CONFLICTIVE TESTIMONY.

Photograph by Sarony.Belasco’s Collection.MRS. D. P. BOWERS

Photograph by Sarony.Belasco’s Collection.

MRS. D. P. BOWERS

while in Virginia City, employed Belasco as an amanuensis, and (according to Belasco’s recollection) incidentally dictated to him a part of the drama of “Led Astray,” a fabric which he was then “conveying” from a French original, “La Tentation,” by Octave Feuillet (1821-1890). That play was first presented in New York, at the Union Square Theatre, December 6, 1873, with Rose Eytinge and Charles Robert Thorne, Jr., in the leading parts. Another important player with whom Belasco became professionally associated in Virginia City was Katharine Rodgers, a remarkably clever actress and fascinating as a woman, who had gained reputation on the English Stage and who came to America with Boucicault and for some time acted under his direction, in “Mimi,”—a play that he made for her use, out of “La Vie de Bohème,”—and in other plays, winning much popularity. This performer had been the wife of James Rodgers (1826-1890), a genial, respected English actor, long associated with the theatres of Manchester and Birmingham.

I have made scrupulous inquiry relative to Belasco’s first meeting with Boucicault (an eventthe exact date of which, since it profoundly influenced his career, ought to be established), and, although the former is positive that his memory of the occurrence is correct, I have become convinced that he has much confused the time and circumstances. The process of such misremembrances as this of Belasco’s is neither unusual nor difficult to understand. From 1873 to 1883 his life was feverish with activity. During that period he certainly met Boucicault, in Virginia City, and was there associated with him, as amanuensis. When “La Tentation” and Boucicault’s version of that play, called “Led Astray,” were acted in San Francisco (April, 1874), Belasco saw them, and, like many other persons associated with the Theatre, he heard much of the disputation which eddied round them. Years later, remembering his association with Boucicault, in Virginia City, the mistaken impression found lodgment in his mind that it was “Led Astray” on which the elder playwright was at work when they became acquainted, and, by repetition and elaboration, that erroneous belief has become fixed. To my objection that it isabsolutely impossiblethat Boucicault could have dictated to him “Led Astray” Belasco’s reply, several times iterated, is, in effect, that Boucicault was working on the play “long before” it was produced in New York and that,whether possible or not, he is “very positive” Boucicaultdiddictate it to him, in Virginia City, during a blizzard. It would not be just to Belasco, he being sure that his recollection of this affair is absolutely accurate, to assert that it is wholly incorrect without giving his explicit statement of the incidents. Therefore, I quote it here, from his “Story”:

“When Boucicault reached Virginia City, he was under contract to deliver a play to A. M. Palmer, of New York. ’Led Astray’ was its title. But his writing hand was so knotted with gout that he could scarcely hold a pen. Boucicault was noted for being a very secretive man. He would never have a secretary because he feared such a man might learn too much of his methods of work. He was in the habit of saying: ’I can’t write a line when I dictate. I think better when I have a pen in my hand.’“But now he had to have assistance to finish ’Led Astray.’ At this time I had some slight reputation as a stage manager and author. In those days everything was cut and dried, and the actor’s positions were as determined as those of the pawns on a chess-board. But whenever an opportunity offered itself, I would introduce something less rigorous in the way of action, much to the disgust of the older players. Boucicault must have heard of my revolutionary methods, for he sent me a message to come and see him and have a chat with him. With much perturbation, I went to his hotel and knocked on his door.“‘They tell me you write plays,’ he began. Then followed question after question. He tested my handwriting, hecommented on certain stage business he had heard me suggest the day before; then he said abruptly:“‘I want you to take dictation for me,—I’m writing a play for the Union Square Theatre,—you have probably heard of the manager, A. M. Palmer,—at one time a librarian, but now giving Lester Wallack and Augustin Daly a race for their lives. I hope, young man, you can keep a secret; you strike me as being “still water.” Whatever you see, I want you to forget.’“So I sat at a table, took my coat off and began Act One of ’Led Astray.’ Boucicault lay propped up with pillows, before a blazing fire, a glass of hot whisky beside him. It was not long before I found out that he was the terror of the whole house. If there was the slightest noise below stairs or in the street, he would raise such a hubbub until it stopped that I had never heard the like of before.“Whenever he came to a part of the dialogue requiring Irish, I noticed how easily his dictation flowed. When he reached a dramatic situation, he acted it out as well as his crippled condition would allow. One thing I noticed particularly: he always held a newspaper in his hand and gave furtive glances at something behind it I was not supposed to see. I was determined, however, to know just what he was concealing from me.“The opportunity came one morning when he was called out of the room. Before he went, I noted how careful he was to place a newspaper so that it completely hid the thing under it. I went quickly to the table, and, turning over the pages, I found a French book, ’La Tentation,’ from which the entire plot of ’Led Astray’ was taken. In those days, authors did not credit the original source from which they adapted. But Boucicault was more than an adapter—he was a brilliant and indefatigable slave, resting neither night

“But now he had to have assistance to finish ’Led Astray.’ At this time I had some slight reputation as a stage manager and author. In those days everything was cut and dried, and the actor’s positions were as determined as those of the pawns on a chess-board. But whenever an opportunity offered itself, I would introduce something less rigorous in the way of action, much to the disgust of the older players. Boucicault must have heard of my revolutionary methods, for he sent me a message to come and see him and have a chat with him. With much perturbation, I went to his hotel and knocked on his door.

“‘They tell me you write plays,’ he began. Then followed question after question. He tested my handwriting, hecommented on certain stage business he had heard me suggest the day before; then he said abruptly:

“‘I want you to take dictation for me,—I’m writing a play for the Union Square Theatre,—you have probably heard of the manager, A. M. Palmer,—at one time a librarian, but now giving Lester Wallack and Augustin Daly a race for their lives. I hope, young man, you can keep a secret; you strike me as being “still water.” Whatever you see, I want you to forget.’

