Metropolitan: Belasco as theFirst Policeman.28. Last regular performance at the MetropolitanTheatre, San Francisco. The ChapmanSisters in “Cinderella,”—produced 23.May.3. He played with the Chapman Sisters, in“Little Don Giovanni,” in Sacramento.Later he appeared, with the Chapman Sisters,in several California towns.August.18. He playedBloater, in “Maum Cre,” withJoseph Murphy, at Shiels’ Opera House, SanFrancisco.25. He playedBob Rackett, in “Help,” withMurphy, at Shiels’.26. At the home of his parents, No. 174 ClaraStreet, San Francisco, California, DavidBelasco and Cecilia Loverich were married.September.1. At Shiels’ Opera House he playedBaldwin,with Murphy, in “Ireland and America”:Same bill, September 2, 6, and 7. “MaumCre” 3, 4, and 5.10. He playedHarvey, in “Out at Sea,” withLaura Alberta, at Shiels’ Opera House.20. He playedSambo, in “Uncle Tom’sCabin,” to theTopsyof Laura Alberta, atShiels’.25. “Twice Saved; or, Bertha the Midget,” wasacted at the Opera House (formerly Shiels’,subsequently Gray’s) and Belasco playedMajor Hershner.29. He actedSpada, in Stirling Coyne’s “TheWoman in Red,” with Fanny Cathcart, atthe Opera House. (That house was firstbilled as Gray’s Opera House, on October 3,and “The Woman in Red” was played theretill October 5.)October.6. Belasco played at Gray’s Opera House, asDarley, with Fanny Cathcart and GeorgeDarrell, in “Dark Deeds.”18. Benefit performance, at Gray’s OperaHouse, to James Dunbar: Belasco actedMons. Voyage, in Third Act of “Ireland asIt Was.”October-November,et seq.He went to Virginia City, Nevada, where hebecame a member of the stock company atPiper’s Opera House.1874.March.1-7? Belasco returned to San Francisco fromVirginia City.10. Engagement of Adelaide Neilson in SanFrancisco began at the California Theatre,—MissNeilson making her first appearancethere in “Romeo and Juliet.” Belasco participatedin all the performances given duringthat engagement,—which ended on March30,—as a super and helper about the stage.May.4. Grand Opening of Maguire’s New Theatre,San Francisco, (the old Alhambra, rebuilt andaltered),—“The Entire Lingard Combination,”Wiliam Horace Lingard, Dicky Dunning,Alice Lingard, etc., appearing in“Creatures of Impulse,” “Mr. and Mrs.Peter White,” and a miscellaneous entertainment.June-September.Belasco worked as a copyist, etc., forBarton Hill, at the California Theatreand played minor parts (not recorded)at Maguire’s New Theatre. Also, hemade several brief excursions as a “barnstormer”to small towns of California andNevada.September.(14?). Belasco became attached to Maguire’s NewTheatre as assistant stage manager andprompter, actor of small parts, hack playwright,and secretary and messenger toThomas Maguire. In this employment hecame into association with James A. Herne,Thomas Whiffen, Annette Ince, Ella Kemble,Sydney Cowell, etc. He remained there forabout four months.October.12. He played theDwarfin “Rip Van Winkle”at Maguire’s,—Herne beingRip.December.24. Belasco playedPietroandGaleas, in theprologue and drama of “The Enchantress,”at Maguire’s New Theatre.1875.January to (May?).Belasco was “barnstorming” with a MissRogers, originally a school teacher, who obtainedfinancial support and starred in arepertory including “East Lynne,” “Camille,”“Frou Frou,” and “Robert Macaire.” MissRogers’ tour began in Portland, Oregon, andcontinued through small towns along the BigBear and Little Bear rivers. It proved afailure and the company was disbanded,—MissRogers and Belasco, however, continuedto appear together for several weeks,presenting one-act plays such as “A HappyPair” and “A Conjugal Lesson.”June.