The Darling of the Gods

Darling of the Gods, The (1902), a play by David Belasco, John Luther Long. [ Belasco Theatre, 182 perf.] Prince Saigon of Tosan (Charles Walcot) has invited the outlawed Prince Kara (Robert T. Haines) to a banquet because Kara saved Saigon's daughter, Princess Yo‐San (Blanche Bates), from death and respected her innocence. Yo‐San is betrothed to the effete Tonda‐Tanji (Albert Bruning), but she does not love him and hopes to discourage him by insisting that before their wedding he must kill a dangerous outlaw. Her wish falls in with the plans of the sinister war minister, Zakkuri (George Arliss), who is determined to kill Kara. He has planted assassins around Saigon's house, but Kara eludes them. When he and Yo‐San meet again, Yo‐San falls in love with him and hides him from Zakkuri's men. For forty days she lives secretly with the outlaw. Kara eventually decides he must join his band; he leaves and is captured by Zakkuri's men. Zakkuri refuses to kill Kara at once, hoping Kara will lead him to more outlaws, but Kara declines. When Yo‐San visits Zakkuri to plead for Kara's life, he attempts to turn her into his courtesan. She rebuffs him, but he does succeed in having her reveal the whereabouts of Kara's band. Zakkuri releases Kara, who joins his men, but they are immediately attacked, and Kara is mortally wounded. Yo‐San appears to confess her love, the two of them agreeing they will meet a thousand years hence in the First White Heaven. After Kara dies, Yo‐San commits suicide. A thousand years pass and the lovers do meet, and arm in arm prepare to ascend to the next celestial level. Following the success of their Madame Butterfly, producer Belasco suggested to Long that they write a full‐length drama with a Japanese setting. Even in its day the play was judged contrived and its dialogue (“How is your honorable health? Do you happily eat well?”) preposterous. Fine acting and sumptuous settings were its main attraction for many, although here, too, not all critics were totally pleased. One wrote that the “stage scenes, however gorgeous, never rise to the altitude of high art, but they give a very real delight to the vast multitudes who considerately forbear to wear out the steps of the Metropolitan Museum with their sole leather.” Nevertheless, the same critic noted the ten settings were “a triumph of richly artistic light and movement and color.”