Chapter 13

Whereupon Miss Adams would say:

_Ten minutes is too short._

Never, perhaps, in the history of the American stage was the advent of a play so long heralded. The name "Chantecler" was on every tongue. Long before the piece was launched hats had been named after it, controversies had arisen over its Anglicized spelling and pronunciation. All the genius of publicity which was the peculiar heritage of Charles Frohman was turned loose to pave the way for this extraordinary production. It was a nation-wide sensation.

For the first time in his life Charles had to postpone an opening. It was originally set for the 13th of January, 1911, but the first night did not come until the 23d. This added to the suspense and expectancy of the public.

The demand for seats was unprecedented. A line began to form at four o'clock in the afternoon preceding the day the sale opened. Within twenty-four hours after the window was raised at the box-office as high as $200 was offered in vain for a seat on the opening night.

The Empire stage was too small, so the play was produced at the Knickerbocker Theater. A brilliant and highly wrought-up audience was present. Extraordinary interest centered about Miss Adams's performance as _Chantecler_. "Will she be able to do it?" was the question on every tongue. On that memorable opening-night Frohman, as usual, sat in the back seat in the gallery and had the supreme satisfaction of seeing his star distinguish herself in a performance that in many respects revealed Miss Adams as she had never been revealed before. She was recalled twenty-two times.

_Chantecler_ literally crowed and conquered!

Just how much "Chantecler" meant to Charles Frohman is attested by a remark he made soon after its inaugural. A friend was discussing epitaphs with him.

"What would you like to have written about you, C. F.?" asked the man.

The brilliant smile left Frohman's face for a moment, and then he said, solemnly:

"All that I would ask is this: 'He gave "Peter Pan" to the world and "Chantecler" to America.' It is enough for any man."

The last original production that Charles Frohman made with Maude Adams was "The Legend of Leonora," in which she returned once more to Barrie's exquisite and fanciful satire, devoted this time to the woman question. In England it had been produced under the title of "The Adored One."

It was in the part of _Leonora_ that James M. Barrie saw Maude Adams act for the first time in one of his plays. He had come to America for a brief visit to Frohman, and during this period Miss Adams was having her annual engagement at the Empire Theater.

Of course, Barrie had Miss Adams in mind for the American production, and it is a very interesting commentary on his admiration for the American star that about the only instructions he attached to the manuscript of the play was this:

_Leonora is an unspeakable darling, and this is all the guidance that can be given to the lady playing her._

On her last starring tour under the personal direction of Charles Frohman, Miss Adams combined with a revival of "Quality Street" a clever skit by Barrie called "The Ladies' Shakespeare," the subtitle being, "One Woman's Reading of 'The Taming of the Shrew.'" With an occasional appearance in Barrie's "Rosalind," it rounded out her stellar career under him.

Charles Frohman lived to see Maude Adams realize his highest desire for her success. She justified his confidence and it gave him infinite satisfaction.

Miss Adams's career as a star unfolds a panorama of artistic and practical achievement unequaled in the life of any American star. It likewise reveals a paradox all its own. While millions of people have seen and admired her, only a handful of people know her. The aloofness of the woman in her personal attitude toward the public represents Charles Frohman's own ideal of what stage artistry and conduct should be.

It is illustrated in what was perhaps the keenest epigram he ever made. He was talking about people of the stage who constantly air themselves and their views to secure personal publicity. It moved him to this remark:

"Some people prefer mediocrity in the lime-light to greatness in the dark."

Herein he summed up the reason why Miss Adams has been an elusive and almost mysterious figure. By tremendous reading, solitary thinking, and extraordinary personal application she rose to her great eminence. With her it has always been a creed of career first. Like Charles Frohman, she has hidden behind her activities, and they form a worthy rampart.

The history of the stage records no more interesting parallel than the one afforded by these two people--each a recluse, yet each known to the multitudes.

