“We engaged 200 singers; we marshalled 400 men, women, children, and infants in our _ensembles_. And in the preparation every one seemed to be inspired.... O’Neill, as the preparations progressed, grew more and more obsessed. He gave up smoking; all the little pleasures of life he denied himself. Any man who used a coarse word during rehearsals was dismissed. He walked the streets of the city with the expression of a holy man on his face. Whenever he drew near a hush prevailed such as one does not often find outside a church. The boards of the stage became Holy Land. “I also became a veritable monomaniac on the subject; I was never without a Bible under my arm. I went to the Mercantile Library and there studied the color effects in the two memorable canvases there hung, depicting the dance of Salomé and the Lord’s Supper. My life seemed changed as never before, and once more my thoughts began to play with monastery life, and I thought of the days spent in Vancouver with my priest friend. “The play traced the whole sequence of historical events leading to the Crucifixion and the Resurrection, and I remember how many effects we had to evolve for ourselves. In the Massacre of the Innocents we had a hundred mothers on the stage, with their babes in their arms. In the scene where _Joseph_ and _Mary_ came down the mountain side we had a flock of real sheep following in their wake. The entire performance was given with a simplicity that amounted to grandeur. All was accomplished by fabrics and stage lighting, and when O’Neill came up from his dressing room and appeared on the stage with a halo about him women sank on their knees and prayed, and when he was stripped and dragged before _Pontius Pilate_, crowned with a crown of thorns, many fainted. “I have produced many plays in many parts of the world, but never have I seen an audience awed as by ’The Passion Play.’ The greatest performance of a generation was the _Christus_ of James O’Neill.” “The Passion Play” was succeeded at the Grand Opera House by a melodrama entitled “The New Babylon,” produced under the stage management of Belasco; and, on May 5, at the Baldwin, an adaptation by him of Sardou’s “La Famille Benoiton!” was brought out under the name of “A Fast Family.” This was performed for a fortnight, during which Belasco wrote a play which he called “The Millionaire’s Daughter,” and contrived for its presentment a remarkably handsome and effective scenic investiture. “THE MILLIONAIRE’S DAUGHTER.”