should be made as conspicuous as possible,--the Mallorys being intent to make the most of the popularity of Mantell, who had been brilliantly successful in “The Romany Rye” and “Fedora” and had become a favorite with the public. _Macari_, however, remained the principal character in the drama, and William J. Ferguson, by whom it was exceedingly well played, maintained it in its natural place. CHANGES AT THE MADISON SQUARE. Material changes, meanwhile, had occurred or were then in progress in the management of the Madison Square. Soon after Steele Mackaye left that house Belasco’s friend Gustave Frohman, one of its attaches, had followed him, to join in management of the new Lyceum. Charles Frohman, who had been employed, at a salary of $100 a week, as a booking agent, to send on tours of the country all plays that the Mallorys had successfully produced, had withdrawn, or was about to do so, to devote himself to ventures of his own. Daniel [Illustration: Photograph by Underwood & Underwood. Copyright. Author’s Collection. CHARLES FROHMAN] [Illustration: Photograph by Moffet. Belasco’s Collection. DANIEL FROHMAN] Frohman, the business manager, was dissatisfied with his situation and prospects, and his retirement soon occurred. The Mallorys were forming a business alliance with Albert Marshall Palmer (1838-1905), when Belasco returned from his trip to England in their interests, and on August 29, 1884, public announcement was made that Palmer had become a partner in their enterprise. Palmer was a dictatorial person, and Belasco, much more experienced in technical aspects of theatrical matters and far abler as a stage director, came almost immediately into conflict with him. The particular incident which precipitated the rupture was trivial. At a rehearsal of “Called Back” which Belasco was conducting Palmer made his appearance, accompanied by Boucicault. Their presence disconcerted the actors and Belasco (as he told me) requested them to retire, explaining the reason for that request. Boucicault, appreciating the situation, politely said, “All right, my boy, I’ll go.” Palmer, on the contrary, brusquely exclaimed, “I’ll be damned if you will,” and added the assurance that he was a partner in the business and intended to be present at all rehearsals. To this Belasco replied, “Mr. Palmer, the actors can’t rehearse with you and Mr. Boucicault here, and if you don’t go I shall dismiss the rehearsal,”--whereupon Palmer went. This encounter and Palmer’s general manner satisfied Belasco that he could not long retain his office, and although Palmer subsequently requested him to remain at the Madison Square (after “Called Back” was safely launched at the Fifth Avenue) and continue to rehearse the company there, benevolently proposing that he would himself, in each case, supervise the last two or three full rehearsals (an old theatrical practice, whereby one man does all the work and another comes in at the