AAbbey, 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, quotedre“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 commentre, 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.BBachelor 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):reauthorship 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;actsKing Henry the Fifthin S. F.,91;95;first appearance of, in S. F.,135;feeling of, toward McCullough—and characters ofCassius, andAntony,165;first playsCassius—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 promisere,78;beauty—qualities—potentialities of,469,et seq.;lapse of, into obscurity—and biographical particularsre,471,et seq.;first acts under B.’s management in “Naughty Anthony,”473,et seq.;asCora, in same,474;same,475;her performance ofMadame 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. actsArmand Duvalwith,76;B.’s promise to,redaughter,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—ancestryand 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,rehis 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” asPrince Saucilita, in “The Gold Demon,”37;earning extra pay,38;early acquaintances of—theatrical vagabondage of—and describessame,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 opinionreBoucicault’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”—consultedre“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,redates—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,relabor—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;playsacted 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,redifficult 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’sJesus 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;onShylock, 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,reBarrett, 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,reWallack, 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 asHamlet, 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 actChumley,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—andthrows out all his work—revises “The Ugly Duckling”—and produces same,