A
Abbey, Henry Eugene (Am. th. man.: 1848-1896): plans to produce S. Morse’s “Passion Play” in N. Y., 122.
Abbey’s New Park Th., N. Y., burned, 122.
Academy of Music, N. Y.: Salvini’s first Am. appearance at, 59.
“Across the Continent” (play): B. acts in, 104.
Acting: schools of and teaching of—the subject critically considered, 348, et seq.
Actors: early, in Calif., 131.
Adams, Annie (Asenath Annie Adams—Mrs. James Kiskaden—Mrs. Harvey K. Glidden: Am. actress: 1849-1916): 62.
Adams, Edwin (Am. actor: 1834-1877): in S. F., 90; 204.
Adams, John (actor): 132.
Adams (Kiskaden), Maude (Am. actress: 1872-19—): 62.
“Adolph Challet” (play): 237.
“Adrea” (tragedy): 477.
“Adrienne Lecouvreur” (play): 103.
“Agnes” (play): 105.
“Aladdin No. 2; or, The Wonderful Scamp” (burlesque): 37; 221.
Alberta, Laura (Am. actress): B. acts with, in S. F., 49; 74; 229.
Albery, James (Eng. dramatist: 1838-1889): 336.
Aldrich, Louis (Moses Lyon: Am. actor: 1843-1901): 345;
good acting by, 346;
sketch of, 347, et seq.
Allemany, Archbishop, of S. F.: approves “The Passion Play,” 116.
Allen, Charles E. (actor): 36.
Allen, Charles L. (lawyer): 390.
Allen, Charles Leslie (Am. actor: 1830-1917): 382.
“All the Comforts of Home” (farce): 375.
“Alpine Roses” (play): 279; 280.
Alta California,” “The (S. F. newspaper): notice in, quoted re “Passion Play,” 118.
Amberg, Gustav (Ger.-Am. th. man.): 251.
“American Born” (melod.): written—and produced—cast of, 257, et seq.; 260; 261; 269; 270; 276.
American Theatre, S. F.: Julia Dean, lessee of, 7.
“Amy Robsart” (play): 210.
Anderson, David H. (Am. actor: 1814-1884): 36.
“Andrea” (play): 311.
Andrews, Lillian (Am. actress): 187.
Apostate,” “The (tragedy): 94; 160.
“Armadale” (Collins’ novel): dramatization of, 92.
“Arrah-na-Pogue” (comedy): Boucicault and wife in, 58; 225; 261.
Art, dramatic: suggestion in—instructive comment re, by B., 418.
“Article 47” (play): B.’s version of, 93.
Assommoir,” “L’ (novel): Daly’s view of Fr. dramatization of, 184;
same makes and produces Eng. version—which fails—B. makes version—which succeeds, 185;
cast of B.’s version of, 186;
difficulties during rehearsals of, 187;
run of, 188; 189.
“As You Like It”: 43; 137.
Atkinson, Henry (actor): 135.
Audran, Edmond (Fr. musician: 1840-1901): 396;
writes letter praising Mrs. Carter, 398.
Auctioneer,” “The (play): 139.

B
Bachelor of Arts,” “A (farce): 344.
Bailey, Philip James (the poet: 1820-1902): 249.
Baker and Farron [theatrical] Company: 88; 89.
Baker, Emily: 87.
Baldwin, Edward J. (“Lucky Baldwin”): builds Baldwin’s A. of M., S. F., 86;
not friendly with T. Maguire, 87;
supports “The Passion Play” in S. F., 115;
withdraws support of Maguire, 183.
Baldwin’s Academy of Music, S. F.: built, 86;
opened with “K. R. III.”—and B. employed at, 87;
Sullivan’s repertory at—and Gates Opera Co. at, 88;
G. F. Rowe at, 92;
farewell engagement of A. Neilson at, 210;
Maguire loses, 253.
Bandmann, Daniel Edward (German-Am. actor: 1840-1905): 133.
