Chapter 19

On one of Gillette's many trips with him Frohman got up an elaborate supper for Mark Twain at the Savoy and invited a brilliant group of celebrities, including all three of the Irvings, Beerbohm Tree, Chauncey M. Depew, Sir Charles Wyndham, Haddon Chambers, Nat Goodwin, and Arthur Bouchier. In his inconspicuous way, however, he made it appear that Gillette was giving the supper.

Midnight arrived, and Twain had not shown up. It was before the days of taxis, so Dillingham was sent after him in a hansom. After going to the wrong address, he finally located the humorist in Chelsea. He found Mark Twain sitting in his dressing-gown, smoking a Pittsburg stogie and reading a book.

"Did you forget all about the supper?" asked Dillingham.

"No," was the drawling reply, "but I didn't know where the blamed thing was. I had a notion that some one of you would come for me."

Mark Twain and Frohman were great friends. They were often together in London. Their favorite diversion was to play "hearts."

The great humorist once drew a picture of Charles, and under it wrote:

_N. B. I cannot make a good mouth. Therefore leave it out. There is enough without it, anyway. Done with the best ink.

M. T._

Underneath this inscription he wrote:

_To Charles Frohman, Master of Hearts._

Few things in England pleased Frohman more than to play a joke on Gillette, for the author of "Secret Service," like his great friend, relaxed when he was on the other side. When Frohman produced "Sue" in England an amusing incident happened.

Frohman had brought over Annie Russell and Ida Conquest for his piece. The actresses were very much excited before the first night, and went without dinner. After the play they were very hungry. On going to the Savoy they encountered the English prohibition against serving women at night when unaccompanied by men. After trying at several places they went to their lodging in Langham Place almost famished.

In desperation they telephoned to Dillingham, who was playing "hearts" at the Savoy with Frohman and Gillette. He hurriedly got some food together in a basket, and with his two friends drove to where the young women were staying. The house was dark; fruitless pulls at the door-bell showed that it was broken. It was impossible to raise any one.

Dillingham knew that the actresses were occupying rooms on the second floor front. He had five large English copper pennies in his pocket, and so he started to throw them up to the window to attract their attention. He threw four, and each fell short.

"This is the last copper," he said to Frohman. "If we can't reach the girls with this they will have to go hungry."

Whereupon Frohman said: "Let Gillette throw it. He can make a penny go further than any man in the world."

* * *

Such was Charles Frohman's English life. It was joyous, almost rollicking, and pervaded with the spirit of adventure. Yet behind all the humor was something deep, searching, and significant, because in England, as in America, this man was a vital and constructive force, and where he went, whether in laughter or in seriousness, he left his impress.

XIII

A GALAXY OF STARS

The last decade of Charles Frohman's life was one of continuous star-making linked with far-flung enterprise. He now had a chain of theaters that reached from Boston by way of Chicago to Seattle; his productions at home kept on apace; his prestige abroad widened.

Frohman had watched the development of Otis Skinner with great interest. That fine and representative American actor had thrived under his own management. Early in the season of 1905 he revived his first starring vehicle, a costume play by Clyde Fitch, called "His Grace de Grammont." It failed, however, and Skinner looked about for another piece. He heard that Frohman, who had a corner on French plays for America, owned the rights to Lavedan's play "The Duel," which had scored a big success in Paris. He knew that the leading role ideally fitted his talent and temperament.

Skinner went to Frohman and asked him if he could produce "The Duel" in America.

"Why don't you do it under my management?" asked the manager.

"All right," replied the actor, "I will."

With these few remarks began the connection between Charles Frohman and Otis Skinner.

It was during the closing years of Frohman's life that his genius for singling out gifted young women for eminence found its largest expression. Typical of them was Marie Doro, a Dresden-doll type of girl who made her first stage appearance, as did Billie Burke and Elsie Ferguson, in musical comedy.

Charles Frohman saw her in a play called "The Billionaire" at Daly's Theater in New York, in which she sang and danced. He had an unerring eye for beauty and talent. With her, as with others that he transported from musical pieces to straight drama, he had an uncanny perception. He engaged her and featured her in a slender little play called "Friquette."

Miss Doro made such an impression on her first appearance that Frohman now put her in "Clarice," written by William Gillette, in which he also appeared. Her success swept her nearer to stardom, for she next appeared in a Frohman production which, curiously enough, reflected one of Frohman's sentimental moods.

For many years Mrs. G. H. Gilbert was a famous figure on the American stage. She had been one of the "Big Four" of Augustin Daly's company for many years, and remained with Daly until his death. She was the beloved first old woman of the dramatic profession. When the Daly company disbanded Mrs. Gilbert did not prepare to retire. She was hearty and active.

Frohman realized what a warm place this grand old woman had in the affection of theater-goers after all the years of faithful labor, so he said to himself:

"Here is a wonderful old woman who has never been a star. She must have this great experience before she dies."