IX

THE BIRTH OF THE SYNDICATE

Charles Frohman's talents and energies were very much like those of E. H. Harriman in that they found their largest and best expression when dedicated to a multitude of enterprises. Like Harriman, too, he did things in a wholesale way, for he had a contempt for small sums and small ventures.

Going back a little in point of time from the close of the preceding chapter, the final years of the last century found Frohman geared up to a myriad of activities. He had already assumed the role of Star-Maker, for Drew and Gillette were on his roster, and Maude Adams was about to be launched; the Empire Stock Company was an accredited institution with a national influence; he had started a chain of theaters; his booking interests in the West had assumed the proportions of an immense business; he had begun to make his presence felt in London. Yet no event of these middle 'nineties was more momentous in its relation to the future of the whole American theater than one which was about to transpire--one in which Charles Frohman had an important hand.

Despite the efforts made by the booking offices conducted by Charles Frohman and Klaw & Erlanger, the making of routes for theatrical attractions in the United States was in a most disorganized and economically unsound condition. The local manager was still more or less at the mercy of the booking free-lance in New York. The booking agent himself only represented a comparatively few theaters and could not book a complete season for a traveling attraction.

In New York the manager was an autocrat who frequently dictated unbelievable terms to the traveling companies. Immense losses resulted from small traveling companies being pitted against one another in provincial towns that could only support one first-class attraction. Most theatrical contracts were not worth the paper they were written on.

Charles Frohman had first counted the cost of this theatrical demoralization when his great "Shenandoah" run at the old Star Theater had to be interrupted while playing to capacity because another attraction had been booked into that theater. He and all his representative colleagues in the business realized that some steps must be taken to rectify the situation. Piled on this was the general business depression that had followed the panic of 1893.

One day in 1896 a notable group of theatrical magnates met by chance at a luncheon at the Holland House in New York. They included Charles Frohman, whose offices booked attractions for a chain of Western theaters extending to the coast; A. L. Erlanger and Marc Klaw, who, as Klaw & Erlanger, controlled attractions for practically the entire South; Nixon & Zimmerman, of Philadelphia, who were conducting a group of the leading theaters of that city, and Al Hayman, one of the owners of the Empire Theater.

These men naturally discussed the chaos in the theatrical business. They decided that its only economic hope was in a centralization of booking interests, and they acted immediately on this decision. Within a few weeks they had organized all the theaters they controlled or represented into one national chain, and the open time was placed on file in the offices of Klaw & Erlanger. It now became possible for the manager of a traveling company to book a consecutive tour at the least possible expense. In a word, booking suddenly became standardized.

This was the beginning of the famous Theatrical Syndicate which, in a brief time, dominated the theatrical business of the whole country. It marked a real epoch in the history of the American theater because within a year a complete revolution had been effected in the business. The booking of attractions was emancipated from curb and cafe; a theatrical contract became an accredited and licensed instrument. The Syndicate became a clearing-house for the theatrical manager and the play-producer, and the medium through which they did business with each other. Charles Frohman contributed his growing chain of theaters to the organization and secured a one-sixth interest in it which he retained up to the time of his death.

* * *

Once launched, the Syndicate proceeded to ride the tempest, for the biggest storm in all American theatrical history soon began to develop. Out of the long turmoil came a whole new line-up in the business. It affected Charles Frohman less than any of his immediate associates in the big combination because, first of all, he was a passive member, and, second, he had a kingdom all his own. Yet the story of these turbulent years is so inseparably linked up with the development of the drama in this country that it is well worth rehearsing.

Although the Syndicate standardized the theatrical contract and made efficient and economical booking possible, it did not immediately secure the willing co-operation of some of the best-known traveling stars of the day. They included Mrs. Fiske, Richard Mansfield, Joseph Jefferson, Nat C. Goodwin, Francis Wilson (then in comic opera), and James A. Herne. They were great popular favorites and had been accustomed to appear at stated intervals in certain theaters in various parts of the country. They booked their own "time" and had a more or less personal relation with the lessees and managers of the theaters in which they appeared.