—. He was in San Francisco.July.4. He participated, as assistant to James H.Le Roy, in stage management of a benefitperformance, for Frank Rea, at Maguire’sNew Opera House.August.4. He assisted, in various ways, in a presentationat the California Theatre of “TheBohemian,” in which George Ceprico (amateur)appeared asEdmund Kean.7. Production at the California Theatre of[a variant, by Belasco?] Le Roy’s versionof “The New Magdalen,”—Ellie Wilton playingMercy Merrick.8. “Lost in London” was presented atMaguire’s New Theatre, at Belasco’s suggestion[acted according to a prompt bookor “version” prepared by him?].November.17. Benefit, to “Sam” Wetherill, at Maguire’sNew Theatre,—stage management of Belasco.December.6. Belasco played a subsidiary part in “TheJealous Wife,” in a performance (“last nightof the season”) at Maguire’s, for the benefitof Katy Mayhew.13. C. R. Thorne’s Palace Theatre (formerlyWilson’s Amphitheatre), corner Montgomeryand Mission streets, San Francisco, wasopened, with “Gaspardo; or, The Three BanishedMen of Milan,” and Belasco appearedin it asSanto,a Monk.21. He playedSignor Mateo, in “The Miser’sDaughter.”24. He playedSelim, in “The Forty Thieves,”at Thorne’s Palace Theatre.30. He playedGilbert Gates, in “The Dawn ofFreedom,” at the same house. Thorne closedhis theatre, suddenly, December 31.1876.January.7. The Palace Theatre was reopened, as thePalace Opera House, under management ofColonel J. H. Wood, presenting Frank Jonesin “The Black Hand; or, The Lost Will,”in which Belasco playedBob,a Policeman.That engagement lasted for about threeweeks, at the end of which time, apparently,he went back to Maguire’s New Theatre.March.6. Opening of Baldwin’s Academy of Music,San Francisco. Thomas Maguire, proprietor.James A. Herne, stage manager. DavidBelasco, assistant stage manager andprompter. Bill: Barry Sullivan, in “KingRichard III.,”—Belasco playedRatcliff.11. Sullivan revived “The Wonder,” at Baldwin’s,and Belasco played in it asVasquez.13. Sullivan acted in “Hamlet,” at Baldwin’s:Belasco playedBernardoand theSecond Actor.16. Sullivan presented “Richelieu,” at Baldwin’s,and Belasco appeared as one of theSecretaries.20. Played theFirst Officer, in “Macbeth,”with Sullivan, at Baldwin’s.23. Played theWaiter, in “The Gamester,”with Sullivan asBeverley.27. Played theDuke of Burgundy, in “KingLear,” with Sullivan, at Baldwin’s.29. Played aMessenger, in “Othello,” withSullivan, at Baldwin’s.31. PlayedSalarino, in “The Merchant ofVenice,” with Sullivan, at Baldwin’s.April.5. Played theLieutenant, in “Don Cæsar deBazan,” with Sullivan, at Baldwin’s.7. PlayedFurnace, in “A New Way to PayOld Debts.”10. PlayedMarco, in “The Wife.”16. End of Barry Sullivan’s engagement atBaldwin’s Academy of Music, “King RichardIII.” Belasco playedRatcliff.18. Mrs. James A. Oates began an engagementin Opera at Baldwin’s, and Belasco, withother members of the dramatic stock company,returned to Maguire’s New Theatre(whence they had come to Baldwin’s), wherethey supported Baker and Farron, in “Heinrichand Hettie.”May-June—part of July.Belasco went “barnstorming.”July.23. He playedDeMilt, in “Under the Gas-Light,”in a benefit, by John McCullough andothers, for E. J. Buckley, at the CaliforniaTheatre.September.4. Edwin Booth began an eight weeks’ engagementin San Francisco (the first in twentyyears), at the California Theatre, in “Hamlet,”“Richelieu,” “Othello,” etc., and Belascowas employed as a supernumerary in his company.October.—. Belasco was employed by James M. Wardas stage manager and playwright, at theGrand Opera House.16. He appeared with Ward and WinnettaMontague, at the Grand Opera House, in“The Willing Hand.”22. He appeared at Baldwin’s, asDoctor of theHospital, in “The Two Orphans,” for benefitof Katy Mayhew.1877.February.16. He appeared at Egyptian Hall (No. 22Geary Street, near Kearny), in associationwith Frank Gardner and his wife (CarrieSwan), actingThe Destroyer, in “TheHaunted House,”—a play written by himself,—Valentine,in an abridgment of “Faust,”andMr. Trimeo, in “The Mysterious Inn.”The presentments at Egyptian Hall wereall built around a variant of the “Pepper’sGhost” illusion.17. At Egyptian Hall he appeared asAvica,Spirit of Avarice, in “A Storm of Thoughts”;Phil Bouncer, in “The Persecuted Traveller,”and asThe Destroyer, in “The