A“About Town” (extravaganza):9.“About Town” (play):9.Actors: eminent, of the Past, singled out for detraction,310,et seq.“Adam in Paradise” (play—Italian):317.“Adrea” (tragedy):68;69;121;126;129;writing of,134;character of—and story of, epitomized,138,et seq.;truthfulness of, to nature and to fact,146;purpose accomplished in,147;an honor to its authors,148;first performed—first performed in N. Y.—and original cast of,150;151;B.’s determination to present, in Washington,180;reception of, in Washington—and B.’s reminiscence of,181;B.’s speech at first performance of,182;loss on one week’s performance of—and B.’s speech at first N. Y. performance of,185;last new play acted in by Mrs. Carter under B.,186;247;336;423;sp. performance of, for S. Bernhardt,451.Ainsworth, William Harrison (Eng. novelist: 1805-1882):335.Alva (or Alba), Fernando Alvarez de Toledo, Duke of (1508-1583):81.Anderson, Mary (Mrs. Antonio de Navarro: Am. actress: 1859-19—):423.Arliss, George (George Arliss-Andrews: Eng. actor: 1868-19—): asZakkuri,81.Arnold, Matthew (Eng. poet, critic, etc.: 1822-1888):rethe Theatre,160;161.Arthur, Lee (Lee Arthur Kahn: Am. playwright: 18— - 19—):11;12;325.Assignation,” “The (play):313.Auctioneer,” “The(play): written on B.’s plan and to his order—B.’s designation of—revised by B.—first produced—and Warfield on original quality of,11;first produced in N. Y.—described and critically considered—Warfield’s performance in,12,et seq.;original cast of,15;first N. Y. “run” of—tour—profits from, etc.,16;abstract of B.’s testimonyre, in conflict with Theatrical Trust,17,et seq.;“booking arrangement”re, with A. Erlanger,18;19;20;22;23;seasons of—and profits from,24;receivership applied for—and granted—Warfield closes tour in, etc.,25,et seq.;27;49;124;172;386.Authorship, dramatic: author’s views of,314.“Avare” (play):217.BBabcock, Winnifred Eaton (Mrs. Bertrand W. Babcock—Onoto Watanna: Am. story-writer: 1879-19—): charges plagiarism against B.—arrested for libel—retracts,88,et seq.Bachman, Amelia (amateur Am. playwright):322;323.Bahr, Hermann (Aust. play writer and critic: 1863-19—):290;291.Banker’s Daughter,” “The (melodrama):319.Barker, H. Granville (Eng. actor, playwright, th. man., and stage man.: 1877-19—):247;248.Barnes, W. (Am. lawyer):319;320.Barrett, Lawrence P. (Am. th. man. and actor: 1838-1891):48;66;153;214;428;B.’s view of,449.Barry, Thomas (Am. th. man. and actor):153.Bates, Blanche(Mrs. Milton F. Davis—Mrs. George Creel: Am. actress: 1872-19—):B. launches as star,1;qualities of,3;her personation ofCigarette,5;48;49;51;her personation ofYo-San,79;quality of, as actress,80;86;refutes charge that B. “stole” her services,87;94;108;112;114;telegrams to, by B.,re“The Darling of the Gods,”188;telegram to, by B. F. Roeder,resame,189;telegram to, by B.,resame,190;letter to, by B.,re“benefits,” etc.,193;letter to, by B.,re“The Girl of the Golden West,”194;asThe Girl,199;her performance ofThe Girlcritically considered,200;last important performance of—acts in “The Fighting Hope,”208;acts in “Nobody’s Widow,”209;author’s wish that B. might resume management of,213;214;lays cornerstone of B.’s Stuyvesant Th.,235;236;260.Bates, Mrs. Frank Mark (Frances Marion Hinckley—Mrs. Charles L. Lord: Am. actress: 1848-1908): letter to, by B.,re“The Girl of the Golden West,”192.Bath Comedy,” “The (novel):94; 96—and dramatized, see “Sweet Kitty Bellairs.”Beach, Hon. Miles (Judge, N. Y.):321.