“So I sat at a table, took my coat off and began Act One of ’Led Astray.’ Boucicault lay propped up with pillows, before a blazing fire, a glass of hot whisky beside him. It was not long before I found out that he was the terror of the whole house. If there was the slightest noise below stairs or in the street, he would raise such a hubbub until it stopped that I had never heard the like of before.

“Whenever he came to a part of the dialogue requiring Irish, I noticed how easily his dictation flowed. When he reached a dramatic situation, he acted it out as well as his crippled condition would allow. One thing I noticed particularly: he always held a newspaper in his hand and gave furtive glances at something behind it I was not supposed to see. I was determined, however, to know just what he was concealing from me.

“The opportunity came one morning when he was called out of the room. Before he went, I noted how careful he was to place a newspaper so that it completely hid the thing under it. I went quickly to the table, and, turning over the pages, I found a French book, ’La Tentation,’ from which the entire plot of ’Led Astray’ was taken. In those days, authors did not credit the original source from which they adapted. But Boucicault was more than an adapter—he was a brilliant and indefatigable slave, resting neither night

Photograph by Sarony.Belasco’s Collection.DION BOUCICAULT“The Master of the Revels”

Photograph by Sarony.Belasco’s Collection.

DION BOUCICAULT

“The Master of the Revels”

nor day. There is no doubt that even though he adapted,—in accordance with the custom of the time,—he added to the original source, making everything he touched distinctly his own. He left everything better than he found it; his pen was often inspired, and in spite of his many traducers, he was the greatest genius of our Theatre at that time. Boucicault was a master craftsman....”

I am inclined to the opinion that the play of which Boucicault actuallydiddictate a part to Belasco, during the early days of their acquaintance, in Virginia City, is, perhaps, “Forbidden Fruit,”—which was derived from a French original, and which was first produced at Wallack’s Theatre, October 3, 1876: it is, however, to be remembered that thereisan Irish character,—a kind ofSir Lucius O’Trigger-turned-blackguard, who is designatedMajor O’Hara,—in “Led Astray.” Nevertheless, as to Belasco’s reminiscence of the writing of that play, I am convinced that, though interesting, it is wholly apocryphal; the following is a summary of my reasons for so believing:

Belasco did not make his first appearance with Minnie Wells, at the Metropolitan Theatre, San Francisco, until December 16, 1872, and, of course, his meeting with Boucicault could not have preceded that date. Boucicault, moreover, and his wife, the beautiful Agnes Robertson, were absentfrom this country, according to my records, for about twelve years preceding 1872. In the Fall of that year they returned to America, and, on September 23, they reappeared together, at Booth’s Theatre, New York, in “Arrah-na-Pogue.” They acted there until November 16, and then made a tour through various cities of the country, but, as far as I have been able to ascertain, they did not go west of St. Louis, Missouri. Boucicault reappeared in New York, at Booth’s Theatre, March 17, 1873, acting, for the first time anywhere,Daddy O’Dowd, of which part he gave truly a great impersonation and on which he had been at work during all his tour. His engagement at Booth’s lasted until May 10. From that date to the latter part of August Boucicault was in New York,—except when he visited the ingratiating but false-hearted William Stuart (Edmund C. O’Flaherty, 1821-1886), at New London, Connecticut. During that period he was actively engaged on many projects,—the completion, rehearsal, and presentment of “Mora,” which was brought out at Wallack’s Theatre, June 3, and of “Mimi,” produced there on July 1; the writing of other plays, and business negotiations relative to the building and opening of Stuart’s Park Theatre, which, originally, was intended for his use. (Stuart, after many postponements, opened it, April 15, 1874, presenting Charles Fechter in “Love’s Penance.”) On August 28, 1873, Boucicault began an engagement at Wallack’s Theatre, acting in “Kerry” and “Used Up.” A few days later he broke down and went to New London to rest. On September 16, that year, in company with me, among others, he attended the first performance in America given by Tommaso Salvini: I talked with him there—at the Academy of Music. On December 6, 1873, his “Led Astray” was produced, for the first time anywhere, at the Union Square Theatre, New York. I was present, and I saw and heard Boucicault, when he was called before the curtain, and, writing in “The New York Tribune,” in the course of a review of the performance, I recorded the following comment:

... The drama comes from the French of Octave Feuillet,and it was translated by Mr. Boucicault. Whoever wishes to see with what an assured step clever authorship can walk on ticklish ground may behold the imposing spectacle at the Union Square Theatre. Mr. Boucicault was called before the curtain on Saturday night by vociferous applause, both at the end of the Third Act and at the end of the play, and in the speech which finally he made he told his auditors to give at least two-thirds of the credit for whatever pleasure they had received to his friend Octave Feuillet. Mr. Boucicault was also understood to say something about a projected revival of Legitimate Drama. We were not awareof its demise. And, even if it were dead, we fail to perceive how Mr. Boucicault could manage to effect its resuscitation by the translating of French plays of very doubtful propriety. It is to be remembered, though, that Mr. Boucicault is an Irish gentleman and loves his joke.... In this we perceive Mr. Boucicault’s preëminent skill. Nevertheless, the appearance of Octave Feuillet’s name upon the playbill would be noted with satisfaction. Mr. Boucicault should be aware that, by lapses of this kind, he arms his detractors and is unjust to himself....

Boucicault made his first appearance in San Francisco, at the California Theatre, on January 19, 1874 (the bill was “Boucicault in California,”—a weak sketch written for the occasion,—“Kerry,” and “Jones’s Baby”), and he arrived in that city, a few days earlier, not from Virginia City, but from Canada.

