About 1884, when she acted in “May Blossom”] recall a somewhat painful incident of the first night of “May Blossom,” which should be recorded as indicative of its author’s peculiar constitution. Belasco had made arduous efforts in preparing the play for the stage and also during the performance of it, and when, after the last curtain, he was called and constrained to thank his enthusiastic audience, he could hardly speak, and after saying a few words he fainted. This collapse, genuine and, to a hypersensitive person, natural, was, by some observers, cruelly derided as affectation. Many persons, fortunately for themselves superior to trepidation, seem incapable of understanding as genuine the “fears and scruples” which sometimes overwhelm others: I remember once, at a banquet, in Boston, to Dr. Holmes, noting with surprise the impatience with which my table neighbor, Colonel Higginson, gazing at Holmes,--who was trembling with excitement in view of what he had to do,--said to me: “What’s he worried about! He has only to read some verses!” Many years after the first presentment of “May Blossom,” which it was my privilege to hail, the next morning, in “The New York Tribune,” as the best new play which had, up to that time, been produced at the Madison Square Theatre, Belasco said to me: “Your verdict meant everything to me,--more, during the first week or two, than the public approval. Bronson Howard’s recognition of my work in improving ’Young Mrs. Winthrop’ and your support of my ’May Blossom’ did more to help me break the iron ring I was shut up in in New York than everything else put together!”