“Becket” (tragedy):194.Beckford, William (Eng. novelist: 1760-1844):74.Belasco, Augusta (Mrs. William Elliott):at laying of cornerstone of B.’s Stuyvesant Th.,236;marriage of,294;removed to Asheville—then to Colorado Springs—and death, funeral, and burial of,296;closeness of, and her father—and B.’s recollections of, and the writing of “Peter Grimm.”297.B e l a s c o, D a v i d(American theatrical manager, playwright, stage manager, actor, dramatist, 1853-19—):plans to star B. Bates—and selects “Under Two Flags,”1;employs P. M. Potter—and produces “U. T. F.,”2;beauty of that production,4;turns his attention to starring Warfield—negotiation of Warfield with—same engaged by, and contract between and same—issue of partnership with,7;personal relations of, with Warfield, and early recollection of same,8;position of Warfield when B. undertook management of,10;plans “The Auctioneer” for Warfield—has it written—rewrites and first produces same,11;Warfield on work of B. on that play,12;Warfield’s debt to B.—and probable course of, without his direction,14;B.’s profits from “The Auctioneer” reduced—beginning of his conflict with “The Theatrical Trust,”16;abstract of his sworn testimonyre, A. Erlanger, the Trust,et al.,17,et seq.;compelled to submit to terms of Erlanger—and evidence to substantiate B.’s statements,19;irreconcilable contradiction in the testimony of B. and of Erlanger—and same commented on—author’s reasons for accepting testimony of,20,et seq.;B. quoted on threat by Erlanger,22;decision against, in favor of J. Brooks—same appealed and technical grounds of that decision,23;Warfield refuses to act except under management of,25;Warfield’s second public statement in support of,27;early and characteristic trend of his mind,28,et seq.;his selection of du Barry “not surprising,”29;seeking a new part for Mrs. Carter—selectsQueen Elizabeth—visits England,30;meets J. Richepin, through Miss E. Marbury—visits them at Versailles—and his account of the “Du Barry” contract, etc.,31,et seq.;rejects Richepin’s impracticable play—writes “Du Barry” himself—and his comments on the historic character,33,et seq.,quality of his “Du Barry” and that play described and critically examined,34,et seq.;B. sued by Richepin—complaint and reply, etc.—and suit at last discontinued,42;his reason for not taking “Du Barry” to London,44;comment on reconciliation with Richepin,45;loving-cup presented to, by “Du Barry” Co., etc.,46;extraordinary progress of,47;position of,48;high ambition of—need of his own th.—and danger from Trust,49;business proposal to, by O. Hammerstein,50;same accepted—leases the Republic Th.—and stipulations of contract,51;comment by,rehigh rent—dangerously hurt,52;rebuilds the Republic Th.,53,et seq.;“smites a rock” and taps a perpetual spring,54;interview of, and holder of mortgage on the th.—the first Belasco Th. described,55,et seq.;opening of his first th.—speech of, on that occasion, etc.,60,et seq.;souvenir published by,66;disparaged by biographer of Mark Twain and defended by author,67,et seq.;“The D. of G.” created by B.—and letter from, to author, quoted,69;his plans for Mrs. Carter—reasons for opening with “Du Barry”—and his immense investment in,70;“The D. of G.” based on his “The Carbineer”—collaboration with J. L. Long—and “The D. of G.” first produced by,71,et seq.;his tragedy of “The Darling of the Gods,” described and critically considered,73,et seq.;dramatic effects originated by B., Irving, Daly, etc.,82;his interesting recollection of creating scenic effect in ‘The D. of G.,”83,et seq.;immense cost to, of that play—and his small profit from—seeking an American Gilbert and Sullivan—engages Miss L. Russell,85;accused of “stealing” stars,86;and vindicated—is accused of plagiarism,87;is libelled—his patience exhausted, causes arrest of O. Watanna—sues for $20,000 damages—and contemporary statement by,88,et seq.;libel against, withdrawn,90;contemptible outrage against, perpetrated by order of A. Hummel, etc.,91;feeling of, toward C. Frohman—and significant note from same to B.,92;author’s comment on—and Judge Dittenhoefer’s comment on the Hummel-Frohman-Blair-Gressit outrage,93;his agreement with E. and A. Castle—dramatizes “The Bath Comedy”—and engages Miss H. Crosman,94;produces his “Sweet Kitty Bellairs”—harassed by Brooks suit—and terse statement by,95;his “Sweet Kitty Bellairs” described and critically considered,96,et seq.;sued by Grace B. Hughes, alleging plagiarism—gross injustices to B.