He engaged Clyde Fitch to write a play called "Granny," in which Mrs. Gilbert was starred. It made her very happy, and she literally died in the part.

In the cast of "Granny" Miss Doro's youthful and exquisite beauty shone anew. Her success with the press and the public was little short of phenomenal. Charles now saw Miss Doro as star. He held youth, beauty, and talent to be the great assets, and he seldom made a mistake. It was no vanity that made him feel that if an artist pleased him she would likewise please the public.

Frohman now starred Miss Doro in the stage adaptation of William J. Locke's charming story, "The Morals of Marcus." She became one of his pet protegees. With her, as with the other young women, he delighted to nurse talent. He conducted their rehearsals with a view of developing all their resources, and to show every facet of their temperaments. Failure never daunted him so long as he had confidence in his ward. This was especially the case with Miss Doro, who was unfortunate in a long string of unsuccessful plays. Frohman's faith in her, however, was at last justified, when she played _Dora_ in Sardou's great play, "Diplomacy," with brilliant success a year in London and later in New York.

* * *

With the exception of Maude Adams and Ann Murdock, no Frohman star had so swift or spectacular a rise as Billie Burke. Her story is one of the real romances of the Frohman star-making.

Billie Burke was the daughter of a humble circus clown in America. From him she probably inherited her mimetic gifts. At the beginning of her career she had obscure parts in American musical pieces.

It was in London, however, that she first came under the observation of Charles. She had graduated from the chorus to a part in Edna May's great success, "The School Girl." She had a song called "Put Me in My Little Canoe," which made a great hit. Frohman became so much interested that he thought of sending Miss Burke to America in the piece. He transferred the song to Miss May, which left Miss Burke with scarcely any opportunity. Subsequently she was put in "The Belle of Mayfair," and afterward replaced Miss May when she retired.

Louis N. Parker saw her in this piece and agreed with Frohman that the girl had possibilities as a serious actress. She was cast for her first dramatic part in "The Honorable George," the play he was then producing in London.

When Michael Morton adapted a very beguiling French play called "My Wife," Frohman saw that here was Miss Burke's opportunity for America. He secured her release from the Gattis, who controlled her English appearances, and made her John Drew's leading woman. She met his confidence by adapting herself to the role with great brilliancy and effect. Indeed, with Miss Burke, Frohman introduced a distinct and piquant reddish-blond type of beauty to the American stage. It became known as the "Billie Burke type." Realizing this, Frohman was very careful to adapt her personal appearance, humor, and temperament to her plays. He literally had plays written about her peculiar gifts.

Miss Burke's great success in "My Wife" projected her into the Frohman stellar heaven. She was launched as a star in "Love Watches," an adaptation from the French, securely established herself in the favor of theater-goers, and from that time on her appearance in a _chic_, smart play became one of the distinct features of the annual Frohman season. Her most distinguished success was with Pinero's play "Mind the Paint Girl," in which Frohman was greatly interested.

Few of Frohman's "discoveries" justified his confidence with lovelier success than Julia Sanderson. Her first public appearance on the stage had been in vaudeville. When Frohman sought a comedienne with a certain dainty, lady-like quality for the English musical play called "The Dairymaids," which he produced at the Criterion in 1907, his attention was called to this charming girl, then doing musical numbers in a New York vaudeville theater. Frohman went to see her, and was fascinated by her beauty and charm. He noted, most of all, a certain gentle quality in her personality, and with his peculiar genius in adapting plays to people and people to plays, she fairly bloomed under his persuasive and sympathetic sponsorship.

Frohman now obtained "The Arcadians," in which Miss Sanderson was featured. Of all the musical plays that he produced, this was perhaps his favorite. He liked it so much that he told Miss Sanderson one day during rehearsal:

"If the public does not like 'The Arcadians,' then I am finished with light opera."

"The Arcadians," however, proved to be a gratifying success, and Frohman's confidence was vindicated. Frohman was undergoing his long and almost fatal illness at the Knickerbocker Hotel when "The Arcadians" was being rehearsed. He was so fond of the music that whenever possible the rehearsals in which Miss Sanderson sang were conducted in his rooms at the hotel. He always said that he could see the whole performance in her singing. In rehearsing her he always seemed to well-nigh break her heart, but it was his way, as he afterward admitted, of provoking her emotional temperament.

He next gave her a strong part in "The Siren," and subsequently made her a co-star with Donald Brian in "The Sunshine Girl," which brought out to the fullest advantage, so far, her exquisite and alluring qualities.

* * *

The last star to twinkle into life under the Frohman wand was Ann Murdock. Here is presented an extraordinary example of the way that Charles literally "made" stars, for seldom, if ever, before has a young actress been so quickly raised from obscurity to eminence. Almost overnight he lifted her into fame.