Banishment of Catiline,” “The (poem): recited by B., 26.
Banker’s Daughter,” “The (play): re authorship of—and first produced, 125; 126;
resemblance of “The Millionaire’s Daughter” to, 128;
engagement of, in S. F., cancelled, 129; 328.
Banks, Maude: 349.
Barker, H. Granville (Eng. actor, playwright and th. man.: 1874-19—): and “modern” methods of, anticipated by B., 355.
Barnes, George E. (dramatic reviewer in S. F.): 103.
“Baron Rudolph” (melod.): production of—and story—failure of, 321, et seq.;
rewritten by Howard—and by B., 324;
cast of, 326.
Barrett, Lawrence P. (Am. actor and th. man.: 1838-1891): 42;
acts King Henry the Fifth in S. F., 91; 95;
first appearance of, in S. F., 135;
feeling of, toward McCullough—and characters of Cassius, and Antony, 165;
first plays Cassius—and same, in S. F., 166.
Barrett, Hon. George C. (Judge—N. Y.): 122.
Barrows, James O. (Am. actor): schoolboy companion of B.—wins medal in Comedy, 12;
B.’s early friendship with, 27.
Barry, William (actor): 131.
Barrymore, Maurice (Eng.-Am. actor and dramatist: 1848-1905): 309; 427.
Bates, Blanche (Mrs. Milton F. Davis—Mrs. George Creel: Am. actress: 1872-19—): 35; 62; 74;
B.’s first meeting with, 77;
mother’s ambition for—and B.’s promise re, 78;
beauty—qualities—potentialities of, 469, et seq.;
lapse of, into obscurity—and biographical particulars re, 471, et seq.;
first acts under B.’s management in “Naughty Anthony,” 473, et seq.;
as Cora, in same, 474;
same, 475;
her performance of Madame Butterfly, 483; 487.
Bates, Frank Mark (Am. actor: 18—-18—): 75;
murdered, 76.
Bates, Mrs. Frank Mark (Frances Marion Hinckley—Mrs. Charles L. Lord: Am. actress: 1848-1908): 35; 74;
B.’s recollection of, and of her husband, 75, et seq.;
B. acts Armand Duval with, 76;
B.’s promise to, re daughter, 77;
on B.’s facility in adapting plays, 84; 133; 472.
Beauty and the Brigands,” “The (burlesque): 37.
Behne, Harriet (singer): 489.
Belasco, Augusta (Mrs. William Elliott): 469.
Belasco, David (American theatrical manager, playwright, stage manager, actor, dramatist: 1853-19—): qualities of—ancestry
and parentage, 1;
parents go to Calif.—birth of—and removed to Victoria, B. C., 2;
early influences affecting—education of—early years in Roman Catholic monastery, 4;
residence of, in monastery—abiding effect of R. C. influence on—runs away—joins travelling circus—befriended by a clown, 5;
reclaimed by father and taken home—theatrical proclivity of—and “first appearance” of on stage, 6;
his memory of appearing with Julia Dean—his recollections of early actors characterized, 7;
frequent juvenile employment of—appears in “K. R. III.,” with C. Kean and E. Tree—removal of, to San Francisco, 10;
a pupil at the Lincoln Grammar School, S. F.—his teachers—his talent for declamation—recitations by, 11;
“mascot” of the Victoria Fire Department—pupil at Fourth Street School, S. F.—wins Gold Medal in Tragedy—early reading—first places of residence in S. F., 12;
first play by, date of, question about, etc.—boyhood custom of, as writer—recollection of, re his play, “The Roll of the Drum,” 13;
passion of, for stage—letter to, from boyhood friend—recitations of, in boyhood—also early performances participated in by, 14;
recitation by, before Queen Emma of the Hawaiian Islands—removed with parents from Victoria—filial devotion of—and early propensity of, 15;
industry of, in childhood—public recitations—assists parents, 16;
hard early experience of—advancement—reading and recreation in boyhood, 17;
effect of McCullough’s recitation of “The Little Hero” on—becomes a stowaway—his story of his adventures as, 17, et seq.;
leaves school—marriage of, 19;