Belasco, meantime, was not established in Virginia City between December, 1872, and October, 1873: on the contrary, during most, if not all, of that time he was actively engaged in San Francisco (see my Chronology of his life). He disappears, however, from all the San Francisco records which I have been able to unearth after October 18, 1873, and I am satisfied that he then went to Virginia City, and there, several months later, met both Boucicault and Katharine Rodgers, when they were journeying eastward: Miss Rodgers first acted in

From an old photograph.Belasco’s Collection.KATHARINE RODGERS

From an old photograph.Belasco’s Collection.

KATHARINE RODGERS

San Francisco on February 3, 1874, at the California Theatre, in “Mimi.” It seems obvious that Boucicault could not have dictated “Led Astray” to Belasco, in Virginia City, at a time when neither of them was there, and after that play had been acted in New York. If any other theatrical antiquary, more fortunate than I, chances to possess authentic records that show Boucicault and Belasco in conjunction, in Virginia City, prior to about November 1, 1873, I should be glad to learn of them.

It has not been possible to elicit an entirely satisfactory account of Belasco’s career in the period extending from October 18, 1873, to about the end of February, 1876. In particular, it has been impossible, notwithstanding most earnest efforts, to establish the sequence of incidents of his experience in Virginia City. Nevertheless, much that occurred during the period indicated, nearly two and one-half years, has been ascertained beyond question, and such gaps as occur in the records have been supplied by reasonable surmise. He fulfilled, in all, five engagements in Virginia City, and three, if not four, of them were antecedent to “the fire” which, in 1875, devastated that mountain resort of licenceand crime. Among the actors with whom he was most closely associated in Piper’s stock company were A. D. Billings, George Giddens, Sydney Cowell (Mrs. Giddens), George Hinckley (uncle of Blanche Bates), and Annie Adams (Mrs. Kiskaden, 1849-1916), mother of Miss Maude Adams. The period of his first employment there was a trying one and during it he broke down, became seriously ill, and was lodged for a time in the home of Piper, where his illness was augmented by a distressing experience with an unfortunate demented woman, the wife of Piper. Recalling that ordeal, he has said: “Her husband, naturally, felt loath to send his wife to the Insane Asylum in Stockton, so he had some rooms padded and arranged as comfortably as possible for her in his own house. I was ill there for three weeks, and my room, unhappily, was within calling distance of Mrs. Piper’s. During the long nights I could hear her groaning and crying out,—not a very encouraging atmosphere for one who was himself suffering, and more from ’nerves’ than anything else. Then one gray dawn I awoke to find Mrs. Piper standing at the foot of my bed. Apparently she was as sane as any one, and she expressed great solicitude as to my condition. It seemed to me an eternity as she stood there, though in reality it was onlyabout five minutes. Suddenly her mood changed. ’I’m going to kill some one,’ she screamed, and made a lunge for me. But, luckily, her keeper, who had heard her, came in and restrained her, and we calmed her down and got her back to her own rooms.”

Belasco’s financial debt to Piper must have been paid or compounded on or about March 1, 1874, and his engagement in Virginia City terminated. On March 10, that year, he certainly was employed as a super, at the California Theatre, on the occasion of Adelaide Neilson’s first appearance in San Francisco. The play was “Romeo and Juliet”: Lewis Morrison actedRomeoand Barton HillMercutio. Miss Neilson’s engagement (during which she playedRosalind,Lady Teazle,Julia, in “The Hunchback,” andPauline, in “The Lady of Lyons,” as well asJuliet) ended on March 30: Belasco, whose admiration for that great actress was extreme, contrived to be employed at the California Theatre during the whole of it. On April 4, following, “the Entire Lingard Combination” appeared at the Opera House (so designated) in an English version of Feuillet’s “La Tentation,” and on April 6 John T. Raymond acted at the California Theatre asHector Placide, in Boucicault’s version of the same play, called “LedAstray.” Both those representations were seen by Belasco.

On April 23 Raymond, at the California, produced, for the first time, a stage synopsis made by Gilbert S. Densmore, of “The Gilded Age,” by Samuel L. Clemens and Charles Dudley Warner. Writing of it, Belasco says: “While that play was building Densmore talked it all over with me. As it was originally written it was in five long acts and had in it a curious medley of melodrama.... When the script was eventually read to him [Raymond], all the comment he made, with a few of those choice expletives which he knew so well how to choose, was that he hated all courtroom scenes, except those in ’The Merchant of Venice’ and in Boucicault’s ’The Heart of Midlothian.’... It was in this frame of mind that he was finally persuaded to try ’The Gilded Age.’ Of course, the play needed a lot of re-writing, and I don’t believe any one really thought it would be successful. It was put on as a try-out because the man was in such sore need of a vehicle, and, like so many other plays which are produced as makeshifts, it soared its way into instant popularity. It was not by any means a wonderful play in itself, it was merely another instance of the personality of the player being fitted to the part, andin therôle[sic] ofColonel Mulberry SellersJohn T. Raymond found himself and, incidentally, fame and fortune.”

That is not altogether an accurate account of the dramatic genesis of “The Gilded Age.” Densmore’s adaptation of the book was piratical, and Clemens, hearing of it, protested vigorously, by telegraph, against continuance of its presentment. It was actedonly oncein San Francisco, in 1874. Densmore finally arranged to sell his stage version to Clemens, and that author himself made a dramatization of the novel. Writing about it, to William Dean Howells, he says:

“I worked a month on my play, and launched it in New York last Wednesday. I believe it will go. The newspapers have been complimentary. It is simply asettingfor one character,Colonel Sellers. As a play I guess it will not bear critical assault in force.” In another letter Clemens says: “I entirely rewrote the playthree separate and distinct times. I had expected to use little of his [Densmore’s] language and but little of his plot. I do not think there are now twenty sentences of Mr. Densmore’s in the play, but I used so much of his plot that I wrote and told him I should pay him about as much more as I had already paid him in case the play proved a success....”—Albert Bigelow Paine’s “Mark Twain, a Biography.” Volume I., pp. 517-18.