Miss Murdock, who was born in New York, and had spent her childhood in Port Washington, Long Island, was not a stage-struck girl. She went on the stage because she made up her mind that she wanted more nice frocks than she was having. She rode over to New York one day and went to Henry B. Harris's office to get a position. As she sat waiting among a score of applicants, Harris came out. He was so much taken with her striking Titian beauty and unaffected girlish charm that he immediately asked her to come in ahead of the rest, and gave her a small part in one of "The Lion and the Mouse" road companies. When Harris saw her act he took her out of the cast and put her in a new production that he was making in New York.

At the end of the season she wanted to get under Charles Frohman's management, so she went to the Empire Theater to try her luck. There she met William Gillette, who was making one of his numerous revivals of "Secret Service." The moment he saw this fresh, appealing young girl he immediately cast her in his mind for the part of the young Southern girl. After he had talked with her, however, he said:

"I think it would be best if I wrote a part for you. I am now working on a play, and I think you had better go in that."

Miss Murdock now appeared in Gillette's new play, "Electricity," in which Marie Doro was starred. Charles Frohman saw her at the opening rehearsal for the first time.

"Electricity" was a failure. Instead of following up her connection with the Frohman office, she went to the cast of "A Pair of Sixes," in which she played for a whole season on Broadway, displaying qualities which brought her conspicuously before the public and to the notice of the man who was to do so much for her.

One night Charles stopped in to see this farce. He had never forgotten the lovely young girl who had played in "Electricity." The next day he sent for Miss Murdock, offered her an engagement, and made another of those simple arrangements, for he said to her:

"You are with me for life."

This was Frohman's way of telling an actor or actress that, without the formality of a contract, they were to look to him each season for employment and that they need not worry about engagements.

From this time on Frohman took an earnest interest in Miss Murdock's career. He saw in her, as he had seen in only a few of his women stars, an immense opportunity to create a new and distinct type.

Just about this time he became very much interested in the English adaptation of a French play which he called "The Beautiful Adventure," which was, curiously enough, one of the plays uppermost in his mind on the day he went to his death.

He now did a daring but characteristic Frohman thing. He believed implicitly in Miss Murdock's talents; he felt that the part of the ingenuous young girl in this play was ideally suited to her pleading personality, so, in conjunction with Mrs. Thomas Whiffen and Charles Cherry, he featured her in the cast. Miss Murdock's characterization amply justified Frohman's confidence, but the play failed in New York and on the road. He wrote to Miss Murdock:

_I am afraid our little play is too gentle for the West. Come back. I have something else for you._

He now put Miss Murdock into Porter Emerson Browne's play "A Girl of To-day," which had its first presentation in Washington. Frohman, Miss Murdock, and her mother were riding from the station in Washington to the Shoreham Hotel. As they passed the New National Theater, where the young actress was to appear, Miss Murdock suddenly looked out of the cab and saw the following inscription in big type on the bill:

_Charles Frohman presents Ann Murdock in "A Girl of To-day."_

It was the first intimation that she had been made a star, and she burst into tears. In this episode Frohman had repeated what he had done in the case of Ethel Barrymore ten years before.

Frohman had predicted great things for Miss Murdock, for at the time of his death there was no doubt of the fact that she was destined, in his mind, for a very remarkable career.

* * *

But those last years of Frohman's life were not confined exclusively to the pleasant and grateful task of making lovely women stars. The men also had a chance, as the case of Donald Brian shows. Frohman had been much impressed with his success in "The Merry Widow," so he put him under his management and starred him in "The Dollar Princess," which was the first of a series of Brian successes.

Frohman saw that Brian had youth, charm, and pleasing appearance. He was an unusually good singer and an expert dancer. He was equipped to give distinction to the musical play Frohman wanted to present. He had watched the interest of his audiences, and saw that young Brian was a distinct favorite with women as well as men, and his success as star justified all these plans.

While Frohman was making new stars, older ones came under his control in swift succession, among them Madame Nazimova, William Courtnay, James K. Hackett, Kyrle Bellew, Mrs. Fiske, Charles Cherry, John Mason, Martha Hedman, Alexandra Carlisle, William Courtleigh, Nat Goodwin, Blanche Bates, Hattie Williams, Gertrude Elliott, Constance Collier, Richard Carle, and Cyril Maude.

Frohman now reached the very apex of his career. At one time he had twenty-eight stars under his management; and in addition fully as many more companies bore his name throughout the country. To be a Frohman star was the acme of stage ambition, for it not only meant professional distinction, but equitable and honorable treatment.

* * *

The year 1915 dawned with fateful significance for Charles Frohman. With its advent began a chain of happenings that, in the light of later events, seemed almost prophetic of the fatal hour which was now closing in.

