The Return of Peter Grimm
THE RETURN OF PETER GRIMM [Illustration: DAVID BELASCO] DAVID BELASCO (Born, San Francisco, July 25, 1853) The present Editor has had many opportunities of studying the theatre side of David Belasco. He has been privileged to hear expressed, by this Edison of our stage, diverse opinions about plays and players of the past, and about insurgent experiments of the immediate hour. He has always found a man quickly responsive to the best memories of the past, an artist naively childlike in his love of the theatre, shaped by old conventions and modified by new inventions. Belasco is the one individual manager to-day who has a workshop of his own; he is pre-eminently a creator, whereas his
Judy stayed with Anne all night, so as to be as near the Barts as
possible, for there was a drive of five miles, and the boat left at
eight o'clock.
"Do get up, Judy," begged Anne, on Saturday morning, as she stood in
front of her little mirror, her hair combed, her shoes polished, and
her last bow tied.
But Judy dug her rumpled head deeper into the pillow.
"'If you're waking, call me early, call me early, mother, dear,'" she
murmured, having improved her acquaintance with Tennyson during the
week.
"Well, it isn't early," said Anne, sharply. "You will be late, Judy,
and we must catch the boat."
Judy sat up rubbing her eyes. "Oh, it won't hurt Launcelot to wait a
little. He thinks he can manage everybody--but he can't dictate to me,
Anne. I am not as meek as you are."
"I'm not meek," flared Anne, whose usually sweet temper had been
somewhat ruffled in her efforts to wake Judy. "But Launcelot is a very
sensible boy."
THE RETURN OF PETER GRIMM [Illustration: DAVID BELASCO] DAVID BELASCO (Born, San Francisco, July 25, 1853) The present Editor has had many opportunities of studying the theatre side of David Belasco. He has been privileged to hear expressed, by this Edison of our stage, diverse opinions about plays and players of the past, and about insurgent experiments of the immediate hour. He has always found a man quickly responsive to the best memories of the past, an artist naively childlike in his love of the theatre, shaped by old conventions and modified by new inventions. Belasco is the one individual manager to-day who has a workshop of his own; he is pre-eminently a creator, whereas his