In his “Story” Belasco mentions that Daly came to San Francisco at about the same time as Hooley and that when the latter brought out “Ultimo,” and Daly produced “The Big Bonanza,” “strange as it is to relate, the productions were almost equally successful.” That is an error: Hooley’s production was made on June 7 and, though distinctly inferior to Daly’s,--made on July 19,--priority had its usual effect and the wind was completely taken out of Daly’s sails: “The Big Bonanza” was acted in San Francisco by Daly’s company less than half-a-dozen times, while “Ultimo” was played for several weeks and also was several times revived.
Belasco’s relation with the Hooley company lasted until July (11?), on which date its season was ended at the Opera House,--a tour of Pacific Slope towns beginning the next week. Belasco, remaining in San Francisco, endeavored to attach himself to Daly’s company, but failed to do so,--partly, it is probable, because of his intimate connection with Maguire, who was both friendly to Hooley and inimical to Daly, whom he had striven to exclude from San Francisco by refusing to rent him a theatre. Daly, however, hired Platt’s Hall and, July 13, presented his company there, in “London Assurance,” so successfully that Maguire decided to withdraw his opposition and share the profits of success. Daly’s company, accordingly, was transferred to the Opera House on July 15, making its first appearance there in “Divorce,” with Belasco as one of the auditors.
During the remainder of 1875 Belasco labored in much the same desultory and precarious way. When no other employment could be procured by him he worked as a salesman in an outfitting shop. “One thing I did,” he gleefully relates, “for which I was much looked down upon--whenever I went into the country towns I peddled a ’patent medicine,’ as I called it; a gargle made from a receipt of my mother’s, and it was a good one, too; I know because I not only sold it but I _used_ it! And I coaxed all my theatrical friends to use it and write testimonials for me.” His chief business, However, when not regularly engaged in the theatres, was the collection and compilation of a library of plays. Between 1875 and 1880 he prepared prompt books of almost every play that was successfully produced in San Francisco--altering and rearranging many of them,--and in frequent instances supplying them to travelling companies or stars. His friend Mrs. Bates, speaking to me (1903) about him and about the facility he developed as an adapter and playwright, said: “He was a marvel! In ’the old days’ I have known a star to give Belasco an _outline_ of a plot, with three or four situations, on a Thursday night--and we _acted the play_ on the next Monday!”