CONFLICTIVE TESTIMONY 53 VARIEGATED EXPERIENCES 61 RANDOM RECOLLECTIONS.--1875 73 BALDWIN’S ACADEMY AND BARRY SULLIVAN 86 WITH BOOTH AT THE CALIFORNIA 93 BELASCO AND “THE EGYPTIAN MYSTERY” 97 A REMINISCENCE OF HELENA MODJESKA 100 STROLLING _ad interim_.--BELASCO AS “THE FIRST OLD WOMAN” 103 A SUBSTANTIAL TRIBUTE 104 “OLIVIA” AND “PROOF POSITIVE” 106 BELASCO’S VERSION OF “NOT GUILTY” 108 WITHDRAWAL FROM THE BALDWIN.--“THE LONE PINE” AND DENMAN THOMPSON 110 “WITHIN AN INCH OF HIS LIFE” 113 SALMI MORSE’S “PASSION PLAY” 114 NOT THE OBERAMMERGAU DRAMA 116 CONSTITUENTS OF MORSE’S PLAY 118 AS TO PROPRIETY 120 “THE PASSION PLAY” IN NEW YORK 121 BELASCO’S SERVICES TO MORSE’S ENTERPRISE 123 “THE MILLIONAIRE’S DAUGHTER” 125 DETRACTION OF BELASCO.--EARLY CALIFORNIA INFLUENCES 129 BELASCO’S REPERTORY AS AN ACTOR 140 BELASCO’S “THE STORY OF MY LIFE” 148 THE EVIL OF INCOMPETENT CRITICISM 155 THE NATURE OF BELASCO’S TALENTS AND SERVICES 159 CONCERNING MATTERS OF FACT 163 THE FACTS ABOUT JEFFERSON’S _Rip_ 172 A LEADING LADY IN A PET 176 ROSE COGHLAN AND “THE MOONLIGHT MARRIAGE” 179 “L’ASSOMMOIR” AND A DOUBLE-BARRELLED BENEFIT 183 A HOT WATER REHEARSAL 187 THE PLAY OF “CHUMS” 188 FROM SAN FRANCISCO TO CHICAGO 191 “HEARTS OF OAK” 193 FIRST VENTURE IN NEW YORK 196 JAMES ALFRED HERNE 197 ANALYSIS OF “HEARTS OF OAK” 201 FAILURE AND ITS CONSEQUENCES 205