Belasco’s quest for a new drama for the use of Mrs. Carter seemed destined to be a barren one, when, as the London career of “The Heart of Maryland” was drawing toward its close, he chanced to read, in a theatrical newspaper, an outline of the plot of a French play named “Zaza,” which had been produced, May 12, 1898, at the Vaudeville Theatre, Paris, and which he thought might be adapted to the use of his star. On mentioning the play to Charles Frohman and inquiring whether he knew anything about it Frohman informed him that he did not believe it would prosper in America and that, therefore, he had permitted an option on the American right of producing it to lapse. Belasco, nevertheless, visited Paris, witnessed a performance of “Zaza,” as acted by Mme. Gabrielle Réjane and her associates at the Vaudeville, and was so impressed by it that he immediately cabled Frohman, urging him to purchase the American rights of production,--which Frohman forthwith did. On June 25 the London season of “The Heart of Maryland” ended, and on September 1, on the steamship Majestic, Mrs. Carter, the “Maryland” company, and Belasco sailed for home,--the latter having entered into an engagement with Charles Frohman whereby that influential speculator in theatrical wares agreed to produce “Zaza” in partnership with him and to “present Mrs. Leslie Carter, by arrangement with David Belasco.” Belasco was much elated at having made that contract. Writing about it, he says: “Patience and perseverance had won! At last I had not only a star and a play, but a partner with money, unlimited credit, and vast influence. As soon as I returned to New York I began preparations for the next season, and then I went cheerfully into exile to adapt ’Zaza.’” “ZAZA,” AND THE ETHICAL QUESTION. Two plays have been produced by Belasco the presentment of which, in my judgment,--although both of them were received with extravagant favor by numerous writers in the press and were acted profitably and with much manifest public approbation for a long time,--should be recorded as a grievous blot on the fair record of his professional career. One of those plays is this notorious drama of “Zaza,” adapted and altered by Belasco from the French original by MM. Pierre Berton (1840-1912) and Charles Simon (1850-1910); the other is the vulgar and repulsive drama called “The Easiest Way,” concocted by an American journalist, Mr. Eugene Walter, containing a long-drawn portrayal expositive of the immoral character, unchaste conduct, and necessarily wretched retributive experience, of a courtesan. Both of those plays reflect the gross aspect of what Carlyle happily designated Demirepdom,--a domain of licentiousness and bestiality which should never be treated in Drama or illustrated on the Stage.