The Syndicate began to book these stars as it saw fit and as they could be best fitted into the country-wide scheme. A scale of terms was arranged that was regarded as equitable both to the attraction and the local manager.

These stars, however, refused to be booked in this way. They denied the right of the new organization to say when and where they should play. Out of this denial came the famous revolt against the Syndicate which blazed intermittently for more than two decades.

Chief among the insurgents was Mrs. Fiske, who had returned to the stage in "Tess of the D'Urbervilles," a dramatization of Thomas Hardy's great novel. Her husband and manager, Harrison Gray Fiske, was editor and publisher of _The Dramatic Mirror_, which became the voice of protest. Mrs. Fiske refused to appear in Syndicate theaters, and she hired independent houses all over the country. Such places were few and far between in those days, and she was forced to play in public halls, even skating-rinks.

Mansfield became one of the leaders of the opposition to the Syndicate. He made speeches before the curtain, denouncing its methods. His lead was followed by Francis Wilson, and subsequently by James K. Hackett, David Belasco, and Henry W. Savage. The fight on the huge combination became a matter of nation-wide interest.

All the while the Syndicate was growing in power and authority. Gradually the revolutionists returned to the fold because desirable terms were made for them. Only Mrs. Fiske remained outside the ranks. In order to secure a New York City stage for her Mr. Fiske leased the Manhattan Theater for a long term.

It was during these strenuous years, and as one indirect result of the Syndicate fight, that a whole new theatrical dynasty sprang up. It took shape and centered in the growing importance of three then obscure brothers, Lee, Sam, and Jacob J. Shubert by name, who lived in Syracuse, New York. They were born in humble circumstances, and early in life had been forced to become breadwinners. The first to get into the theatrical business was Sam, the second son, who, as a youngster barely in his teens, became program boy and later on assistant in the box-office of the Grand Opera House in his native town. At seventeen he was treasurer of the Weiting Opera House there, and from that time until his death in a railroad accident in 1905 he was an increasingly powerful figure in the business.

Before Sam Shubert was twenty he controlled a chain of theaters with stock companies in up-state New York cities and had taken his two brothers into partnership with him. In 1900 he subleased the Herald Square Theater in New York City and thus laid the corner-stone of what came to be known as the "Independent Movement" throughout the country. He had initiative and enterprise. Gradually he and his brothers and their associates controlled a line of theaters from coast to coast. In these theaters they offered attractive bookings to the managers who were outside the Syndicate. The Shuberts also became producers and encouragers of productions on a large scale.

For the first time the Syndicate now had real opposition. A warfare developed that was almost as bitter and costly in its way as was the old disorganized method in vogue before the business was put on a commercial basis. It naturally led to over-production and to a surplus of theaters. Towns that in reality could only support one first-class playhouse were compelled to have a "regular" and an "independent" theater. Attractions of a similar nature, such as two musical comedies, were pitted against each other. In dividing the local patronage both sides suffered loss.

During the last year of Charles Frohman's life the Syndicate and the Shuberts, wisely realizing that such an uneconomic procedure could only spell disaster in a large way for the whole theatrical business, buried their differences. A harmonious working agreement was entered into that put an end to the destructive strife. Theatrical booking became an open field, and the producer can now play his attractions in both Syndicate and Shubert theaters.

* * *

Charles Frohman's activities were now nation-wide. Just as Harriman built up a transcontinental railroad system, so did the rotund little manager now set up an empire all his own. The building of the Empire Theater had given him a closer link with Rich and Harris. Through them he acquired an interest in the Columbia Theater, in Boston, and subsequently he became part owner of the Hollis Street Theater in that city. His third theater in Boston was the Park. By this time the firm name for Boston operation was Rich, Harris, and Charles Frohman. Their next venture was the construction of the magnificent Colonial Theater, on the site of the old Boston Public Library, which was opened with "Ben-Hur." With the acquisition of the Boston and Tremont playhouses, the firm controlled the situation at Boston.