HauntedHouse.”20. At Egyptian Hall “Our Mysterious BoardingHouse” was presented, in which he playedOur Guest, replacing “The Persecuted Traveller,”in bill as on 17.April.2. Same place, he playedMark, in “TheProdigal’s Return,” as well asAvicaandOur Guest, as above.The engagement of the Gardners andBelasco at Egyptian Hall continued for eightweeks.Other plays which Belasco recalls havingwritten for presentation there are “Wine,Women, and Cards” and “The ChristmasNight; or, The Convict’s Return.” I havenot, however, foundrecordof the presentationof them. During that engagement at EgyptianHall, Belasco also gave several recitations,including “The Maiden’s Prayer,”with musical accompaniment, and “LittleJim.”May-July.Belasco acted with Gardiner and his wife,in various cities and towns of California andthe Pacific Slope, in the plays above mentioned.August.18. Belasco playedJohn O’Bibs, in Boucicault’s“The Long Strike” (billed as “TheGreat Strike”), and theEarl of Oxford, inthe Fifth Act of “King Richard III.,” in abenefit for A. D. Billings, at the CaliforniaTheatre, San Francisco.September.24. A theatrical company, from the CaliforniaTheatre, San Francisco, under the managementof Thomas W. Keene, of which Belascowas stage manager, began a “Fair week”engagement at the Petaluma Theatre, Petaluma,California. Bill: “The Lady ofLyons,” in which Belasco playedMonsieur Deschapelles;and “The Young Widow,” inwhich he playedMandeville.25. Same engagement: “The Hidden Hand,”Belasco playingCraven Lenoir; and “RobertMacaire,” in which he playedPierre.26. Same. “The Wife,” Belasco asLorenzo;and “My Turn Next,” Belasco asTom Bolus.27. Same. “The Streets of New York,”Belasco asDan; and “The Rough Diamond,”Belasco asCaptain Blenham.28. Same. “Deborah,” Belasco asPeter; and“Solon Shingle” (“The People’s Lawyer”),Belasco asLawyer Tripper.Same. Benefit of Keene. “The Ticket-of-LeaveMan,” Belasco acted one of the subsidiaryparts.October.—. Belasco joined the Frayne Troupe, at Humboldt,Oregon, opening asMrs. Willoughby,in “The Ticket-of-Leave Man.” This engagementlasted about three months.1878.January.4. He played at the Opera House, San José,as a member of the Frayne Troupe (FrankI. Frayne, manager), comprising also M. B.Curtis, H. M. Brown, E. N. Thayer, Mrs.Harry Courtaine, Gertrude Granville, andMiss Fletcher.He played in many Pacific Slope towns andcities with this company.January-March.He returned to San Francisco and performedmiscellaneous theatrical drudgery.March.4. Belasco playedJames Callin, andPablo,an Italian Harpist, in the prologue anddrama of “Across the Continent,” with OliverDoud Byron, at the Bush Street Theatre,San Francisco. (Six nights: revival, March18 to 23.)26. The New York Union Square Companyacted at the Baldwin Theatre, San Francisco,in “Agnes,” and Belasco appeared with it, asthe valet,Rudolphe.April.8. “One Hundred Years Old” was acted atthe Baldwin Theatre, Belasco playing theservant,Louis.15. “Saratoga” was acted at the Baldwin,Belasco playingGyp.25. “A Celebrated Case” was revived at theBaldwin, Belasco playing a subsidiary part.May,et seq.Belasco travelled with the Union SquareTheatre Company, as stage manager, duringa tour of towns and cities of California, Oregon,etc. At the end of that tour he receiveda memorable tribute from the members of thecompany: see page 106.July.8. Boucicault’s “The Octoroon,” “retouchedand rearranged” by Belasco, was revived atthe Baldwin Theatre.September.2. Belasco’s version of “The Vicar of Wakefield,”entitled (like Wills’ version) “Olivia,”was produced for the first time at theBaldwin Theatre, San Francisco, Rose WoodactingOlivia, A. D. BradleyDr. Primrose,James O’NeillMr. Barchell, and Lewis MorrisonSquire Thornhill.October.14. An alteration by Belasco of Wills’ “AWoman of the People” was acted at the Baldwin.28. Belasco’s “Proof Positive” was acted at theBaldwin.November.4. Clara Morris began her first San Franciscoengagement at the Baldwin, Belasco beingthe stage manager.December.23. “Not Guilty,” by Watts Phillips, revisedby Belasco, and produced under his direction,was acted for the first time in San Francisco,at the Baldwin Theatre: notable success.1879.January.