(_David Belasco to Egerton Castle, in London._) “The Belasco Theatre, “New York, March 3, 1905. “My dear Mr. Castle:-- “Your letter of February 5 received. I regret very much that ‘Sweet Kitty Bellairs’ has not done better than it has. But I am constrained to attribute this to the fact that, in order to please you, I put it on during an unpropitious season, when there was little or no interest in plays of the Georgian period, because the country was surfeited with them--with comic operas of the Eighteenth Century, and revivals of Sheridan. Again, I myself had just finished the production of ‘Du Barry,’ which, while it is of a more regal nature than ‘Bellairs,’ is still of the Eighteenth Century, a costume play of manners and customs. All this tended to take from ‘Kitty’ the charm of novelty, a detraction which could not be overcome by the fact that I spent more than $65,000 on the production and gave it a cast comprising some of the highest salaried artists in America. “It was my intention to hold the play in reserve for Miss Bates, and produce it this year, with her in the title rôle. She is one of my own stars, and very popular. Had I done so, waiting for the flood of plays of that period to cease, I am convinced the result would have been far different. “Miss Crosman closes in April, and I shall then recall the company, store the production and send it out when the road conditions in this country are more favorable. I believe it to be a valuable piece of property over here, and that it may yet make enough money to enable me to get back at least my original outlay. My loss up to date on the play is $50,000. “In regard to the English production, I deem it inadvisable to commit myself at present, because I yet hope to have a theatre of my own in London, and, in consequence, am saving all my material for that time. Moreover, in ‘Kitty Bellairs’ I know so well the things that made it a great artistic success in this country, and there are so many details about the production to need my personal supervision, that I should really be afraid to let it be put on without me. To make the play ‘go’ at all, it must have a special cast, without which its fate would be foredoomed, and I do not care to trust the selection of this cast to another. In short, the English production is a risk I do not wish to take, until I can give it my own personal attention. “With kindest regards, I am “Faithfully, “DAVID BELASCO.” “THE DARLING” IN LONDON.--A HEARTY TRIBUTE.