—suit decided in his favor—author’s commentsresame,104,et seq.;letters of, to E. Castle,106,et seq.;his “The D. of G.” produced in London—mean disparagement of,109;glowing tribute to, by H. Beerbohm-Tree,110;abortive arrangement to produce “Peter Grimm” in London,111;strenuous work of—comment by, on his disposition—statementrepolicy of, by B. F. Roeder,112;“open war” with the “Trust,”113;writing of “The Music Master”—B.’s the animating mind in that work,114,et seq.;his reminiscence of “The M. M.,”118,et seq.;his speech on first night of “The M. M.” in N. Y.,121; letter of,re“The M. M.,” to C. Klein,122;author on B.’s impressionsre“one-part actors,” etc.,123,et seq.;subjected to “a peculiarly impudent and contemptible persecution,”126;claim of J. Brooks against, disallowed by Judge Leventritt,127;his esteem for Warfield—his viewsre“The M. M.,”128;letters of, to B. Bates, to D. James, Jr.,129;letter of, to P. Robertson,130;letter of Robertson to B.,132;commentre, by author,133;his method of collaboration,134;letter of J. L. Long to,re“Adrea,”135;letter of, to J. L. Long,re“Adrea”—and character of his “Adrea”—and story of, etc., considered,136,et seq.;purpose of, in same—and fulfilled,147;climax of his conflict with the Syndicate—and custom of B.,refirst performance of new plays,151;and the Theatrical Syndicate,152,et seq.;services of, to Public and Theatre,152;imperishable record of—and unique service rendered by,153;efforts of, to present plays in Washington,153;situation of, under Syndicate domination,169;treatment of, by Syndicate, in 1904,170;S. Untermyer on Erlanger and SyndicatereBelasco,178;feeling of, about Washington—and theatres there closed to,179;hires Convention Hall there—and converts into a theatre,180,et seq.;letter of, to “Washington Post,”182;his reminiscence of first performance of “Adrea,”183;a card to the public—and speech by, on that occasion,184;immense loss on Washington engagement of “Adrea”—and speech by, in N. Y.,185,et seq.;professional association of, and Mrs. Carter ended,187;characteristic messages from,188,et seq.;goes to England—1905,190;letter from, to “London Referee,”191;alliance of, with Mme. Schumann-Heink arranged—and abandoned—his regretre—and letter of, to B. Bates,192;letter of, to J. L. Long,193;letters of,re“The Girl of the Golden West,” to Mrs. Bates and to B. Bates,194;letter of, to F. E. Shrader,195;tribute of, to memory of H. Irving,196;first production of his “The Girl of the Golden West”—and same critically considered,197,et seq.;reminiscence of, and his father, suggesting central incident of “The Girl of the Golden West,”202,et seq.;comment on technical merits of his production of that play,205,et seq.;pleasing device used by, in that play,207;professional association of, and B. Bates ended,208,et seq.;significant comment of,reunappreciated work he has done for other writers,210;letter from G. Puccini to, and writing of opera by same on “The Girl of the Golden West,”214,et seq.;interest of, in that opera—and reminiscence of, about,216;refuses all payment for services to the Metropolitan Opera Company—acknowledgment by same to—and cherished gift by same to,217;his alliance with the Messrs. Shubert—how arranged, etc.,218;foolish statementre, by L. Shubert—and author’s comment on same,219;narrow escapes of, from violent death,220;sees F. Starr for first time,221;informing reminiscences of, about Miss Starr,222,et seq.;stipulation on which he accepted “The Rose of the Rancho,”224;that play, as