early record and experience of, as actor, reciter, etc.—payment of (period 1871-1879), 20;
bohemian adventures of, related to author—his mother’s name for, and opinion about, 21;
miscellaneous knowledge accumulated by—tangled chronology of his early life—his “The Story of My Life” examined and estimated by author, 22, et seq.;
incorrect recollections by, rectified, 23;
time, place, etc., of his first formal appearance on stage established, 24;
his first part—billed as “Walter Kingsley” when making first appearance—reason for taking, and for dropping, that name—form of his name in early playbills—childhood appearances of, 25;
appears with C. Kean—early appearances as super, reciter, etc.—appears with Mme. Methua-Scheller (1869) in “Under the Gas-Light”—and with J. Proctor in “The Jibbenainosay”—Proctor’s reason for employing him, 26;
appears in Prof. Hager’s “The Great Republic”—his parts in—appears in amateur performances at Platt’s Hall, S. F.—early association with J. O. Barrows, 27;
smitten with Lotta—appears with amateur actors’ association in S. F. (1871) and is commended by local newspaper—meets J. McCullough, 28;
advantage of McC.’s friendship—early friendship with W. H. Sedley-Smith, 29;
Sedley-Smith’s influence on—same employs, at Calif. Th. and advice of same to, 33;
his actual adoption of stage—acts with J. Murphy, in “Help,” 34;
actors with whom associated in “Help”—date of his association with Chapman Sisters, 35;
at the Metropolitan Th. in ’73, 36;
his parts in various performances at the Metro.—makes “a hit” as Prince Saucilita, in “The Gold Demon,” 37;
earning extra pay, 38;
early acquaintances of—theatrical vagabondage of—and describes
same, 39, et seq.;
early parts played by, 41;
eking out a living—early admiration, etc., of Walter Montgomery, 42, et seq.;
chief recitations by—appearances of, at Platt’s Hall, about 1870—first meeting with future wife—impression of, 44;
serious injury to—near death—marriage of, 45;
travels with Chapman Sisters—returns to S. F.—employed by J. H. Le Roy—suggests “The New Magdalen” for B. Pateman, 46;
his recollections of first performance of that play—and of Miss Pateman—engaged at Shiels’ O. H., 48;
another engagement with Murphy—acts with L. Alberta—with F. Cathcart and G. Darrell—various parts played by, 49;
acts for bft. J. Dunbar—goes to Virginia City, Nev., under management J. Piper, 50;
varied experience in Virginia City, 51;
associated there with Mrs. D. P. Bowers—and regard for same—meeting with Dion Boucicault—confusion about—and facts considered—profound influence on, of Boucicault—B.’s reminiscence of same, 52, et seq.;
author’s opinion re Boucicault’s employment of, in Virginia City—opinion of, about Boucicault—first S. F. appearance of, again mentioned, 57;
not in Virginia City before 1873—disappears from S. F. records—and goes to Virginia C., 60;
concerning, and Boucicault, in Virginia C.—number of engagements there filled by—period of his career, 1873-1876, 61;
actors associated with, in Virginia C. enumerated—and painful experience of, with demented woman, 62;
freed from control of Piper—returns to S. F.—appears with A. Neilson during her first S. F. engagement—sees the Lingards in “La Tentation,” 63;
sees Raymond in “Led Astray”—consulted re “The Gilded Age”—his recollection of same and J. T. Raymond, 64;
employed by Lingard—and by Barton Hill—plays and actors associated with, summer of 1874, 68;
his admiration for S. W. Piercy, 69;
“barnstorming” ventures by—employed by Mile. Zoe—and appears with—secretary to T. Maguire—appears with J. A. Herne, etc., 70;
the same—and sees Mayo in “Griffith Gaunt”—makes a version of same—again works with J. H. Le Roy, 71;
