“The opportunity came one morning when he was called out of the room. Before he went, I noted how careful he was to place a newspaper so that it completely hid the thing under it. I went quickly to the table, and, turning over the pages, I found a French book, ’La Tentation,’ from which the entire plot of ’Led Astray’ was taken. In those days, authors did not credit the original source from which they adapted. But Boucicault was more than an adapter--he was a brilliant and indefatigable slave, resting neither night
Photograph by Sarony. Belasco’s Collection.
nor day. There is no doubt that even though he adapted,--in accordance with the custom of the time,--he added to the original source, making everything he touched distinctly his own. He left everything better than he found it; his pen was often inspired, and in spite of his many traducers, he was the greatest genius of our Theatre at that time. Boucicault was a master craftsman....”
I am inclined to the opinion that the play of which Boucicault actually _did_ dictate a part to Belasco, during the early days of their acquaintance, in Virginia City, is, perhaps, “Forbidden Fruit,”--which was derived from a French original, and which was first produced at Wallack’s Theatre, October 3, 1876: it is, however, to be remembered that there _is_ an Irish character,--a kind of _Sir Lucius O’Trigger_-turned-blackguard, who is designated _Major O’Hara_,--in “Led Astray.” Nevertheless, as to Belasco’s reminiscence of the writing of that play, I am convinced that, though interesting, it is wholly apocryphal; the following is a summary of my reasons for so believing:
Belasco did not make his first appearance with Minnie Wells, at the Metropolitan Theatre, San Francisco, until December 16, 1872, and, of course, his meeting with Boucicault could not have preceded that date. Boucicault, moreover, and his wife, the beautiful Agnes Robertson, were absent from this country, according to my records, for about twelve years preceding 1872. In the Fall of that year they returned to America, and, on September 23, they reappeared together, at Booth’s Theatre, New York, in “Arrah-na-Pogue.” They acted there until November 16, and then made a tour through various cities of the country, but, as far as I have been able to ascertain, they did not go west of St. Louis, Missouri. Boucicault reappeared in New York, at Booth’s Theatre, March 17, 1873, acting, for the first time anywhere, _Daddy O’Dowd_, of which part he gave truly a great impersonation and on which he had been at work during all his tour. His engagement at Booth’s lasted until May 10. From that date to the latter part of August Boucicault was in New York,--except when he visited the ingratiating but false-hearted William Stuart (Edmund C. O’Flaherty, 1821-1886), at New London, Connecticut. During that period he was actively engaged on many projects,--the completion, rehearsal, and presentment of “Mora,” which was brought out at Wallack’s Theatre, June 3, and of “Mimi,” produced there on July 1; the writing of other plays, and business negotiations relative to the building and opening of Stuart’s Park Theatre, which, originally, was intended for his use. (Stuart, after many postponements, opened it, April 15, 1874, presenting Charles Fechter in “Love’s Penance.”) On August 28, 1873, Boucicault began an engagement at Wallack’s Theatre, acting in “Kerry” and “Used Up.” A few days later he broke down and went to New London to rest. On September 16, that year, in company with me, among others, he attended the first performance in America given by Tommaso Salvini: I talked with him there--at the Academy of Music. On December 6, 1873, his “Led Astray” was produced, for the first time anywhere, at the Union Square Theatre, New York. I was present, and I saw and heard Boucicault, when he was called before the curtain, and, writing in “The New York Tribune,” in the course of a review of the performance, I recorded the following comment: