a crime, and, later, participating in a general bath of “whitewash.” The First Act of “The Man Inside” passes in an opium den of the New York “Chinatown”; the Second, in the office of the District Attorney--with the Tombs Prison visible through the window; the Third, in a squalid tenement house. Belasco placed the play on the stage in a setting of extraordinary verisimilitude and caused it to be acted in a well-nigh perfect manner. It was first produced at the Euclid Avenue Opera House, Cleveland, Ohio, October 27, 1913, and, November 11, was brought forward in New York at the Criterion Theatre. Public interest in it, however, was languid and it did not long survive. This was the original cast: _Mr. Trainer_ A. Byron Beasley. _James Poor_ Charles Dalton. _Richard Gordon_ Milton Sills. _“Red” Mike_ A. E. Anson. _“Big” Frank_ Edward H. Robins. _“Pop” Olds_ John Cope. _Josh Hayes_ John Miltern. _Larry_ Joseph Byron Totten. _“Whispering” Riley_ Lawrence Wood. _Cafferty_ Erroll Dunbar. _Clusky_ Jerome Kennedy. _Wang Lee_ J. J. Chaille. _Chong Fong_ H. H. McCollum. _“The Major”_ Herbert Jones. _Murphy_ Karl Ritter. _Raleigh_ Charles B. Givan. _“Frisco” George_ Joseph Barker. _“Monk” Verdi_ J. A. Esposito. _Annie_ Helen Freeman. _Maggie_ Clare Weldon. _Lizzie_ Gertrude Davis. BELASCO IN CHINATOWN. While Belasco was preparing “The Man Inside” for the stage he made several expeditions into the “Chinatown” of New York, accompanied by members of his staff and his theatrical company, in order that some of the ways and denizens of that place--the very prose of the earth--might be pictured with literal exactitude. On those occasions he and his companions, including Mr. Gros, the scenic artist, were convoyed and protected by an eccentric being once well known in the purlieus of vice and crime, whose disreputable acquaintance he had made by chance and to whom he had commended himself by kindness. Describing the last of those insalubrious visits Belasco wrote the following characteristic letter to the young woman who afterward played the principal female part in his adaptation of the Molineux play: (_Belasco to Miss Helen Freeman_.) “My dear Miss Helen:-- “We went on the postponed, and probably the last, trip into the ‘underworld’ last night. It might have been useful to have had you see it once more; but, on the whole, I think you have seen enough for the purpose and am glad you weren’t along. Familiar as I am with the sights of such places (and far worse, such as I used to visit in old San Francisco) I found some of it last night rather shocking. But as I promised to give you an account of this trip I will write a little description of our adventures--which, perhaps, you may find suggestive.