works with Herne, etc.—assists in revival of “Oliver Twist”—revives and produces “The Enchantress” for A. Bennett—and appears in, with same, 72;
temperamental heedlessness of, re dates—author’s consequent difficulty in making Chronology, 73;
most important event of early life—nature of his experience—“stars” associated with, 74;
his reminiscences of the “minstrel” “Jake” Wallace—and of Frank M., and Mrs. Bates, 75;
admiration of, for J. E. Owens—and writes play for—kindness to, and instruction of, by C. R. Thorne, Sr., 78;
“barnstorming” with a “beautiful school teacher”—friendship with Mary Gladstane—and admiration for “Mary Warner,” 79;
plays produced by, with Miss Rogers—liking of, for “Robert Macaire”—“specialties” of B.—makes wigs, 80;
returns to S. F. to study Hooley Comedy Co., W. H. Crane, etc.—employed by Hooley, 81;
willingness and simplicity of, re labor—employed by Emmet as dresser—and acts with, 82;
studies Daly’s productions—and refused engagement by same—peddles “patent medicines,” 83;
prepares prompt books—marvellous resources of, 84;
first meeting of, with J. A. Sawtell—later association—joins Thorne, Sr., at his Palace Th.—and not paid by, 85;
plays
acted in with Thorne, Sr.—appears with F. Jones, 86;
prompter and assistant stage manager at Baldwin’s Academy of Music, S. F.—associated with B. Sullivan—and others, 87;
plays acted in by, with Sullivan—he returns to Maguire’s New Th., 88;
views of, re difficult parts—interesting reminiscence of Sullivan—goes “barnstorming” again, 89;
acts in bfts.—sees E. Adams—sees G. Rignold in “King Henry V.,” 90;
and sees Barrett in same—diverse activities of—acts with G. F. Rowe—appears again in “Under the Gas-Light”—meets Eleanor Carey, 92;
makes play on “Article 47” for Miss Carey, 93;
period of his life, 1876-1879, et seq.—sees and studies E. Booth—and appears with same at Calif. Th.—his Booth relics—works for Ward and W. Montague, 96;
travels with F. M. Phelps—and joins F. Gardner in “The Egyptian Mystery,” 97;
his appearance with same—and plays written by, for, enumerated, 99;
recitations by, in same association—and his reminiscence of—experiments in stage lighting, 99;
travels with “The Egyptian Mystery”—sees Modjeska’s first Am. appearance, 100;
recollections of same, 102;
acting and stage managing with T. W. Keene, 103;
acting with the “Frayne Troupe”—plays old women—and goes to Bush St. Th., S. F., 104;
at the Baldwin again—directs the N. Y. Union Square Theatre Co. in S. F.—and travels and acts with—tribute to, by that co., 105;
letter to, from F. F. Mackay on behalf of same—his “Dearer than Life” and his “Olivia” produced, 106;
his “Olivia”—and alters “A Woman of the People,” 107;
makes “Proof Positive” for R. Wood—directs C. Morris—and adapts “Not Guilty,” 108;
his “Not Guilty” produced in S. F.—recollections of that production—leaves the Baldwin, 110;
contemptible treatment of, re “Not Guilty”—Baldwin intervenes—and an experience with D. Thompson and J. M. Hill, 111, et seq.;
returns to S. F. and to the Baldwin—adapts and produces “Within an Inch of His Life,” 113;
“fire effect” in same, 114;
S. Morse’s “Passion Play” produced by, etc., 115, et seq.;
his opinion of O’Neill’s Jesus Christ—he adapts “La Famille Benoiton!”—and writes “The Millionaire’s Daughter,” 125;
his account of producing same, 126, et seq.;
accused of plagiarism—and comment thereon, 128;
detraction of B.—reason for, and examined, 129, et seq.;
nature of early influences affecting, 133;
characteristics of—and early influences on, again, 134;
sees opening of the California Theatre, S. F., 135;
special histrionic idols of—a Shakespearean student and scholar—and nature of early training as such, 136;
