Bronson Howard’s play of “The Banker’s Daughter” (one act of which was written by A. R. Cazauran) was produced, for the first time, November 30, 1878, at the Union Square Theatre, New York, where it held the stage till April 16, 1879, receiving 137 performances. It was regarded as one of the “sensations” of the time, and Maguire, desiring to secure its presentment at the Baldwin Theatre, began negotiations to that end with Palmer early in 1879. Palmer named terms that Maguire would not, or could not, meet and they were rejected. But a new play was urgently required for the Baldwin, and Maguire turned to Belasco, asking, “Can’t you make something for us on similar lines?” Belasco readily agreed to do this, but presently expressed doubt as to Baldwin’s consent to pay the heavy price of certain novel expedients of stage-setting which he wished to use.

“In my principal scene,” he said to me, “I wanted a striking, new effect,—walls of a delicate pink, hung with rich lace, and I knew it would cost a lot. I went to Baldwin about it, after talking to Maguire, who thought it impossible, and told him the story of my play, and what I wanted to do in the way of settings, and my fear about expenses. Baldwin said, ’I understand Palmer’s coming out here, to the California, with “The Banker’s Daughter.” I think he tried to stick us up on that piece, and I’d like to beat him. We don’t need to go to so much expense as you think, Davy. You say you want laces: well, I’ll let you have some lace, such as nobody has ever seen on a stage!’ And he did. It was real antique stuff, belonging to his daughter and himself, from their home. I designed the scene as I wanted it, had plain set pieces painted (they cost us only a few dollars) in delicate shades of pink, and draped Baldwin’s lace over them. The effect was beautiful,—I’ve never seen anything of the kind as good,—and it looked like the room of ’a millionaire’s daughter.’ But I was glad when the run was over and the stuff safely back in Baldwin’s home: there was over $30,000 worth of it used in that set, and it kept me anxious all the time.”

Belasco’s play of “The Millionaire’s Daughter” was produced at the Baldwin Theatre on May 19, 1879, and it was received with much favor. It tells the story of a woman who marries one man while believing herself to be in love with another, but who comes, through an ordeal of sorrow and suffering, to know the value of her husband and to love him. It is not important, though creditable as a melodramatic specimen of what Augustin Daly used to describe as “plays of contemporaneous human interest.” The chief parts in it were cast as follows:

Belasco was at once accused of having stolen his play from “The Banker’s Daughter,” but on investigation by Palmer’s representative it promptly appeared that the charge was unwarranted. “The chief real resemblances,” said Belasco, “are the title and the Duel Scene. We did call my play ’The Millionaire’s Daughter’ because of the success of Howard’s piece: the Duel Scene, however, I took from ’The Corsican Brothers.’ Howard, probably, took his from the same source; nobody acquainted with the theatre could very well help knowing that scene!”

The situation alluded to is an old one and it has been often used. The scene is a glade in the woods. The duellists, attended by their seconds, are confronted, each intent on homicide. The time is nightfall. The ground is thinly covered with snow. Each of the combatants is attired in a white shirt, open at the neck, without collar; black trousers and shoes. A faint twilight is diffused over the picture, and the ominous, grisly effect of it is enhanced by low, minor music. Gleaming rapiers are engaged and the combat proceeds to its fatal close: few other situations have been made the occasion of as much ridicule; yet, fashioned with care and treated with sincerity, this one never fails to thrill the spectators,—and probably it never will.

Palmer’s production of “The Banker’s Daughter” was announced for presentment at the California Theatre on June 9, 1879; but the success of Belasco’s play, at the Baldwin, led to the cancellation by Palmer of his engagement in San Francisco, and Howard’s play, in its definitive form, was not acted there until long afterward: it had, however, previously been performed there under the name of “Lillian’s Lost Love.”