Up to this time Frohman had controlled only one theater in New York--the Empire. In 1896 he saw an opportunity to acquire control of the Garrick in Thirty-fifth Street. He wrote to William Harris, saying, "I will take it if you will come on and run it." Harris assented, and the Garrick passed under the banner of Charles Frohman, who inaugurated his regime with John Drew in "The Squire of Dames." He put some of his biggest successes into this theater and some of his favorite stars, among them Maude Adams and William Gillette. To the chain of Charles Frohman controlled theaters in New York were added in quick order the Criterion, the Savoy, the Garden, and a part interest in the Knickerbocker.

During his early tenancy of the Garrick occurred an incident which showed Frohman's resource. He produced a play called "The Liars," by Henry Arthur Jones, in which he was very much interested. In the out-of-town try-out up-state Frohman heard that the critic of one of the most important New York newspapers had expressed great disapproval of the piece on account of some personal prejudice. He did not want this prejudice to interfere with the New York verdict, so he went to Charles Dillingham one day shortly before the opening and said:

"Can you get me some loud laughers?"

Dillingham said he could.

"All right," said Frohman; "I want you to plant one on either side of Mr. Blank," referring to the critic who had a prejudice against the play.

This was done, and on the opening night the "prop" laughers made such a noisy demonstration that the critic said it was the funniest farce in years.

* * *

Charles Frohman's first foreign star, who paved the way for so many, was Olga Nethersole. His management of her came about in a curious way. A difference had arisen between Augustin Daly and Ada Rehan, his leading woman. Miss Rehan had decided to withdraw from the company, and in casting about quickly for a successor had decided upon Olga Nethersole, then one of the most prominent of the younger English actresses. While the deal was being consummated Daly and Miss Rehan adjusted their differences, and the arrangements for Miss Nethersole's appearance in America were abrogated.

Miss Nethersole was left without an American manager. Daniel Frohman, then manager of the Lyceum Theater, stepped in and became her American sponsor, forming a partnership with his brother Charles to handle her interests. Jointly they now conducted an elaborate tour for her covering two years, in which she appeared in "Denise," "Frou-Frou," "Camille," and "Carmen."

The sensational episode of her tour was the production of "Carmen." The fiery, impetuous, emotional, and sensuous character of the Spanish heroine appealed to Miss Nethersole's vivid imagination, and she gave a realistic portrayal of the role that became popular and spectacular. In all parts of the country the "Carmen Kiss" became a byword. The play, in addition to its own merits as a striking drama, and its vogue at the opera through Madame Calve's performance of the leading role, became a very successful vehicle for Miss Nethersole's two tours. Miss Nethersole was the first star outside of Charles Frohman's own force who appeared at the Empire Theater, where she played a brief engagement with "Camille" and "Carmen."

* * *

From his earliest theatrical day Charles believed implicitly in melodrama. His first production on any stage was a thriller. The play that turned the tide in his fortunes was a spine-stirrer. He now turned to his favorite form of play by producing "The Fatal Card," by Haddon Chambers and B. C. Stephenson, at Palmer's Theater. He did it with an admirable cast that included May Robson, Agnes Miller, Amy Busby, E. J. Ratcliffe, William H. Thompson, J. H. Stoddart, and W. J. Ferguson.

A big melodrama now became part of his regular season. He leased the old Academy of Music at Fourteenth Street and Irving Place in New York, where, as a boy, he had seen his brother Gustave sell opera librettos, and where he became fired with the ambition to make money. Here he produced a notable series of melodramas in lavish fashion. The first was "The Sporting Duchess." This piece, which was produced in England as "The Derby Winner," was a sure-enough thriller. The cast included E. J. Ratcliffe, Francis Carlyle, J. H. Stoddart, Alice Fischer, Cora Tanner, Agnes Booth, and Jessie Busley.