—. Belasco resigned his position at the BaldwinTheatre and rewrote his play of “TheLone Pine” for Denman Thompson. He disagreedwith Thompson and his manager, J.M. Hill, and his play was not produced.February.—. Belasco was re-employed as stage manager,etc., at the Baldwin.6. He playedColonel Dent, in “The Governess,”with Clara Morris, at the BaldwinTheatre (one night only: farewell of MissMorris).17. Belasco’s dramatization of Gaboriau’s“Within an Inch of His Life” was acted forthe first time at the Grand Opera House:notable success.March.1. “Within an Inch of His Life” was withdrawn.3. The first presentation of Salmi Morse’s“The Passion Play” was made at the GrandOpera House, San Francisco, under the stagemanagement of Belasco and “Harry” Brown,—JamesO’Neill appearing in it asJesus Christ.11. “The Passion Play” was withdrawn at theGrand Opera House.April.15. Revival of “The Passion Play” at theGrand Opera House.20-21. An injunction prohibiting further presentationof “The Passion Play” was issued,and, that being disregarded, O’Neill and hisassociates were arrested (21st): O’Neill wasimprisoned, and later he was fined $50 andhis associates $5 each, for contempt ofcourt.May.5. An adaptation of Sardou’s “La FamilleBenoiton!” entitled “A Fast Family,” madeby Belasco, was played at the Baldwin.19. At the Baldwin Belasco acted the old man,Timothy Tubbs, in his play of “The Millionaire’sDaughter,” which was then firstpresented,—five nights: revival May 26 to 31.June.2. Rose Coghlan, engaged at Belasco’s request,began her first engagement in San Francisco,at the Baldwin, playingLady Gay, in “LondonAssurance.”30. First performance of “Marriage by Moonlight”(afterward renamed “The MoonlightMarriage”), by Belasco and James A.Herne, occurred at the Baldwin Theatre.July.13. (Sunday night.) Special benefit for Belascoand James A. Herne, at the Baldwin:“The Moonlight Marriage” and “Rip VanWinkle.”15. First performance of Belasco’s version of“L’Assommoir,” based on Zola’s novel, wasmade at the Baldwin, with an “all-star company,”—RoseCoghlan, Lillian Andrews, JeanClara Walters, O’Neill, Morrison, Herne, etc.,being in the cast.September.9. At Baldwin’s Theatre, San Francisco, firstproduction of “Chums” (“Hearts of Oak”),by David Belasco and James A. Herne.21. (Sunday.) Last performance of “Chums”at Baldwin’s. Failure.October.6. Herne-Belasco partnership presented“Chums” at Salt Lake City.Other places were visited. The business wasbad. Failure. “Chums” was closed, and companydisbanded.Belasco, Herne and his wife (KatharineCorcoran) went to Chicago and lodged at theold Sherman House.November.17. First performance in Chicago, at Hamlin’sTheatre (formerly the Coliseum?), of“Hearts of Oak” (“Chums”). Notable success.30. “Hearts of Oak” closed at Hamlin’s.December.1. Belasco-Herne Company appeared in Cincinnati.20. (About) Belasco-Herne Company wasplaying “Hearts of Oak” in Indianapolis.A version of “The Mariner’s Compass” (onwhich “Hearts of Oak” was built) was presentedin cities of the Middle West, under thename of “Oaken Hearts,” to trade on the successof the Belasco-Herne title: unauthorizeduse of that title was stopped by legal actiontaken by Herne in courts of Michigan inMay, 1880.1880.March.15. “Hearts of Oak” was acted at Hooley’sTheatre, return engagement, till March 27.29. “Hearts of Oak” was performed for firsttime in New York, at the New Fifth AvenueTheatre—untruthfully announced as “byJames A. Herne.” Failure. During thisengagement Herne was several times incapacitatedto perform and Belasco appeared in hisplace asTerry Dennison.April.16. Last performance of first “Hearts of Oak”engagement in New York.Belasco and Herne took their play to theArch Street Theatre, Philadelphia. ThereHerne quarrelled with