Upon David Belasco’s ability as an actor I can give no judgment, never having seen him act: he seldom appeared on the stage after 1880, and he did not come to New York until 1882. He played more than 170 parts between 1871 and 1880, and it is obvious that his early, continuous, and practical experience in acting and in observation of the dramatic methods and the stage business of many actors, of all kinds, as well as of the practice of some of the best stage managers ever known in America, must have largely contributed to the brilliant efficiency in direction for which he was remarkable. No more capable, resourceful mechanician has appeared in the modern Theatre.... Belasco was a great stage manager because he possessed a comprehensive knowledge of human nature and human experience and an equally comprehensive knowledge alike of scenery (including stage lighting) and of acting; a dramatic temperament; clear insight; almost inexhaustible patience; ability to impart knowledge, and the rare and precious faculty of eliciting and developing the best that was in the actors whom he directed. It was the latter attribute that made him unique among stage managers of the last twenty years or so: the general custom of that pestiferous animal “the stage producer” is to thrust upon actors an arbitrary ideal of character.... Belasco possessed, moreover, exceptional understanding of the traits of actors: he knew their vanity and sometimes almost intolerable conceit, their often paltry purposes and petty ways; likewise he knew and deeply sympathized with their fine and lovable qualities,--the noble ambitions by which sometimes they are actuated, their often forlorn hopefulness, their courage under disappointment, their restless impulse toward _expression_, their honest longing for opportunity and recognition, their peculiarities, foibles, and sensibility, and he possessed and exercised extraordinary judgment, consideration, and tact in the control of them.... * * * * *