Photograph by Sarony. Belasco’s Collection. ROSE COGHLAN From an old photograph. The Albert Davis Collection. NINA VARIAN About 1879, when they first acted in San Francisco, under Belasco’s direction] was over Miss Coghlan realized that, if I did look like a boy, I was not quite the tyro she had supposed me to be; we were soon good friends, and have always remained so.” ROSE COGHLAN AND “THE MOONLIGHT MARRIAGE.” Rose Coghlan began her season at the Baldwin as _Lady Gay Spanker_, in “London Assurance,” with Nina Varian,--who, also, then made her first appearance in San Francisco,--as _Grace Harkaway_, O’Neill as _Dazzle_, and Morrison as _Charles Courtly_. During the four weeks that followed Miss Coghlan was also seen in “The School for Scandal,” “A Sheep in Wolf’s Clothing” and “A Scrap of Paper” (a double bill), a revival of “The Danicheffs,” and “Seraphine; or, The Mother’s Secret.” On June 30 occurred the “first production of the powerful romantic play in five tableaux, by D. Belasco and James A. Herne,” entitled “The Marriage by Moonlight”: the performance on the opening night was given for the benefit of Company B, First Infantry, N. G. C. This play was specially prepared for Miss Coghlan: it was based on Watts Phillips’ “Camilla’s Husband,”--which was originally acted at the Royal Olympic Theatre, London, November 10, 1862. The Belasco and Herne alteration of it was thus cast at the Baldwin: _Lorraine_ James O’Neill. _Felix_ Forrest M. Robinson. _Harold_ Lewis Morrison. _Lord Pippin_ John N. Long. _Peeping Tom_ James A. Herne. _Clarisse_ Rose Coghlan. _Hazel_ Katherine Corcoran. _Lady Challoner_ Kate Denin. _Lady Aurelia_ Blanche Thorne. _Elise_ Mollie Revel. On June 16 Lester Wallack, acting _Hugh Chalcotte_, in “Ours,” began, at the California Theatre, his only engagement in San Francisco. Miss Coghlan (who was to appear as a member of his theatrical company during the season of 1879-1880) apprised him of the merits of “The Marriage by Moonlight” (or “The Moonlight Marriage,” as, finally, it was denominated), and, after witnessing a performance of that play, Wallack expressed a desire to purchase it for representation at his New York theatre, with Miss Coghlan in the central character. Herne, however, had conceived a tentative plan of making this play the vehicle for a co-starring venture, in the East, by his wife and himself, and Wallack’s proposal was declined. Herne entertained an overweening, if natural, estimate of his wife’s histrionic abilities. Belasco, in his “Story,” referring to Augustin Daly’s well-known play of “Divorce,” gives this sketch of their early acquaintance: