The Return of Peter Grimm | Page 7

for an idea to Mr. Cecil DeMille, son of Mr. Belasco's former collaborator. "The Return of Peter Grimm" was scheduled for production in London by Sir Herbert Tree, but plans were cut short by that actor's sudden death, July 2, 1917.
Mr. Belasco's interest in the psychic and the supernatural has been seen in other plays, notably in "The Case of Becky," by Edward Locke, and in Henry Bernstein's "The Secret"--example of Belasco's most skilled adaptation from the French, though we remember the excellence of his version of Berton and Simon's "Zaza." That he thought Warfield admirably suited to this type of play was one of the chief incentives which prompted him to write "Van Der Decken" (produced on the road, December 12, 1915), a play whose theme is "The Flying Dutchman"--and not thus far given in New York.[A]
[Footnote A: Some of Mr. Belasco's recent opinions regarding the stage have been published in book form, under the title, "The Theatre through its Stage Door" (Harper).]
[Illustration: BELASCO THEATRE
FORTY FOURTH STREET near BROADWAY Under the Sole Management of DAVID BELASCO
BEGINNING TUESDAY EVENING, OCTOBER 17, 1911. Matinees Thursday and Saturday.
DAVID BELASCO Presents DAVID WARFIELD -IN- THE RETURN OF PETER GRIMM
A PLAY, IN THREE ACTS.
By DAVID BELASCO.
"Only one thing really counts--only one thing--love. It is the only thing that tells in the long run; nothing else endures to the end."
CAST OF CHARACTERS.
PETER GRIMM..................................DAVID WARFIELD FREDERIK, his nephew.........................JOHN SAINPOLIS JAMES HARTMAN................................THOMAS MEIGHAN ANDREW MacPHERSON............................JOSEPH BRENNAN REV. HENRY BATHOLOMMEY.........................WILLIAM BOAG COLONEL TOM LAWTON...........................JOHN F. WEBBER WILLEM.........................................PERCY HELTON KATHRIEN.......................................JANET DUNBAR MRS. BATHOLOMMEY................................MARIE BATES MARTA.......................................MARIE REICHARDT THE CLOWN........................................TONY BEVAN
PROGRAM CONTINUED ON SECOND PAGE FOLLOWING
* * * * *
PROGRAM CONTINUED.
SYNOPSIS.
The scene of the play is laid in the living room of Peter Grimm's home at Grimm Manor, a small town in New York State, founded by early settlers from Holland.
The first act takes place at eleven o'clock in the morning, on a fine spring day.
The second act passes ten days later, towards the close of a rainy afternoon.
The third act takes place at twenty minutes to twelve on the same night.
PROGRAM CONTINUED ON SECOND PAGE FOLLOWING
* * * * *
PROGRAM CONTINUED.
NOTE--Mr. Belasco does not intend to advance any theory as to the probability of the return of the main character of this play. For the many, it may be said that he could exist only in the minds of the characters grouped about him--in their subconscious memories. For the few, his presence will embody the theory of the survival of persistent personal energy. This character has, so far as possible, been treated to accord with either thought. The initial idea of the play was first suggested as a dramatic possibility by Mr. Cecil DeMille, to whom Mr. Belasco acknowledges his indebtedness. A conversation with Professor James, of Harvard, and the works of Professor Hyslop of the American branch of the London Society of Psychical Research have also aided Mr. Belasco.
The play produced under the personal supervision of Mr. Belasco.
Stage Director....................................William J. Dean
Stage Manager........................................William Boag
Scene by Ernest Gros.
Scenery built by Charles J. Canon
Electrical effects by Louis Hartman.]

THE RETURN OF PETER GRIMM
A PLAY IN THREE ACTS
By DAVID BELASCO
1915
[The Editor wishes to thank Mr. David Belasco for his courtesy in granting permission to include "The Return of Peter Grimm" in the present Collection. All its rights are fully secured, and proceedings will immediately be taken against any one attempting to infringe them.]
ACT I.
The scene shows a comfortable living-room in an old house. The furniture was brought to America by PETER GRIMM'S ancestors. The GRIMMS were, for the most part, frugal people, but two or three fine paintings have been inherited by PETER.
A small, old-fashioned piano stands near the open window, a few comfortable chairs, a desk with a hanging lamp above it, and an arm-chair in front of it, a quaint old fireplace, a Dutch wall clock with weights, a sofa, a hat-rack, and mahogany flower-pot holders, are set about the room; but the most treasured possession is a large family Bible lying on a table. A door leads to a small office occupied by PETER'S secretary.
Stairs lead to the sleeping-rooms above. Through the window, hothouses, beds of tulips, and other flowers, shrubs and trees are seen. "Peter Grimm's Botanic Gardens" supply seeds, plants, shrubbery and trees to the wholesale, as well as retail trade, and the view suggests the importance of the industry. An old Dutch windmill, erected by a Colonial ancestor, gives a quaint touch, to the picture. Although PETER GRIMM is a very wealthy man, he lives as simply as his ancestors.
As the curtain is raised, the room is empty; but CATHERINE is heard singing in the dining-room. JAMES HARTMAN, PETER'S secretary, opens his door to listen, a small bundle of letters in his hand. He is a well set up young man, rather blunt in his manner, and a