_Rev. John van Buren_ Herbert Kelcey. _Dick van Buren_ Nelson Wheatcroft. _Judge Peter_ William J. LeMoyne. _Franklin Cruger_ Charles Walcot. _Mr. Creighton_ Harry Allen. _Alec Robinson_ Fritz Williams. _Mr. Betts_ R. J. Dustan. _Paxton_ Walter Clark Bellows. _Cain_ Ada Terry Madison. _Jasper_ Percy West. _Ann Cruger_ Georgia Cayvan. _Phyllis Lee_ Grace Henderson. _Bess van Buren_ Effie Shannon. _Mrs. Camilla de Peyster_ Mrs. Charles Walcot. _Mrs. van Buren_ Mrs. Thomas Whiffen. _Sophie_ Millie Dowling. MRS. LESLIE CARTER. Belasco’s association with Mrs. Leslie Carter began in 1889 and continued till 1906. In some ways it proved advantageous, but considerably more so to her than to him. The maiden name of that singularly eccentric woman,--a compound of many opposed qualities, sense and folly, sensibility and hardness, intelligence and dulness, an affectionate disposition and an imperious temper,--was Caroline Louise Dudley. She is, I understood from herself, of Scotch descent. She was born in Louisville, Kentucky, June 10, 186(4?). In youth she was deemed remarkable for something bizarre and alluring in her appearance, one special feature of which was her copious, resplendent hair, of the color that is called Titian red. When very young she became the wife (May 26, 1880) of Mr. Leslie Carter, of Chicago. The marriage proved unhappy, and in 1889 her husband obtained a divorce from her in that city. Comment on this case of domestic infelicity is not essential here. Mr. Carter was legally adjudged to be in the right and Mrs. Carter to be in the wrong. Society, knowing them both, sided with him and was bitterly condemnatory of her. She had few friends and very slight pecuniary resources. She was confronted with the necessity of earning a living, and she determined to adopt the vocation of the Stage. She had participated in private theatricals, as so many other young women in kindred circumstances have done before emerging in the Theatre, but she possessed no training for it. She had heard of Belasco’s repute as an histrionic instructor, and proceeding with better (or perhaps only more fortunate) judgment than she had ever before or has ever since displayed, she sought an introduction to him for the purpose of obtaining his assistance as a teacher. That introduction she procured through Edward G. Gillmore (18---1905), then manager of the New York Academy of Music, and to Belasco she made known her position and her aspirations. How crude those aspirations were, and how indefinite her plans as to a stage career, can be conjectured from her response to the