revised and altered by him, a notable success—andsame critically considered,225,et seq.;unerring skill of, in use of “the element of natural accessories,”233;significant statement of,relighting-effects in “The Rose of the Rancho,”234;projects the second B. Theatre (the Stuyvesant),235;laying of cornerstone of same—ceremonies—address by B. Howard, etc.,236,et seq.;his Stuyvesant Theatre and his studio and collections in same described,241,et seq.;conspicuous part played by, in development of the art of stage lighting,244,et seq.;important statement by,rethe same,247,et seq.;opening of his Stuyvesant Theatre—and his play of “A Grand Army Man” critically considered,249,et seq.;speech of, at opening of Stuyvesant Theatre,255;he accepts “The Passing of the Third Floor Back” for D. Warfield and the opening of the Stuyvesant Theatre—and is unjustly treated by J. K. Jerome,257,et seq.;produces “The Warrens of Virginia,”260;recollections of, about M. Pickford—and produces “The Easiest Way,”267;his last visit to his father—honors to, in S. F.—and touching reminiscence of,resame,271,et seq.;return of, to N. Y.—and practical surrender of Theatrical Syndicate to, in conflict with,274,et seq.;author’s viewreassociation of, with Syndicate,276;early statement to author of purpose,reSyndicate,277;statement by L. Shubertre, and Syndicate,278;unwarranted and silly attack on, by Mrs. Carter,279;and dignified repulsion of same by—his proposal for a farewell tour by Lotta declined,280;his productions in the season of 1909-’10,281,et seq.;comment by, on Jane Cowl—“Le Lys” adapted and produced by,283;purpose of, in that adaptation,286;production of “Just a Wife” made by,287;period of his management of first B. Theatre—changes names of same and Stuyvesant Th.—produces “The Concert,”289;letter of, to author,redeath of daughter, quoted from,293;marriage of daughter—and death of—death and funeral of father,294;reasons for early opposition to daughter’s marriage—wedding of same and his gift to,295;fight for life of daughter—removes same to Asheville—to Colorado Springs—death of,296;closeness of, and younger daughter—his recollection of daughter, and of writing of “The Return of Peter Grimm,”297;marriage of his elder daughter,298;fragmentary and unrevised critical notes,re“Peter Grimm,”298;his “The Return of Peter Grimm” described and critically considered,299,et seq.;his authorship of “Peter Grimm” questioned—and quality of detractors of B.,305;letter of, repudiating collaboration in “Peter Grimm”—produces “The Woman,”306;accused of plagiarism,309;the whole subject of accusations of plagiarism against Belasco critically examined and refuted,310,et seq.;debt of other playwrights to,324;playwrights who have profited by, specified by name,325;exceptional letter of thanks to, from G. Scarborough,326;The Dramatic Worksof, catalogued,327,et seq.;a study of his quality and achievement as a dramatist, incompleted,332,et seq.;quality of, as man—labor of, and opposition to, etc.,334,et seq.;constitution of mind of, compared to Ainsworth,335;rank of, as dramatist—and not an imitator,336;trial of A. Goldknopf’s suit against, and De Mille,337,et seq.;proposes a unique demonstration—and the court acquiesces,338;gives comparative performances of “The Woman” and “Tainted Philanthropy”—and court decides in favor of B.,341;his comments on,342;produces “The Case of Becky”—same, in N. Y.