Produced by David Starner, Charles Bidwell and PG Distributed Proofreaders

THE RETURN OF PETER GRIMM

[Illustration:  David Belasco]

DAVID BELASCO

(Born, San Francisco, July 25, 1853)

The present Editor has had many opportunities of studying the theatre side of David Belasco.  He has been privileged to hear expressed, by this Edison of our stage, diverse opinions about plays and players of the past, and about insurgent experiments of the immediate hour.  He has always found a man quickly responsive to the best memories of the past, an artist naively childlike in his love of the theatre, shaped by old conventions and modified by new inventions.  Belasco is the one individual manager to-day who has a workshop of his own; he is pre-eminently a creator, whereas his contemporaries, like Charles Frohman, were emphatically manufacturers of goods in the amusement line.

Such a man is entitled to deep respect, for the “carry-on” spirit with which he holds aloft the banner used by Boucicault, Wallack, Palmer, and Daly.  It is wrong to credit him with deafness to innovation, with blindness to new combinations.  He is neither of these.  It is difficult to find a manager more willing to take infinite pains for effect, with no heed to the cost; it is impossible to place above him a director more successful in creating atmosphere and in procuring unity of cooperation from his staff.  No one, unless it be Winthrop Ames, gives more personal care to a production than David Belasco.  Considering that he was reared in the commercial theatre, his position is unique and distinctive.

In the years to come, when students enter the Columbia University Dramatic Museum, founded by Professor Brander Matthews, they will be able to judge, from the model of the stage set for “Peter Grimm,” exactly how far David Belasco’s much-talked-of realism went; they will rightly regard it as the high point in accomplishment before the advent of the “new” scenery, whose philosophy Belasco understands, but whose artistic spirit he cannot accept.  Maybe, by that time, there will be preserved for close examination the manuscripts of Belasco’s plays—­models of thoroughness, of managerial foresight.  The present Editor had occasion once to go through these typewritten copies; and there remains impressed on the memory the detailed exposition in “The Darling of the Gods.”  Here was not only indicated every shade of lighting, but the minute stage business for acting, revealing how wholly the manager gave himself over to the creation of atmosphere.  I examined a mass of data—­“boot plots,” “light plots,” “costume designs.”  Were the play ever published in this form, while it might confuse the general reader, it would enlighten the specialist.  It would be a key to realistic stage management, in which Belasco excels.  Whether it be his own play, or that of some outsider, with whom, in the final product, Belasco always collaborates, the manuscripts, constituting his producing library, are evidence of his instinctive eye for stage effect.