This theatre was built as an investment by Al. Hayman, William Harris, and Frank Sanger. The corner-stone was laid in May, 1892, and the house, leased by Charles Frohman and Messrs. Rich & Harris, was opened under the direction of Frohman eight months later. That enterprising speculator in public amusement, who had long been eager to establish himself in the metropolis, in a fine theatre under his direct control, keenly appreciated Belasco’s abilities, and at the time when the new house was projected was associated with him in the presentment of Mrs. Carter in “Miss Helyett.” Frohman’s main interest, however, was centred in the Empire, and, though aware that Belasco was preoccupied with work on “The Heart of Maryland,” he urgently requested him to write a new play with which to open that theatre. At first Belasco demurred to the undertaking, deeming it essential to restrict himself to the work he had already begun, and to devote all his strength to the establishment of Mrs. Carter. That actress, however, hearing of Frohman’s proposal and appreciating the possible advantage that might accrue to Belasco from his acceptance of it, insisted that he should provide the play for the opening of the Empire, even at the sacrifice of an early appearance for herself. The upshot of the negotiation was Belasco’s agreement to write the desired play, in collaboration with his friend Franklyn Fyles (1847-1911),--then dramatic reviewer for “The New York Sun.” “All through the storm of malicious lies that Mrs. Carter and I had to weather,” said Belasco, “Fyles had been sympathetic and kind to us; writing under the pen-name of ’Clara Belle,’ he had given Mrs. Carter many a lift and helped us a lot. I was grateful and I wanted to help him, if I could; and he was an experienced, good writer, and I was glad to have him to help me, for I wanted ’Charlie’s’ venture to succeed, and I felt the responsibility.” “THE GIRL I LEFT BEHIND ME.” The result of that collaboration was the widely known and admired drama of “The Girl I Left Behind Me,”--the title of which was suggested by Daniel Frohman. “We had much difficulty in choosing a title for this play,” writes Belasco; “in fact, we had none as we neared the last rehearsals. A Fourth of July celebration occurs in the First Act, during which a band plays ’The Girl I Left Behind Me.’ Daniel Frohman was in front, at one of the rehearsals, and sent me a slip of paper on which was written ’The Girl I Left Behind Me,’ and that was how our play was named.” Few persons, I believe, hear even the name of that stirring air without a thrill: the associations with it that rise in any sensitive mind,--the agony of solicitude, doubt, hope, grief, and joy,--are irresistibly affecting; it singularly arouses apprehension and exultation, and its association with this play is specially appropriate because of its relevancy to the desperate military enterprise which creates the splendid climax of the drama.