plays of S. familiar to—parts in S. plays acted by—and women of, acted by, 137;
pre-eminently qualified to produce Shakespeare—and reasons why he has not yet done so in N. Y., 138;
on Shylock, D. Warfield as, etc., 139;
a prescient manager—his repertory as an actor—more than 170 parts and plays enumerated, 140, et seq.;
his “The Story of My Life” critically examined by author, 148, et seq.;
author and, on stage deaths, etc., 150;
not the inventor of “natural” acting, 155;
not a disparager of the Past, 157;
in boyhood, sees and studies Daly’s Co., 158;
great service of, to Stage, 159;
and nature of—his qualities—and influences affecting, 161;
detraction of, by criticasters, 162;
enduring nature of his achievements,
163;
birth of—and misleading accounts of his early career, 164, et seq.;
errors of, re Barrett, McCullough, Montgomery, etc., corrected, 165, et seq.;
views of, re “one-part actors,” Salvini, Irving, Jefferson, etc., contravened, 168, et seq.;
R. Coghlan engaged at his request, 177;
Miss Coghlan’s attitude toward, 178;
they become good friends—Miss C. appears under his direction—he writes play for same, 179;
Wallack wishes to buy that play, 180;
B.’s recollection of Herne and K. Corcoran, 181;
bft. for B. and Herne, 182;
B. on same—and Maguire and Baldwin, 183;
he makes version of “L’Assommoir,” 185;
and same is produced by, 186;
friction at rehearsals of same, 187;
he projects play of “Chums” for O’Neill and Morrison, 188;
writes and produces same with Herne and his wife, 189;
failure thereof, 190;
leaves S. F. to venture in East, 191;
arranges to bring out “Chums” in Chicago as “Hearts of Oak,” 192;
success of venture in Chicago, 193;
dissension between, and Herne begins, 195;
B. and Herne come to N. Y., 196;
consequence to, of failure in N. Y., 206;
badly treated by Herne—and sells “Hearts of Oak” interest, 207;
account of his return to S. F., 208, et seq.;
re-employed in minor capacity at the Baldwin—and his recollections of Miss Neilson and her farewell, 209, et seq.;
his “Paul Arniff,” 214;
produced, 215;
his version of “True to the Core,” 220;
various productions directed by—his recollections and estimate of W. E. Sheridan, 221;
impression made on, by Sheridan—and gives imitations of that actor—recollections of Laura Don, 225, et seq.;
produces “Wedded by Fate”—and recollections of H. B. McDowell, 227;
again associated with Geo. Darrell, 229;
his play of “La Belle Russe,” 230, et seq.;
same produced—and success of, 236;
requests Tearle to inform Wallack concerning same—his “The Stranglers of Paris,” 237;
same produced—story and quality of, 238;
takes “La Belle Russe” to N. Y., 241;
harsh treatment of, by Maguire, 242;
sells “La Belle Russe” outright, 243;
returns to S. F. and the Baldwin, 244;
errors of, re Wallack, corrected, 245, et seq.;
his “La Belle Russe” produced at Wallack’s, 246;
directing for Sheridan again, in S. F., 247;
his “The Curse of Cain”—recollections of—and views of the character of Cain, 248, et seq.;
fidelity of, to Maguire, 253;
associated with G. Frohman, 254;
and revives his alteration of “The Octoroon” with G. Frohman, 255;
description of “effects” in, 256;
writes “American Born,” 257;
produces same, 258;
first meeting of, and C. Frohman, 259, et seq.;
accepts employment at Madison Square Theatre, N. Y.—leaves S. F. with G. Frohman’s Co., 261;
letter to, from F. F. Mackaye, 262;
retrospect of his early career—and partial list of plays produced by, prior to 1882, 263, et seq.;
produces “American Born” in Chicago, 269;
recollections of same—and of journey East, 270, et seq.;
interview with Dr. Mallory—engagement at Mad. Sq. Th. confirmed—and comment on by author, etc., 275, et seq.;
