The play of “Zaza,” in the French original, is even more offensive than in Belasco’s adaptation, but it possesses more unity as a dramatic fabric and more authenticity as a portrayal of a revolting phase of life. Belasco’s version is much the superior as a commercial and theatrically useful vehicle. His purpose in adapting the play for the English-speaking Stage is thus stated by himself: “I wanted my audience to find some _excuse_ for _Zaza’s_ past and to have less pity for the wife. When the play was produced in America and _Zaza sacrificed her own feelings for the sake of a child_ the audience was so entirely in her favor that she won the tears of New York and, later on [_sic_], of London.” “The tears” of New York, London, or any other residential locality are not difficult to “win” when an experienced hand at the theatrical fount pumps hard enough for them. Freed of flummery, what does this play signify? A woman essentially vile in nature, degraded by a career of vice, gross in her conduct, vitiated in her principles and feelings, is sentimentally affected by the babble of a child, and her holy “sacrifice of her own feelings” consists in abstention from wrecking the happiness of an innocent and injured woman who has never done her any harm. As a matter of fact, such a drab as _Zaza_ would not have denied herself that gratification for the sake of a whole regiment of children,--but truth was not the goal desired: that object was profitable effect. Such dramas as “Zaza” defile the public mind and degrade the Stage, and it would be propitious for the community if they could be played on from a fire hose and washed into the sewer where they belong. MRS. CARTER’S IMPERSONATION OF _ZAZA_. Mrs. Carter’s performance of the patchouly-scented heroine of this tainted trash was much admired and extravagantly commended. As a work of dramatic art it was trivial: as a violent theatrical display of common surface traits,--a demonstration, in “Ercles’ vein,” of ability to tear a cat,--it was highly effective. The language of the gutter was spoken in the tone and with the manner of the gutter. The method of the execution was direct, broad, swift,--and coarse. The best technical merit of it was clarity of utterance. In _Zaza’s_ scene with the child Mrs. Carter was mechanical and monotonous. It was the utter, reckless abandon, the uncontrolled physical and vocal vehemence, the virago-like intensity of her abuse of her lover, which, communicating themselves to the nerves of her auditors and overwhelming them by violence, gained the actress her success in the part. If to “tear a passion to tatters, to very rags,” to take up the carpet tacks [Illustration: Photograph by Sarony. Belasco’s Collection. MRS. LESLIE CARTER AS _ZAZA_]