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.

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