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—): as Zakkuri, 81.
Arnold, Matthew (Eng. poet, critic, etc.: 1822-1888): re the 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 testimony re, 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.

B
Babcock, 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 of Cigarette, 5; 48; 49; 51;
her personation of Yo-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, re same, 189;
telegram to, by B., re same, 190;
letter to, by B., re “benefits,” etc., 193;
letter to, by B., re “The Girl of the Golden West,” 194;
as The Girl, 199;
her performance of The Girl critically 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 testimony re, 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—selects Queen 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, re high 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 comments re same, 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—statement re policy 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 impressions re“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 views re “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;
comment re, 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., re first 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 Syndicate re Belasco, 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 regret re—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, re unappreciated 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 statement re, 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—and
same critically considered, 225, et seq.;
unerring skill of, in use of “the element of natural accessories,” 233;
significant statement of, re lighting-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, re the 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, re same, 271, et seq.;
return of, to N. Y.—and practical surrender of Theatrical Syndicate to, in conflict with, 274, et seq.;
author’s view re association of, with Syndicate, 276;
early statement to author of purpose, re Syndicate, 277;
statement by L. Shubert re, 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, re death 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 Works of, 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, re same, 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., see ante, 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 the
Golden 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.