this great country, who are most injured by it all--because we cannot give you what you are entitled to get from us when you pay your money to see our plays and what we want to give you,--that is, the very best there is in us: we cannot give you that, ladies and gentlemen, when we have to give so much of our time and strength and energy and enterprise and courage to fighting a criminal monopoly when we ought to be giving it and want to be giving it to writing and producing plays and acting in them, for your entertainment and pleasure.” EXIT MRS. CARTER. “Adrea” was the last new play in which Mrs. Leslie Carter appeared under the direction of Belasco. Her first season in that tragedy closed at the Belasco Theatre, May 4, 1905; the second (in the course of which she acted _Du Barry_ and _Zaza_ [Illustration: Photograph by Byron. Belasco’s Collection. MRS. LESLIE CARTER AS _ADREA_, IN THE TRAGEDY OF THAT NAME] as well as _Adrea_) began there, September 20, that year, and lasted until June 23, 1906, when it was ended at Williamsport, Pennsylvania. Differences of opinion and divergence of interests had been growing for some time between the manager and the actress who owed so much,--everything, in fact,--to his sagacity and guidance. On July 13, 1906, at Portsmouth, New Hampshire, Mrs. Carter was married to William Louis Payne, and withdrew from the direction of Belasco,--Mr. Payne assuming the care of her affairs. In _Adrea_ she touched the highest point of all her greatness and, thereafter, may fairly be said to have hastened to her setting. At the time of her withdrawal from Belasco’s management he was at work on a new play for her, dealing with the experience of an Hungarian immigrant. It was to be called “Repka Stroon”: although it has been finished it has not yet been acted. Mrs. Carter has done nothing of lasting importance since her personation of _Adrea_. Her acting, at its best, was far stronger in the emotions than it was in the intellect; but, in _Adrea_, she met and endured the test of tremendous situations involving conflict of various passions, and in that respect she proved her possession of tragic power. In fact, the defects of her performance of that part were wholly in the superficial texture of the method, and it came home to the heart with an exceeding effect of pathos because of the sad knowledge with which it was freighted,--the knowledge of affliction and of grief. SIGNIFICANT MESSAGES. The following telegrams, sent by Belasco and his general manager, Roeder, are significantly indicative of the consideration shown by the former toward the players in his employ, as well as of the character of his mind, and for that reason they are printed here: the actor referred to, Mr. Benrimo, who played the _Fool_ in “Adrea,” might properly enough have been transferred to Mrs. Carter’s company, without discussion: