_Kaeso of Noricum_ Charles A. Stevenson. _Arkissus of Frisia_ Tyrone Power. _Marcus Lecca_ R. D. McLean. _Holy Nagar_ H. R. Roberts. _Mimus, the Echo_ J. H. Benrimo. _Bevilaccas_ Claude Gillingwater. _Caius Valgus_ Marshall Welch. _Sylvestros_ Gilmore Scott. _Dyaixes_ Louis Keller. _Bram-Bora_ Edward Brigham. _Marlak_ H. R. Pomeroy. _Master of the Tower_ H. G. Carlton. _Servant of the Tower_ Gerald Kelly. _The Shade of Menethus_ Charles Hungerford. _Thryssos_ Francis Powers. _Idmondus_ Gordon West. _A Mock Herald_ Arthur Maryatt. _Crassus_ Edwin Hardin. _Herald of the Senate_ Franklin Mills. _Page of the Senate_ Harold Guernsey. _A Bargeman_ Luther Barry. _Zastus_ Teft Johnson. _Galba_ Harry Sheldon. _Sigrad_ Charles Wright. _Var-Igon_ F. L. Evans. _Slave of the Whips_ James H. George. _Slave of the Queen’s Door_ Joseph Moxler. [Illustration: BELASCO’S “ADREA” CURTAINS Photograph by Byron. Belasco’s Collection. ] _The Child Vasha_ (in the epilogue) Louis Grimm. _Julia Doma_ Edith Crane. _Garda_ Maria Davis. _Myris_ Corah Adams-Myll. _Lefta_ Lura Osborn. _Lelit_ Grace Noble. _A Singing Bird_ Madeleine Livingston. _Adrea_ Mrs. Leslie Carter. Coincident with his production of “Adrea” Belasco’s fight for freedom in the conduct of his business reached a climax that attracted nation-wide and wondering attention and enlisted the sympathetic assistance of eminent members of the national legislature. Whenever possible, subsequent to his successful presentment of “The Heart of Maryland” in Washington (October, 1895), Belasco has elected to bring out his new plays in that city. There he desired to launch what was in some ways the most ambitious venture of his career,--and there, accordingly, after overcoming every obstacle that could be thrown in his way, he first made known the tragedy of “Adrea.” But before narrating the manner in which that production was effected it is desirable here to make somewhat particular exposition of the antagonism he was compelled to encounter and to record the significance of his long and costly conflict with it. BELASCO AND THE THEATRICAL SYNDICATE. JUSTICE AND THEATRICAL ACHIEVEMENT.