On November 3, 1874, Raymond published the following letter:

(From John T. Raymond to“The New York Sun.”)“The Park Theatre, [New York].“November 2, 1874.“To The Editor of ’The Sun’:“Sir:—“An article headed ’The Story of “The Gilded Age”’in ’The Sun’ of this morning calls for a statement from me. The facts in the case are simply these: In April last I commenced an engagement in San Francisco. A few days after my arrival the manager of the theatre mentioned that Mr. Densmore, the dramatic critic of ’The Golden Era,’ had dramatized Mark Twain’s and Charles Warner’s novel of ’The Gilded Age,’ and would like to submit it to me. I read the play, and the character ofColonel Sellersimpressed me so favorably that I consented to produce the piece the last week of my engagement. I did so, the play making a most pronounced hit. I then arranged with Mr. Densmore for the right to perform the play throughout the country. Upon my arrival in New York I heard that Mr. Clemens had telegraphed to San Francisco protesting against the play being performed, as he had reserved all rights in his copyright of ’The Gilded Age.’ I at once recognized Mr. Clemens’ claim, and wrote to Mr. Densmore to that effect. I then communicated with Clemens, with a view of having him write a play withColonel Sellersas the chief character. While the negotiation was pending I received a letter from Mr. Densmore, requesting me to send the manuscript of his dramatization to Clemens, as he had purchased it, and that he (Clemens) had acted in a most liberal manner toward

(From John T. Raymond to“The New York Sun.”)

“The Park Theatre, [New York].“November 2, 1874.

“To The Editor of ’The Sun’:“Sir:—

“An article headed ’The Story of “The Gilded Age”’in ’The Sun’ of this morning calls for a statement from me. The facts in the case are simply these: In April last I commenced an engagement in San Francisco. A few days after my arrival the manager of the theatre mentioned that Mr. Densmore, the dramatic critic of ’The Golden Era,’ had dramatized Mark Twain’s and Charles Warner’s novel of ’The Gilded Age,’ and would like to submit it to me. I read the play, and the character ofColonel Sellersimpressed me so favorably that I consented to produce the piece the last week of my engagement. I did so, the play making a most pronounced hit. I then arranged with Mr. Densmore for the right to perform the play throughout the country. Upon my arrival in New York I heard that Mr. Clemens had telegraphed to San Francisco protesting against the play being performed, as he had reserved all rights in his copyright of ’The Gilded Age.’ I at once recognized Mr. Clemens’ claim, and wrote to Mr. Densmore to that effect. I then communicated with Clemens, with a view of having him write a play withColonel Sellersas the chief character. While the negotiation was pending I received a letter from Mr. Densmore, requesting me to send the manuscript of his dramatization to Clemens, as he had purchased it, and that he (Clemens) had acted in a most liberal manner toward

From a photograph by Mora.Belasco’s Collection.JOHN T. RAYMOND(1836-1887)

From a photograph by Mora.Belasco’s Collection.

JOHN T. RAYMOND

(1836-1887)

him. I sent the manuscript to Mr. Clemens, but not until after he had finished his play and read it to me, not one line of Mr. Densmore’s dramatization being used in the present play, except that which was taken bodily from the novel of ’The Gilded Age.’ These are the facts in the premises. Mr. Densmore’s play was a most excellent one; the impression it made in San Francisco was of a most pronounced character, but in no way [?] does it resemble the present production, which is entirely the work of Mr. Samuel L. Clemens (Mark Twain).“Yours, &c.,“John T. Raymond.”

“Yours, &c.,“John T. Raymond.”

Clemens’ “guess” as to the worth of his work as a play was short of the truth: it was of no consequence, possessed practically no merit whatever, except as a vehicle for the actor. [The character ofColonel Sellersis presented by the dramatist in only a few of the aspects available for its exposition and is attached to the play by only a slender thread. Raymond, nevertheless, by means of thorough personification, made the character so conspicuous that it dominated the whole action of the play. The common notion that words are indispensable to the expression of character is unfounded. Character shows itself in personality, which is the emanation of it, and which finds expression in countless ways with which words are not associated. Personality was the potent charm of Raymond’s embodiment ofColonel Sellers,—a personality compounded of vigorous animal spirits, quaintness, rich humor, amiability, recklessness, a chronic propensity for sport, a sensitive temperament, and an ingenuous mind. The actor made the character lovable not less than amusing, by the spontaneous suggestion of innate goodness and by various scarcely definable sweetly winning traits and ways. His grave inquiry as to the raw turnips, “Do youlikethe fruit?” was irresistibly droll. His buoyant, confident ejaculation,—closing each discourse on some visionary scheme of profit,—“There’smillionsin it!” (which Raymond’s utterance made a byword throughout America) completely expressed the spirit of the sanguine speculator and was not less potently humorous because of a certain vague ruefulness in the tone of it. In actingColonel SellersRaymond did something that was new, did it in an individual way, was original without being bizarre, and, possessing the humor which is akin to pathos, he could cause the laugh that is close to the tear.—W.W. in “The Wallet of Time.”] “The Gilded Age” was first acted in New York, September 16, 1874, at the Park Theatre.

At about the time of the first San Francisco production of “The Gilded Age” Belasco appears to have been employed by William Horace Lingard,and it is practically certain that he was a member of Lingard’s company,—though I have not ascertained in what capacity,—on the occasion of “the grand opening of Maguire’s New Theatre” (which was the old Alhambra Theatre, rebuilt and altered), on May 4, when “Creatures of Impulse,” “Mr. and Mrs. Peter White,” and a miscellaneous entertainment were presented there.

