The dear child was preparing to leave the world, but we did not know
it. When the manuscript was finished, she kept it by her side, and,
notwithstanding her illness, saw the dress rehearsal. During the
writing of the play, she often said, "Yes, father, it is all true. I
believe every word of it." It was as though the thought embodied in
the play gave her comfort. When we discovered how ill she was, I
took her to Asheville, North Carolina, thinking the climate would
help her. She grew worse. Still hoping, we went to Colorado, and
there I lost her.

It has seemed to me since that the inspiration compelling me to go
on with "Peter Grimm," in spite of its difficulties, came from this
daughter who died.

I cannot close this reminiscence of "The Return of Peter Grimm"
without acknowledging the help and inspiration received from David
Warfield, without whose genius and personality the play would not
have been possible.


I doubt whether Mr. Belasco has ever infused so much imaginative ingenuity
into the structure and picture of a play. Even in the reading, its quaint
charm is instantly revealed. We quite agree with Winter in saying that the
effectiveness of the role of_ PETER _lies in its simplicity. This was the
triumph of Warfield's interpretation. It may have been difficult to attain
the desired effects, but once reached, technical skill did the rest. It
will be noted on the program that credit is given 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.