Charles Frohman's next melodrama at the Academy was the famous "Two Little Vagrants," adapted from the French by Charles Klein. In this cast he brought forward a notable group destined to shine in the drama, for among them were Dore Davidson, Minnie Dupree, Annie Irish, George Fawcett, and William Farnum, the last named then just beginning to strike his theatrical stride.

Still another famous melodrama that Charles introduced to the United States at the famous old playhouse was "The White Heather," in which he featured Rose Coghlan, and in which Amelia Bingham made one of her first successes. With this piece Charles emphasized one of the customs he helped to bring to the American stage. He always paid for the actresses' clothes. He told Miss Coghlan to spare no expense on her gowns, and she spent several thousand dollars on them. When she saw Frohman after the opening, which was a huge success, she said:

"I am almost ashamed to see you."

"Why?" he asked.

"Because I spent so much money on my gowns."

"Nonsense!" said Frohman. "You did very wisely. You and the gowns are the hit of the piece."

Frohman here established a new tradition for the production of melodrama in the United States. Up to his era the producer depended upon thrill rather than upon accessory. Frohman lavished a fortune on each production. Any competition with him had to be on the same elaborate scale.

Fully a year before Maude Adams made her stellar debut Frohman put forth his first woman star in Annie Russell. This gifted young Englishwoman, who had appeared on the stage at the age of seven in "Pinafore," had made a great success in "Esmeralda," at the Madison Square Theater. Frohman, who was then beginning his managerial career, was immediately taken with her talent. She appeared in some of his earlier companies. He now starred her in a play by Bret Harte called "Sue." He presented her both in New York and in London.

Under Frohman, Miss Russell had a long series of starring successes. When she appeared in "Catherine," at the Garrick Theater, in her support was Ethel Barrymore, who was just beginning to emerge from the obscurity of playing "bits." In succession Miss Russell did "Miss Hobbs," "The Royal Family," "The Girl and the Judge," "Jinny the Carrier," and "Mice and Men."

In connection with "Mice and Men" is a characteristic Frohman story. Charles ordered this play written from Madeleine Lucette Ryley for Maude Adams. When he read the manuscript he sent it back to Miss Ryley with the laconic comment, "Worse yet." She showed it to Gertrude Elliott, who bought it for England. When Charles heard of this he immediately accepted the play, and it proved to be a success. The moment a play was in demand it became valuable to him.

Spectacular success seemed to have taken up its abode with Charles. It now found expression in the production of "Secret Service," the most picturesque and profitable of all the Gillette enterprises. The way it came to be written is a most interesting story.

Frohman was about to sail for Europe when Gillette sent him the first act of this stirring military play. Frohman read it at once, sent for the author and said:

"This is great, Gillette. Let me see the second act."

Gillette produced this act forthwith, and Frohman's enthusiasm increased to such an extent that he postponed his sailing until he received the complete play. Frohman's interest in "Secret Service" was heightened by the fact that he had scored two tremendous triumphs with military plays, "Held by the Enemy" and "Shenandoah." He felt that the talisman of the brass button was still his, and he plunged heavily on "Secret Service."

It was first put on in Philadelphia. Even at that time there obtained the superstition widely felt in the theatrical business that what fails out of town must succeed in New York. Frohman, who shared this superstition, was really eager not to register successfully in the Quaker capital.

But "Secret Service" smashed this superstition, because it scored heavily in Philadelphia and then had an enormous run at the Garrick Theater in New York. In "Secret Service" Maurice Barrymore had the leading part, and he played it with a distinction of bearing and a dash of manner that were almost irresistible.

William Gillette always proved to be one of Charles Frohman's mascots. Practically whatever he touched turned to gold. He and Frohman had now become close friends, and the actor-author frequently accompanied the manager on his trips to London.