During the summer of 1874 Belasco worked as a secretary and copyist for Barton Hill, at the California Theatre, and also he performed, in a minor position, as an actor, at Maguire’s New Theatre. He was thus associated with, among others, Sallie Hinckley, in a revival of “The New Magdalen”; Charles Fechter and Lizzie V. Price in a repertory which comprehended “Ruy Blas,” “Don Cæsar de Bazan,” “The Lady of Lyons,” “Hamlet,” and “Love’s Penance”; Miss Jeffreys-Lewis and Charles Edwards in “School,” Boucicault’s “The Willow Copse” and “The Unequal Match”; William J. Coggswell in “Nick o’ the Woods”; Samuel W. Piercy in “Hamlet,” and Charles Wheatleigh in a dramatization of “Notre Dame” and in other plays. For Piercy Belasco has ever cherished extreme admiration and a pitiful memory of his untimely death, which,—caused by smallpox,—befell, in Boston, in 1882. During the summer of 1874Belasco also made various brief and unimportant “barnstorming” ventures in small towns and camps of California, Oregon, and Washington; likewise, he was associated, as stage director, with several groups of amateur actors in San Francisco. On August 31 a revival of Augustin Daly’s play of “Divorce” was effected at Maguire’s,—James A. Herne (his name billed without the “A.”) and Miss Jeffreys-Lewis playing the principal parts in it. Whether or not Belasco was then in the company at Maguire’s is uncertain, but I believe that he was. At any rate, when Mlle. Marie Zoe,—designated as “The Cuban Sylph,”—began an engagement there, September 14, in the course of which she appeared in “The French Spy,” “The Pretty Housebreaker,” “Nita; or, Woman’s Constancy” (and “Mazeppa”?), Belasco was employed to co-operate with her in sword combats on the stage: he also served Mlle. Zoe, during her stay in San Francisco, as a sort of secretary.

From October 1 to the latter part of December, 1874, Belasco continued in employment at Maguire’s New Theatre, officiating not only as an actor of small parts but as stage manager, as a hack playwright, and as secretary for Maguire. On October 12 he played theDwarf(one of thePhantom CrewofHendrick Hudson), in “Rip Van Winkle,” Herne personatingRipand Alice Vane appearing asGertrude. On October 21 he participated in a representation of “The People’s Lawyer” (playingLawyer Tripper?), in which Herne acted asSolon Shingle. On the next night “Alphonse” was acted at Maguire’s, but Belasco seems not to have been in the bill, because he is positive that he attended the first production in San Francisco, made that night at the California Theatre, of Frank Mayo’s dramatization of Charles Reade’s powerful and painful novel of “Griffith Gaunt.” “I made a version of that book,” Belasco has told me, “and it was a good one, as I remember it; but it passed out of my control soon after it was written: I sold it—to James McCabe, I think,—for a few dollars. I know it was much played in the interior [meaning the small towns of California, Nevada, etc.]. About the same time that I made my version of ’Griffith Gaunt,’—which, of course, was prompted by seeing Mayo’s,—we brought out a new play at Maguire’s, called ’Lady Madge,’ by J. H. Le Roy. I don’t recall what it was about. I remember that it was written expressly for Adele Leighton, a rich novice, and that I did some work on it for Le Roy and made him a clean script and set of the parts. Herne, Sydney Cowell, and Thomas Whiffen were in the cast.” “Lady Madge” was acted at Maguire’s November 3, and did not hold the stage for more than a week. On the 11th of that month a dramatization of Lever’s “Charles O’Malley,” made by Herne, was brought out, Herne appearing in it asMickey Freeand Sydney Cowell asMary Brady. On November 16 Annette Ince and Ella Kemble acted at Maguire’s, supported by Herne and Whiffen, in “The Sphinx,” and on the 26th a notably successful revival was made of “Oliver Twist,”—a more or less rehashed version of the dramatic epitome of the novel which had been made known throughout our country by E. L. Davenport and James W. Wallack, the Younger, being used. Herne playedSikes; Annette Ince,Nancy; Ella Kemble,Rosa Maylie, and—— Lindsay,Fagin. On December 1 “Carlotta! Queen of the Arena” was brought out, with Miss Ince asCarlottaand Herne asBambuno. I have been able to find only one other definite record of a performance at Maguire’s, prior to March 1, 1875; that record is of a presentment there of the old musical play of “The Enchantress,” on December 24, with Amy Bennett in the principal female part: Belasco directed the production (ostensibly under the stage management of Herne) and appeared in the prologue asPietroand in the drama asGaleas. “I did a lot of hard work on ’The Enchantress’ for Miss Bennett’s appearance in it,—in fact, I rewrote most of the dialogue,” Belasco has declared to me.

In Pinero’s capital farce of “The Magistrate”Mrs. Posket, solicitous to conceal her age, addresses to her friendColonel Lukynan earnest adjuration relative to an impending interview with her husband: “Don’t give himdates; keep anything likedatesaway from him!” Belasco’s aversion to fixed facts fully equals that of the distressed lady, though, in his case, it is temperamental instead of secretive. “The vagabond,” he writes, “always says ’at this time,’ whether it be to-day or to-morrow, and, like Omar, he ’lets the credit go.’ The incidents that now come to mind are a little confused as to their chronological order, but what does it matter, if theimpressionis true!” It “matters,” unfortunately, much,—because confusion and apparent contradiction which result from lack of accuracy and order sometimes tend to create an unjust belief that related incidents, actually authentic, are untrue. It has, moreover, rendered protracted and tedious almost beyond patience the work of compiling and arranging a clear, sequent, authoritative account of Belasco’s long and extraordinary career. I haveascertained divers particulars of his early experiences and alliances (verifying them asfactsby diligent search and inquiry in many directions), which, however, I have not invariably been able to place in exact chronological order and which may conveniently be summarized here.