Belasco and bought hishalf-interest in the play for $1500, which hedid not pay till several years later.Belasco returned to New York, seekingemployment, but could not obtain it. Hethen made his way, by various shifts, acrossthe continent, to his home in San Francisco.June.16. Belasco reached San Francisco, after hisdisastrous experience with Herne and “Heartsof Oak.”He obtained immediate employment at theBaldwin Theatre, where Adelaide Neilson wasthen playing her farewell engagement (it beganon June 8). James H. Vinson and RobertM. Eberle were, officially, the stage managers:Belasco officiated as assistant stage managerand as prompter, and, on July 17, he “rangdown” the curtain onthe last performance ever givenby Miss Neilson:—Juliet, in BalconyScene from “Romeo and Juliet,” andAmy Robsart,in the play of that name.During this engagement at the Baldwin,though actually he performed much importantlabor, both as stage manager and aswriter and adapter of plays, Belasco’s acknowledgedposition was wholly subsidiary: forreasons of business expediency he again assumed,for a time, use of the name WalterKingsley.July.19. His play of “Paul Arniff” was produced,for the first time, at the Baldwin Theatre:it is founded in part on “The Black Doctor.”August.16. John T. Malone made his first appearanceon the stage, actingRichelieu, at the Baldwin,under the direction of Belasco.30. A new version, by Belasco, of T. P.Cooke’s “True to the Core” was acted at theBaldwin.November.15. William E. Sheridan began his first SanFrancisco engagement, at the Baldwin, duringwhich, under stage direction of Belasco, heappeared in “King Louis XI.,” “Wild Oats,”“The Lady of Lyons,” “The Merchant ofVenice,” etc., etc.December.28. First production in America of the oncefamous melodrama of “The World” was made,under Belasco’s direction, at the BaldwinTheatre, San Francisco.1881.January.17. Belasco’s “The Creole” (based on “Article47”) was acted for the first time inNew York, at the Union Square Theatre,—EleanorCarey appearing in it asDiana.February.6(?). Last performance of “The Creole” at theUnion Square Theatre.March.27. Belasco left San Francisco, with the BaldwinTheatre stock company, for Portland,Oregon.April.15. He returned from Portland and resumedemployment at the Baldwin Theatre.July.18. Belasco’s play of “La Belle Russe” wasanonymously produced, under his stagedirection, at the Baldwin Theatre, SanFrancisco (first time anywhere), MissJeffreys-Lewis, Osmond Tearle, and GeraldEyre acting the chief parts in it. Exceptionalsuccess.26. Belasco’s authorship of “La Belle Russe”was announced, in advertisements of thatplay.30. Final performance, original run, of “LaBelle Russe,” at the Baldwin.August.15. At the Baldwin occurred the first performanceof Belasco’s dramatic epitome ofAdolphe Belot’s story, “The Stranglers ofParis,” Osmond Tearle actingJagon:Belasco’s name was not made known atthis time as the stage-adapter of thestory.September.25. Belasco left San Francisco, with Maguire,for the East, to arrange for the sale of hisplay of “La Belle Russe.”During his stay in New York, October-December,this year, Belasco negotiatedregarding presentment of “La Belle Russe”with Augustin Daly, John Stetson, A. M.Palmer, and Lester Wallack. He finally soldhis interest in that play outright, to FrankL. Goodwin, for $1500, a return ticket toSan Francisco, and $100 for travellingexpenses.December.25. Belasco reached San Francisco from NewYork.1882.March.7. First performance of Belasco’s spectaclemelodrama of “The Curse of Cain” occurredat the Baldwin.April.16. End of Thomas Maguire’s control of theBaldwin Theatre, San Francisco.May.8. First production in New York of Belasco’splay of “La Belle Russe” was made at Wallack’sTheatre,—Osmond Tearle and RoseCoghlan playing the chief parts.June.12. A “sensation revival” of Belasco’s “retouchedand re-arranged” version of Boucicault’s“The Octoroon,” introducing Callender’sColored Minstrels, was effected at the