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SHOWMAN
advantage of having slathers of money rolling in every week— and, if the syndicate thumbed you down, you needed the whole U. S. Treasury to fight back with. I remember coming down Broadway one cold winter night during this period and seeing Belasco parked in a doorway to get out of the wind, hat pulled down, threadbare overcoat up round his nose— an uncomfortably obvious picture of a man down on his luck with nowhere to go and not so much as one hope to sharpen on another. I said "Hello, Dave," and passed on, stifling my impulse to slip him twenty dollars because I knew there wasn't a chance in the world he'd take it. Presently, however, he acquired Mrs. Leslie Carter, got some backing on the strength of her prospects, and snaked himself out of the swamp in spite of the syndicate. After her tremendous triumph in "The Heart of Maryland," he went right on up to become the greatest producer of his time.
My own first production on my own hook— in a Broadway theater, which was the only point in it— was a play called "The New South," for which I brought Grismer and his wife, Phoebe Davis, in from the coast. James A. Heme was also in the cast to strengthen it, and the Grismers had brought with them from the coast a youth named Holbrook Blinn who had a twoline walk-on at twenty-five a week. The only profit I ever derived from "The New South" was my first lesson in what not to do about dramatic critics. All of them, Nym Crinkle, Willie Winter, Alan Dale, Acton
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