Perhaps the most important single event of the first decade of Belasco’s theatrical life was his employment in a responsible position at Baldwin’s Academy of Music. But during about a year and a half prior to his first engagement there, and also during about the same length of time subsequent to it, he gained much valuable knowledge, in association with various players, acting in “the lumber districts” of Oregon and Washington; in Victoria and Nevada, and in many California towns, including Oakland, Sacramento, Petaluma, Stockton, Marysville, San José, etc. Wandering stars, of varying magnitude, with whom he thus appeared include Sallie Hinckley and Mrs. Frank Mark Bates (respectively, aunt and mother of Blanche Bates), Amy Stone, Ellie Wilton, Charles R. Thorne, Sr., Mary Watson, Annie Pixley, Fanny Morgan Phelps, Frank I. Fayne, Gertrude Granville, Laura Alberta, Katie Pell, and the old California minstrel, “Jake” Wallace. With Miss Pell and Wallace he appeared in the smaller towns of California

From a rare old photograph.The Albert Davis Collection.From a photograph by Sarony.Belasco’s Collection.GERTRUDE GRANVILLEANNIE PIXLEY ASM’LISS

From a rare old photograph.The Albert Davis Collection.

From a photograph by Sarony.Belasco’s Collection.

GERTRUDE GRANVILLE

ANNIE PIXLEY ASM’LISS

and Nevada, and he has afforded me the following interesting bit of random recollection. “Wallace was held dear in every Western mining camp. He was a banjoist, and when the miners heard him coming down the road, singing the old ’49 songs, there used to be a general cry of ’Here comes Wallace!’ and work would stop for the day. In ’The Girl of the Golden West’ [1905] I introduced a character in memory of the ’Jake’ Wallace of long ago; I gave him the same name, made him sing the same songs, and enter the poker-saloon to be greeted in the same old hearty manner. When negotiations were under way between the great composer Puccini and myself for ’The Girl of the Golden West’ to be set to music, I took him to see a performance of the play. As we sat there, I could feel no perceptible enthusiasm from him untilJake Wallacecame in, singing his ’49 songs. ’Ah!’ exclaimed Puccini, ’thereis my theme at last!’”

Of Mrs. Bates and her ill-fated husband he gives this reminiscence: “Both Mrs. Bates and her husband were sterling actors [they were players of respectable talent, well trained in the Old School—W.W.]. Mrs. Bates was a slight little woman, full of romance and for the greater part of our acquaintance much given to melancholy. I look back on her prime, and I know of no actress whogave a more satisfactory interpretation ofCamillethan she did. HerMarie Antoinettewas also very impressive. Mr. and Mrs. Bates soon left for Australia, but before they went, as a token of friendship, I was given many manuscript plays and costumes which the two would not need. Soon after Mr. Bates was mysteriously murdered. Many months passed, and I heard that Mrs. Bates was again in San Francisco, staying at the Occidental Hotel. So I called upon her. ’I only have Blanche to live for now,’ she said, and while we sat there she called for her little daughter to come to her. That was my first meeting with my future star. Thereafter little Blanche was put to school, and I went on the road with Mrs. Bates, playingArmand Duvalto herCamille. Then I lost sight of her for some time until at last one day I was walking with ’Jimmie’ Barrows, when he began to tell me of a famous actress who was boarding at his house. ’Her name is Mrs. Bates,’ declared ’Jimmie,’ and when I went home with him I found my old friend again. Blanche had pulled out, like a fast growing flower, blithesome and gay; but her mother seemed to have parted with the last drop in the cup of her happiness, and during our entire tour showed the nervous strain she had experienced during the awful times in Australia. ’It is so difficult for me to go backto the different theatres and tread the stages we played on so often together,’ she would say. ’I seem to see Frank’s face everywhere, in the shadows of the wings and out in the cold empty spaces of the auditorium when we are rehearsing. I wonder who struck him down.’

“I felt a great sympathy for her, and she and I became almost like brother and sister. Never shall I forget those days and the long walks we used to take under skies that held all the warmth and splendor of southern Europe, along roads that wound their tree-embowered way through the hills to the little monastery nestling above. At night we could hear the ringing of far-away bells, and sometimes through the stilly air the sound of voices was wafted to us across the silence. In this atmosphere Mrs. Bates would sit and talk to me of the East, and I would dream dreams of things to be. There was a popular song of the time in San Francisco called ’Castles in the Air,’ and invariably our talks would end with a laugh and by my humming that tune.

“It was Mrs. Bates’ ambition to see Blanche doing literary work; for she did not want her to enter the theatrical profession, but later she said: ’I fear the child will go on the stage after all, and what is more, I feel that she is going to have a future.Perhaps, who knows, some day you may be able to do something for her,’ and I promised her that I would, if luck ever came my way.”

Writing to me about other actors of that far-off time, Belasco has mentioned: “I remember, with special pleasure and admiration, John E. Owens, though I don’t remember that I ever acted with him. He produced a play at the Bush Street Theatre [error: more probably at the California?], the name of which I have forgotten, but it was all about ’a barrel o’ apple sass’ [strange that Belasco should have forgotten the title,—“The People’s Lawyer,” sometimes billed as “Solon Shingle,”—because he several times acted in it, with Herne and others], and I was so impressed that I wrote a play for him, called ’The Yankee.’ Owens very kindly listened to my reading of it, but told me he had no intention of putting aside a long tried success. However, he liked some of the speeches in my piece and paid me $25 for them.”

“One of my most valued teachers,” he also writes, “was ’old man Thorne’ [Charles R. Thorne, Sr.]. I did much work for him as copyist, prompter, etc., and attended to all sorts of details,—hiring of wigs, arms, costumes, etc., for the minor parts and for supers in productions which he put on,—so that often he used to say to me, ’My dear Davie, I don’t know what I should do without you!’ Once, when Thorne produced ’King Richard III.,’ in a tent, in Howard Street, I took part and fought a sword combat with him on horseback. He was always very kind to me, taught me much and gave me pieces of wardrobe, feathers, belts, swords, &c. Another early favorite of mine was Mary Gladstane. I copied parts and scripts for her, at the Metropolitan and elsewhere, and whenever she playedMary Warnerin San Francisco I cried over her performance so much that she was delighted and gave me a copy of the prompt book. There were no streetcars in those days, and often I walked with her to and from the theatre.”

