“specially localized and adapted for San Francisco.” Campbell fulfilled his commission, passing several weeks in the Western metropolis in order to provide “local atmosphere.” Belasco was still “barnstorming” when he learned of the appearance of Hooley’s Comedy Company in San Francisco,--May 10, at the Opera House, in Campbell’s “Peril; or, Love at Long Branch,”--and he immediately ended his uncertain connection with Miss Rogers in order to return home, so that he might witness the performances of Hooley’s company and, if possible, become a member of it. “I was much impressed by the reputation of ’Hooley’s Combination,’” he writes in a note to me; “and I wanted particularly to see William H. Crane and M. A. Kennedy. Crane’s big, wholesome method made a great success, and the whole company was popular.” Belasco seems not to have reached home until about the end of the second week of the Hooley engagement: soon after that he contrived to obtain employment at the Opera House as assistant prompter and to play what used to be styled “small utility business.” His note to me continues: “Because I had played many big parts, out of town, some of my theatrical friends thought my willingness to do _any work_ that would give me valuable experience was beneath my ’dignity’ and that I was thereby losing ’caste.’ I never saw it that way. ’Haven’t you any pride?’ they used to say; and I used to answer ’No, I expect to be obliged to spend a certain amount of time in the cellar before I’m allowed to walk into the parlor!’” And in conversation with me on this subject he has said, “Why, I would do _anything_ in those days, to learn or get a chance: I once worked as a dresser for J. K. Emmet, because I couldn’t get into his company any other way,--but it wasn’t long before I was playing parts with him.” In his “Story” Belasco mentions that Daly came to San Francisco at about the same time as Hooley and that when the latter brought out “Ultimo,” and Daly produced “The Big Bonanza,” “strange as it is to relate, the productions were almost equally successful.” That is an error: Hooley’s production was made on June 7 and, though distinctly inferior to Daly’s,--made on July 19,--priority had its usual effect and the wind was completely taken out of Daly’s sails: “The Big Bonanza” was acted in San Francisco by Daly’s company less than half-a-dozen times, while “Ultimo” was played for several weeks and also was several times revived.