—and the writing of,343;his reminiscence of that play,345;delighted by success of—and sued for “plagiarism” in,346;vindicated in court—and decision quoted,347;produces “A Good Little Devil,”348;beautiful accoutrement of same,349;reasons for producing “The Secret”—and his estimate of,351,et seq.;produces “Marie-Odile”—his estimate of,356;reconciliation of, and C. Frohman,361,et seq.;joint productions with C. Frohman projected—and they revived “A Celebrated Case,”363;his watchfulness of plays and players—estimate of L. Ulric,365;his rule as to seeing actors—a rehearsal for Miss Ulric—and impression on, made by,368;produces “The Girl” for Miss Ulric,369;rewrites same with G. Scarborough—and presents as “The Heart of Wetona,” with Miss U.,370;produces “What’s Wrong”—“The Vanishing Bride”—“The Love Thought”—“Alias,”374;produces “The Governor’s Lady,”377;produces “Years of Discretion,”381;produces “The Temperamental Journey,”383;revives “The Auctioneer,”386;his endeavor to assist R. B. Molineux,387,et seq.;his painful experience with Molineux,390;compelled to order Molineux out of th.,391;his visits to Chinatown,394;characteristic and illuminative letter by,395,et seq.;his admonition to Stage aspirants—a letter,398,et seq.;produces “The Boomerang,”407;and his view of that play,408,et seq.;letter of O. K. Kahn to,re“The B.,”409;produces “Seven Chances,”411;produces “The Little Lady in Blue,”413;letter of W. W. to,resame,414;produces “The Very Minute,”416;Summary of his character and career,418,et seq.;vitality and influence of,421;aspersion of—and defended by author—his devotion to the Th.,422;works by which he will be remembered,423;view of the stage to which he subscribed—and administration of “his great office,”427;place among th. managers,428;quality of, as th. man.,430;how contrasted with C. Frohman—characteristic instance of his placability and generosity,433;reasons for his greatness as stage man.,434;his understanding of actors—source of weakness in,435;attitude of, in his th.—and most conspicuous associate of, in conduct of same,437;personal peculiarities,439;variable aspect of—and precious mental advantage possessed by,440;great Shakespeare project proposed to, by author,441;his favorable attitude toward,443;a “Shakespeare Trilogy” outlined to, by author,445;project enthusiastically adopted by,447;temporarily abandoned, because of death of W. W., seeante,441;his estimates of old actors—and glowing tribute of, to S. Bernhardt—a letter,449,et seq.;brief extracts from his correspondence,452,et seq.;produces “Van Der Decken”—and same considered,459,et seq.;produces “Polly with a Past,” after revising it,463;produces “Tiger Rose,” after revising, with L. Ulric in chief part,465,et seq.;Chronology of the Life of David Belasco,471,et seq.Belasco, Frederick (Am. th. man.: 1862-19—):130.Belasco, Humphrey Abraham (father of D. B.: 1830-1911):reminiscence by, the origin of chief passage in “The Girl of theGolden West,”200,et seq.;B.’s last visit to,271;272;death of—funeral—and burial,294.Belasco, Reina Victoria (Mrs. Morris Gest):at laying of the cornerstone of B.’s Stuyvesant Th.,236;wedding of,298.Belasco Theatre, the first:52,et seq.;described,55,et seq.;opened with revival of “Du B.”—and B.’s speech on opening night,60,et seq.;first programme at,62.Belasco Theatre, the second (originally David Belasco’s Stuyvesant Th.):projected,234;cornerstone laid,235;address by B. Howard on laying of same,236;B.’s recollections re occasion,237,et seq.;situation of—and described,238,et seq.;cost of,240;B.’s studio in,241,et seq.;opened,249;spirited speech by B. on opening of,255.Belleforest, ——:317.“Belle Lamar” (melod.):265.Belle of New York,” “The (extravaganza):9.Belle Russe,” “La (melod.—B.’s):312.“Belphégor; or, The Mountebank” (melod.):115;118.Benrimo, J. Henry (Am. actor):188;189.Bernhardt, Sarah(Sarah Frances—Mme. Jacques Damala: Fr. actress: 184[4?]-19—):9;forced by the Th. Syndicate to act in circus tent,155;author on—and views of—disagrees with B.re,448;B.’s tribute to—a letter,449,et seq.;message to from B.—and reply by,451;452.Berton, Pierre (Fr. journalist and playwright: 1840-1912):325.Bickerstaff, Isaac (Eng. dramatist:cir.1735:cir.1812):313.