Perhaps the most picturesque and significant of these events was the reconciliation with his old friend David Belasco. Twelve years before, through an apparently trivial thing, a breach had developed between these two men whose fortunes had been so intimately entwined. They had launched their careers in New York together; the old Madison Square Theater had housed their first theatrical ambition; they had kept pace on the road to fame; their joint productions had been features of the New York stage. Yet for twelve years they had not spoken.

Frohman became ill, and lay stricken at the Knickerbocker Hotel. That he had thought much of his old comrade, so long estranged, was evident. A remarkable coincidence resulted. It was like an act in any one of the many plays they had produced.

One afternoon Belasco, who had heard of the serious plight of Frohman, sat in his studio on the top floor of the Belasco Theater. There, amid his Old World curios, he pondered over the past.

"'C. F.' is lying ill at the Knickerbocker," he said to himself. "He may die. I must see him. This quarrel of ours is a great mistake."

He started to write a note to his old friend, when the telephone-bell rang. It was his business manager, Benjamin Roeder, who said:

"I have just had a telephone message from Charles Frohman. He wants to see you."

When Belasco told Roeder that he was just in the act of writing to Frohman to tell him that he wanted to see him, both men were amazed at the coincidence.

That night, when the few friends who gathered each evening at Frohman's bedside had gone, Belasco entered the sick-room at the Knickerbocker. Frohman was so weak that he could hardly raise his hand. Belasco went to him, took his right hand in both of his, and the old comrades put together again the thread of their friendship just where it had been broken twelve years before.

They talked over the old days. Frohman, whose mind was always on the theater, suddenly said:

"Let's do a play together, David."

"All right," said Belasco.

"You name the play. I will get the cast, and we will rehearse it together," added Frohman.

Out of this reconciliation came the magnificent revival of "A Celebrated Case," by D'Ennery and Cormon. The cast included Nat Goodwin, Otis Skinner, Ann Murdock, Helen Ware, Florence Reed, and Robert Warwick. On Frohman's recovery he undertook the rehearsals. Belasco came in at the end, but he had little to do.

Frohman and Belasco not only resumed their joint production of plays, but they resumed part of their old life together. Now began again their favorite diet of pumpkin and meringue pie and tea after the day's work was done. Night after night they met after the theater, just as they had done in the old Madison Square days when they went to O'Neil's, on Sixth Avenue, for their frugal repast, dreaming and planning their futures. Now each man had become a great personage. Frohman was the amusement dictator of two worlds; Belasco, the acknowledged stage wizard of his time.

After a week in Boston the all-star cast in "A Celebrated Case" opened at the Empire Theater in New York. History repeated itself. Frohman and Belasco sat in the same place in the wings where they sat twenty-two years before at the launching of "The Girl I Left Behind Me," which dedicated the Empire. Now, as then, there were tumultuous calls for the producers. Again David tried to induce Charles to go out, but he said:

"No, you go, David, and speak for me. Stand where you did twenty-two years ago."

In 1915, as in 1893, Belasco went out and spoke Frohman's thanks and his own.

The revival of "A Celebrated Case" not only brought Frohman and Belasco together, but led to an agreement between them to do a production together every year.

* * *

There was a tragic hint of the fate which was shaping Charles Frohman's end in his last production on any stage. It was a war play called "The Hyphen," by Justus Miles Forman, the novelist. The scenes were laid in Pennsylvania, and the story dealt with the various attempts to unsettle the loyalty of German-Americans through secret agencies. The whole problem of the hyphenated citizen, which had complicated the American position in the great war, was set forth.

Even in his unconscious stage farewell, Charles was the pioneer, because the acceptance of "The Hyphen" and the prompt organization of the company established a new record in play-producing. Up to a certain Saturday morning Charles Frohman had never heard of the play. That afternoon the manuscript was put into his hands and he read it. A messenger was sent off post-haste to find the author. In the mean time, Frohman engaged W. H. Thompson, Gail Kane, and a notable group of players for the cast, and gave orders for the construction of the scenery. Late that afternoon Mr. Forman called on Charles, whom he had never met. Without any further ado the manager said to the playwright-author:

"I am going to produce your play. We have nothing to discuss. A manager often discusses at great length the play that he does not intend to produce. Therefore all that I have to tell you is that your play is accepted. I have already engaged the chief actors needed, and the scenery was ordered two hours ago. I am glad to produce a play on this timely subject, but I am especially glad that it is an American who wrote it."

Charles was greatly interested in "The Hyphen." It was American to the core; it flouted treachery to the country of adoption; it appealed to his big sense of patriotism. He felt, with all the large enthusiasm of his nature, that he was doing a distinct national service in producing the piece. He personally supervised every rehearsal. He talked glowingly to his friends about it. At fifty-five he displayed the same bubbling optimism with regard to it that he had shown about his first independent venture.