The Belasco season at the Herald Square Theatre was ended on March 24, and on April 5, on board the steamship St. Paul, he sailed for England, with Mrs. Leslie Carter and a numerous theatrical company, to present that actress, in partnership with Charles Frohman, in “Zaza,” at the Garrick Theatre, London. That project had been planned by the two managers many months before and it was triumphantly fulfilled on April 16,--Belasco’s version of the French play and Mrs. Carter’s performance in it being received in the British capital with rapturous applause and remaining current there until July 28. The principal persons who seem to have entertained seriously dissenting and dissatisfied views as to Belasco’s treatment of the subject were the authors of the French original, MM. Berton and Simon, whose conceit was great and whose indignation was lively because their noxious drama had not been deemed sacrosanct but had been freely altered. [Illustration: Photograph by Dupont. Belasco’s Collection. GIACOMO PUCCINI INSCRIPTION: “_Al mio collaboratore e amico Sig. David Belasco: greato ricordo_ GIACOMO PUCCINI”] VIEWS OF THE FRENCH DRAMATISTS. Belasco, in his “Story,” gives some account of the attitude of the French authors toward his adaptation of their play, to which, undoubtedly, they were indebted for profit and reputation they would not otherwise have obtained: “During the summer of 1900 we took ’Zaza’ to London. Before opening there I went to Paris to visit the authors, Berton and Simon. They had been paid large sums for the American rights of ’Zaza,’ and as the success of ’Zaza’ in America led to its revival in Paris their profits were enormous. Naturally, I was a welcome guest and my weekend visit was very agreeable, as it was made to the accompaniment of a song of praise--of superlative gratitude. What I had accomplished was remarkable! Superb! There was no other man, etc., etc. In the meanwhile I was wondering what they would say when they saw the manuscript of ’Zaza.’ They came to London for the first night, preceded by a huge hamper of flowers for Mrs. Carter. The opening was a brilliant function. The late King Edward, then Prince of Wales, was present; also King George, then Duke of York. I remember the military bearing of Clement Scott in his scarlet-lined coat, and the rough and ready appearance of Bernard Shaw, in his soft shirt and crush hat. What the latter thought of Mrs. Carter found its caustic way into the columns of ’The Saturday Review’; what the audience thought was told by the growing enthusiasm as the play progressed; what Berton and Simon thought was shown by a certain coolness in their attitude toward me. Their enthusiasm died a natural death after the Second Act, and the more demonstrative the audience the less pleased were they. At the close