hard terms of contract with, 277;
unrecognized labors of, 278;
plays produced by, at Mad. Sq. Th., prior to 1884, 279;
production—contents—significance of his “May Blossom,” 280, et seq.;
faints at first performance of “May Blossom”—gratitude of, to author, 287;
accused of plagiarism, 288;
and cleared of charge, 289;
goes to England for first time—author and, meet for first time, 290, et seq.;
adapts “Called Back,” 291;
friction with Palmer—interview with same and Boucicault, 293;
he leaves the Mad. Sq. Th.—project of starring as Hamlet, etc., 294, et seq.;
association with S. Mackaye, 296;
quarrel with, and same ended, 297;
writes “Valerie” for L. Wallack, 298;
particulars of that task, 299;
his “Valerie” considered, 300, et seq.;
feeling of, toward Wallack, 305;
errors of, corrected, 306;
returns to S. F., 307;
his “Valerie” in S. F., 308;
cast of same—and other plays produced, 309;
extraordinary performance for bft. of—cast, etc., 310, et seq.;
returns to N. Y., 311;
engaged at the Lyceum Theatre, 313;
makes “The Highest Bidder” for E. H. Sothern, 314, et seq.;
produces “The Great Pink Pearl” and “Editha’s Burglar”—develops Elsie Leslie, 317;
with Greene, writes “Pawn Ticket 210” for Lotta, 318, et seq.;
productive industry of—produces “Baron Rudolph” (rewritten in style of Howard)—and strives to save Knight from failure in, 321, et seq.;
his recollections of G. Knight and this play (“Only a Tramp”), 325;
commissioned to write second play for the Lyceum, 326;
takes Henry C. De Mille into collaboration—they write “The Wife”—and B.’s recollections of, etc., 327, et seq.;
success of “The Wife” due to scene invented by—method of collaboration of, and De Mille, 334;
he forces “The Wife” into success, 336;
B. and De Mille commissioned to write play for younger Sothern—and B. revises Gillette’s “She,” etc., 337, et seq.;
his work as a teacher of acting—goes to Echo Lake and writes “Lord Chumley” with De Mille, 340;
on actors and their choice of parts—persuades Sothern to act Chumley, 341;
recollections of writing “Lord Chumley,” 343;
varied labors of—and revises “The Kaffir Diamond,” 345, et seq.;
his view of schools of acting, 349;
a master—and wholly exceptional as a teacher of acting, etc., 351, et seq.;
“Electra” revived under his direction—his recollections of, 353;
anticipates G. Barker and “modern methods” by more than a quarter-of-a-century—miscellaneous work of, at Lyceum, 355;
places “Robert Elsmere” on the stage for Gillette—commissioned to write third play for Lyceum, 356, et seq.;
on best subjects for the Drama—and writes “The Charity Ball” with De Mille, 357, et seq.;
association of, with Mrs. Leslie Carter, 361;
first meeting of, and same, 362;
Mrs. Carter seeks, at Echo Lake, 363;
impressed by latent talent of same—and determines to train her, 363;
unable to hold rehearsals for lack of a stage—undertakes to revise and produce “The Prince and the Pauper” in return for use of a stage, 365, et seq.;
quality of, when angered—opinion of Elsie Leslie—and her supporting co., 367;
his bargain for stage of the Lyceum repudiated, 368;
his bitter resentment of—and retires from the Lyceum, 369;
his shackled situation, after twenty years of labor, 370;
desperate resolution of, 371;
training Mrs. Carter—and his situation grows worse, 372;
proposal to, by C. Frohman—and same accepted—“Men and Women” written for C. Frohman, 382;
seeks play for Mrs. Carter—and employs P. M. Potter, 384;
arrangement of, with N. K. Fairbank, to “back” Mrs. Carter—disappointed by Potter, 384;
employs Gordon—and
throws out all his work—revises “The Ugly Duckling”—and produces same,