, Marie E. (Mrs. John T. Raymond: Am. actress): 135.

Grand Opera House, S. F.: “The Passion Play,” produced at, 115.

Granville, Gertrude (Am. actress): 74;
  B. acts with, 104.

Graves, Converse (stage man.): 375.

Great Divorce Case,” “The (melod.): 252.

Great Pink Pearl,” “The (farce): 317.

Great Republic,” “The (allegory): 27; 404.

Great Ruby,” “The (melod.): 472.

Greene, Clay M. (Am. playwright: 1850-19--): 247; 295; 310; 318; 446.

Greenwall, Henry: 400.

“Griffith Gaunt” (novel): Mayo’s dramatization of--and
        B. makes version of, 71.

Grismer, Joseph Rhode (Am. actor, playwright, and th. man.: 1849-19--): 224.

Grove, Florence Crawford (Eng. playwright): 231.

Gunter, Archibald Clavering (Am. novelist and playwright: 1848-1907): 311.

H

Haase, Frederick (Ger. actor: 1827-19--): 251; 252.

Hackett, James Henry (Am. actor and th. man.: 1800-1871):
        effect of his acting, 155; 173.

Hager, Professor ----: B. appears in his “Allegory,” 27; 404.

Haggard, Henry Rider (Eng. novelist: 1856-19--): 337.

Halévy, Ludovic (Fr. dramatist: 1834-1908): 450.

“Hamlet”: 43; 69; 88; 138; 154; 247; 249; 252; 294.

Hamlin, John (Am. speculative th. man.): 192; 193; 194.

Happy Pair,” “A (farce): 37; 80; 177.

Harcourt, Charles (Eng. actor): acts _Paul Zegers_, 170; 171.

“Hard Cash” (novel): 257.

Hardie, J. H. (Am. actor): 35.

Harkins, Major Daniel H. (Am. soldier, actor, and th. man.: 1835-1902): 299.

Harris, Sir Augustus (Eng. actor, th. man., and playwright: 1842-1896): 227.

Harris, William (Am. th. man.: 1845-1916): 400; 401.

Harrison, Alice (Am. actress: 1852-1896): 36.

Harrison, Mrs. Burton N., Sr.: 279.

Haunted House,” “The (melod.): 98.

Haverley’s Minstrels: 260.

Hawthorne, Louise (actress): 87.

Hayes, Sarah: 225.

Hayman, Al. (Am. speculative th. man. and theatre
        proprietor: 18[52?]-1917): 307; 337; 400;
  loans $1,500 on $30,000 security, 437.

Hayne, Arthur (M.D.): marriage of, to J. Dean, 9.

Hayne, Robert Young (U. S. Senator: 1791-1839): 9.

“Hazel Kirke” (melod.): 254; 258.