Belasco was absent from San Francisco from about the middle of January, 1875, until the following May. A Miss Rogers, who had been a school teacher, who is described as having been “very beautiful,” and who became infected with ambition to shine as a dramatic luminary, obtained sufficient financial support to undertake a starring tour and Belasco was employed by her as an agent, stage manager, and actor. The tour appears to have begun, auspiciously, in (Portland?), Oregon, and to have been continued, with declining prosperity, in small towns along the Big Bear and Little Bear rivers. The repertory presented comprised “EastLynne,” “Camille,” “Frou-Frou,” etc., and “Robert Macaire.” “I always liked to playMacaire,” Belasco has told me, “and whenever I got a chance to make up a repertory I included that piece in it.” The tour lasted as long as the financial support was continued: then the company was ignominiously disbanded. Belasco and Miss Rogers, however, continued to act together for several weeks, presenting a number of one-act plays—such as “A Conjugal Lesson,” “A Happy Pair,” “Mr. and Mrs. Peter White,” etc.,—which require only two performers. Belasco also gave recitations. “One of my ’specialties,’”he has told me, “was ’The Antics of a Clown,’ in which I gave imitations of opera singers and ballet dancers—using a slack rope instead of a taut wire. I also gave imitations of all the well-known actors, and I had a ’ventriloquist act,’ with dummies. I made my own wigs and costumes and, altogether, I worked pretty hard for a living!”

On February 15, 1875, Augustin Daly produced his authorized adaptation of Gustav von Moser’s “Ultimo,” at the second Fifth Avenue Theatre, New York, under the name—once known throughout our country—of “The Big Bonanza.” Its success was instant and extraordinary. R. H. Hooley, of Chicago, presently employed Bartley Campbell (1844-1888) to make another version of that play,

DAVID BELASCO ASROBERT MACAIREStrop.Suppose he shouldwake?Macaire. Hewon’twake!Photograph by Bradley & Rulofson, San Francisco.Original loaned by Mrs. David Belasco.

DAVID BELASCO ASROBERT MACAIRE

Strop.Suppose he shouldwake?Macaire. Hewon’twake!

Photograph by Bradley & Rulofson, San Francisco.Original loaned by Mrs. David Belasco.

“specially localized and adapted for San Francisco.” Campbell fulfilled his commission, passing several weeks in the Western metropolis in order to provide “local atmosphere.” Belasco was still “barnstorming” when he learned of the appearance of Hooley’s Comedy Company in San Francisco,—May 10, at the Opera House, in Campbell’s “Peril; or, Love at Long Branch,”—and he immediately ended his uncertain connection with Miss Rogers in order to return home, so that he might witness the performances of Hooley’s company and, if possible, become a member of it. “I was much impressed by the reputation of ’Hooley’s Combination,’”he writes in a note to me; “and I wanted particularly to see William H. Crane and M. A. Kennedy. Crane’s big, wholesome method made a great success, and the whole company was popular.” Belasco seems not to have reached home until about the end of the second week of the Hooley engagement: soon after that he contrived to obtain employment at the Opera House as assistant prompter and to play what used to be styled “small utility business.” His note to me continues: “Because I had played many big parts, out of town, some of my theatrical friends thought my willingness to doany workthat would give me valuable experience was beneath my ’dignity’ and that I was thereby losing ’caste.’ I neversaw it that way. ’Haven’t you any pride?’ they used to say; and I used to answer ’No, I expect to be obliged to spend a certain amount of time in the cellar before I’m allowed to walk into the parlor!’”And in conversation with me on this subject he has said, “Why, I would doanythingin those days, to learn or get a chance: I once worked as a dresser for J. K. Emmet, because I couldn’t get into his company any other way,—but it wasn’t long before I was playing parts with him.”

In his “Story” Belasco mentions that Daly came to San Francisco at about the same time as Hooley and that when the latter brought out “Ultimo,” and Daly produced “The Big Bonanza,” “strange as it is to relate, the productions were almost equally successful.” That is an error: Hooley’s production was made on June 7 and, though distinctly inferior to Daly’s,—made on July 19,—priority had its usual effect and the wind was completely taken out of Daly’s sails: “The Big Bonanza” was acted in San Francisco by Daly’s company less than half-a-dozen times, while “Ultimo” was played for several weeks and also was several times revived.

Belasco’s relation with the Hooley company lasted until July (11?), on which date its season was ended at the Opera House,—a tour of Pacific Slope towns beginning the next week. Belasco,remaining in San Francisco, endeavored to attach himself to Daly’s company, but failed to do so,—partly, it is probable, because of his intimate connection with Maguire, who was both friendly to Hooley and inimical to Daly, whom he had striven to exclude from San Francisco by refusing to rent him a theatre. Daly, however, hired Platt’s Hall and, July 13, presented his company there, in “London Assurance,” so successfully that Maguire decided to withdraw his opposition and share the profits of success. Daly’s company, accordingly, was transferred to the Opera House on July 15, making its first appearance there in “Divorce,” with Belasco as one of the auditors.

During the remainder of 1875 Belasco labored in much the same desultory and precarious way. When no other employment could be procured by him he worked as a salesman in an outfitting shop. “One thing I did,” he gleefully relates, “for which I was much looked down upon—whenever I went into the country towns I peddled a ’patent medicine,’ as I called it; a gargle made from a receipt of my mother’s, and it was a good one, too; I know because I not only sold it but Iusedit! And I coaxed all my theatrical friends to use it and write testimonials for me.” His chief business, However, when not regularly engaged in the theatres, was the collectionand compilation of a library of plays. Between 1875 and 1880 he prepared prompt books of almost every play that was successfully produced in San Francisco—altering and rearranging many of them,—and in frequent instances supplying them to travelling companies or stars. His friend Mrs. Bates, speaking to me (1903) about him and about the facility he developed as an adapter and playwright, said: “He was a marvel! In ’the old days’ I have known a star to give Belasco anoutlineof a plot, with three or four situations, on a Thursday night—and weacted the playon the next Monday!”

Among dramatizations that he made in this year, or the next, are “Bleak House,”—prompted by the success of Mme. Janauschek, who had presented a version at the California Theatre, June 7,—“David Copperfield,” “Dombey & Son,” “Struck Blind,” and “The New Magdalen.” The latter was a variant of Le Roy’s version, which he made for his friend Ellie Wilton, and which was first acted at the California on August 7, 1875. On the 27th of that month “Lost in London” was acted at Maguire’s New Theatre, according to a prompt book made by Belasco, and on the 30th Reade’s “Dora” was brought out there,—“under my stage direction,” says Belasco, and adds: “I also did some work on the [prompt] book, so as to make the partofFarmer Allenmore suitable for James O’Neill.” On November 1 J. A. Sawtell made his first appearance in San Francisco, in one of Murphy’s many revivals of “Maum Cre.” “I recallthatnight, perfectly,” writes Belasco, “because I then first met Sawtell, with whom I afterward travelled in many capacities. When I produced ’The Girl of the Golden West’ (1905), Sawtell asked me for an engagement—just so he ’could be doing something,’ as he put it—and I remember that he came up to me on the stage one night and said: ‘“Davy,” I was a big star in California and you were my boy assistant; now here you are with your own theatre and I’m playing a small part in it! How did you do it?’”

About the end of November Belasco left Maguire’s employment and took a place as assistant stage manager, prompter, and general helper under Charles R. Thorne, Sr., who, on December 13, opened Thorne’s Palace Theatre (it had previously been Wilson’s Amphitheatre), at the corner of Montgomery and Market Streets, San Francisco. That engagement lasted for about three weeks—Thorne closing his theatre on December 31, without warning. Belasco’s delight in acquiring experience was gratified in this venture, but it was not otherwise profitable to him, as Thorne was unable to paymore than a small part of his salary. Besides discharging his other duties Belasco acted, in this engagement,Santo, in “Gaspardo; or, The Three Banished Men of Milan”;Signor Meteo, in “The Miser’s Daughter,” andGilbert Gates, in “The Dawn of Freedom.” “The Fool’s Revenge,”—Thorne asBertuccioand Kate Denin asFiordelisa,—“The Forty Thieves,” “Who Killed Cock Robin?” and “Faustus, a Romantic Spectacle,” were also produced, and, in one capacity or another, Belasco took part in all those productions; but I have not been able to find programmes. On January 7, 1876, the house was reopened, as the Palace Theatre, under the management of Col. J. H. Wood, presenting Frank Jones, in “The Black Hand; or, The Lost Will,” in which Belasco performed asBob, a Policeman. Jones’ engagement lasted for about three weeks: thereafter Belasco drifted back into the employment of Maguire.

In 1876 Edward J. Baldwin, locally known as “Lucky Baldwin,” in a business association with Thomas Maguire built a theatre in San Francisco which was named Baldwin’s Academy of Music. Baldwin had been an hostler, Maguire a cab-driver;both had prospered and become wealthy—Baldwin to an astonishing degree. The theatre, which was incorporated with an hotel, called the Baldwin, was built on land owned by Maguire, at the corner of Market and Powell streets, and it was an uncommonly spacious and commodious edifice. Baldwin and Maguire, although associated in this enterprise, were not friends, and Belasco has assured me that most of their business transactions were carried on through him, as an intermediary. Baldwin’s Academy of Music was opened March 6, 1876. Maguire was announced as “proprietor,” James A. Herne as stage manager: Belasco, although not advertised as such, officiated as assistant stage manager and prompter. The opening bill was “King Richard III.,”—Cibber’s perversion of Shakespeare’s tragedy,—with the Irish tragedian Barry Sullivan in the central character, supported by the stock company from Maguire’s New Theatre. That company included, among others, James A. Herne, Arthur D—— Billings, Louis James, Edward J—— Buckley, William Henry Crane, Michael A. Kennedy, Katie Mayhew, Emily Baker, Louise Hawthorne, and Mrs. Belle Douglass. James F—— Cathcart was specially engaged, to playRichmond, which part he acted till March 10, when he was superseded by James O’Neill; he played various other parts, however, during the engagement. Belasco playedSir Richard Ratcliff. The engagement of Barry Sullivan lasted till April 16, the plays presented, after “King Richard III.,” being “The Wonder,” “Hamlet,” “Macbeth,” “The Gamester,” “King Lear,” “Othello,” “The Merchant of Venice,” a version of “Don Cæsar de Bazan” called “A Match for a King,” “A New Way to Pay Old Debts,” and “The Wife.” In all of those plays Belasco participated, acting small parts, which are named in the schedule of his repertory given later in this work. On April 18 Mrs. James A—— Oates and her “Grand Opera Company” succeeded Sullivan, at Baldwin’s Academy, in “Mme. l’Archiduc,” while Maguire’s stock company returned to Maguire’s New Theatre, where some of its members, including Belasco, appeared, in support of Messrs. Baker and Farron, in a trivial play called “Heinrich and Hettie.” Belasco, who had profited by his association with Barry Sullivan,—an actor of exceptional ability and wide experience, and, though rough in method and sometimes violently vehement in delivery, a master of his vocation,—and had been so fortunate as to please that austere martinet, provides, in his “Story,” this interesting glimpse of him:

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