Appendix B

I think the end of the play is not good. It is that old-time stand-around-with-a-glass-of-wine-in-your-hand and wish success to the happy people.

Extracts from an interview with Frohman which he wrote for the London papers, March, 1913:

There will be no change in my work of producing for the London stage. I shall continue to do so at my own theaters or with other London managers just as long as I am producing on any stage, and I fear that will be for a long time yet, as I am younger now than I was twenty years ago.

Prior to his departure for England he wrote the following to John Drew in March, 1913:

Thanks for your fine letter. It is like this, John: I hope to get off next week, but I don't seem to be able to get the accommodations I want on either one of the steamers that I should like to travel on, and that sail next week. I need a little special accommodation on account of my leg, which still refuses to answer my call and requires the big stick.

To Alfred Sutro, in January, 1913, on the current taste in plays:

These American plays with thieves, burglars, detectives, and pistols seem to be the real things over here just now. None of them has failed.

Memorandum for his office-boy, Peter, for a week's supply of his favorite drinks:

Get me plenty of orange-juice, lemon soda, ginger ale, sarsaparilla, buttermilk.

To Alfred Sutro, 1913:

Haddon Chambers sails to-day. You may see him before you see this. He leaves behind him what I think will give him many happy returns (box-office) of the season, as Miss Barrymore is doing so well with his "Tante."

To W. Lestocq, concerning one of his leading London actresses:

Miss Titheridge is all right, as I wrote Morton, if her emotions can be kept down, and if she can try to make the audience act more, and act less herself.

To Michael Morton regarding an actress:

She needs to be told that real acting is not to act, but to make the audience feel, and not feel so much herself.

To the editor of a popular monthly magazine upon its first birthday:

I understand that your September issue will be made to mark ——'s first birthday. Judging from your paper your birthday plans miss the issue; because—— becomes a year younger every September. I donotcongratulate you even upon this fact; because you cannot help it. I donotcongratulate your readers because they get your paper so very cheap. Idocongratulate myself, however, for calling attention to these wonderful facts.

To W. Lestocq, referring to a statement made by R. C. Carton, the dramatist:

I don't quite understand what he means by "holding up" the play. Over here it is a desperate expression—one that means pistols and murder, and all that. I presume it means something different in London, where Carton lives.

To Mrs. C. C. Cushing, the playwright, declining an invitation:

It is impossible to come and see you because I haven't got Cottage No. 4, but I've got Cell No. 3 on the stage of the Empire Theater, where I am passing the summer months.

Even Frohman's cablegrams reflected his humor. In 1913 Billie Burke was ill at Carlsbad, so he cabled her some cheering message nearly every day. Here is a sample:

Drove past your house to-day and ran over a dog. Your brother glared at me.

When Blanche Bates's first baby was born (she was at her country house near Ossining at the time), Frohman sent her this message:

Ossining has now taken its real place among the communities of the country. Congratulations.

To Alfred Sutro, January, 1913:

I was glad to hear from you. First let me strongly advise you to take the comedy side for the Alexander play. I honestly believe, unless it is something enormous, and for big stars and all that, the other side is no good any more. For the present, anyway, I speak of my own country. The usual serious difficulties between a husband and wife of that class—really they laugh at here now, instead of touching their emotions. They have gone along so rapidly. Take my advice in this matter, do! I am glad you have dropped that scene from the third act of your Du Maurier play.Now that I am back to town I intended writing you about it. I assure you I had a jolly good time for the first two acts of that farce, and I can see Gerald Du Maurier all through it. The third act worries me for this country, as I wrote you. But the performance may change all this. It is so difficult to judge farcical work where it is so thoroughly English in its scene that I speak of to get any idea from the reading of it for this country. Everything is going along splendidly.

Now that I am back to town I intended writing you about it. I assure you I had a jolly good time for the first two acts of that farce, and I can see Gerald Du Maurier all through it. The third act worries me for this country, as I wrote you. But the performance may change all this. It is so difficult to judge farcical work where it is so thoroughly English in its scene that I speak of to get any idea from the reading of it for this country. Everything is going along splendidly.

To Haddon Chambers, March, 1913:

I propose, and the troupes dispose! We had a lot of floods and things here which keep us on the move, or keep our troupes moving so much that I am compelled to postpone my sailing until April 12th on theOlympic, which makes it just a little later when I have the joy of seeing you. My best regards.

To Richard Harding Davis, July, 1913:

All right, we'll fix the title. I am glad they are asking about it. About people, they all seem to want Collier salaries. As you have chiefly character parts, and they are so good, I think it would be a good idea for us to create a few new stars through you, andYours truly,Charles Frohman.

To George Edwardes, July, 1913:

First, I am glad to hear that you are away giving your heart a chance. I am back here trying to give my pocket-book a chance.

To William Collier, September, 1913:

All right, all arranged, Thursday night in New York; Monday and Tuesday in Springfield, Massachusetts. I shall leave here Monday ready to meet the performance and anything else! I hope all is well.

To Viola Allen, September, 1913:

I was awfully glad to get your letter. First let me say you had better come to see "Much Ado About Nothing" this Saturday, because it is the last week. We withdraw it to-morrow night and produce a new program at once. "Much Ado" wouldn't do for more than two weeks. After that it fell. Of course I find on Broadway it is quite impossible to run Shakespeare to satisfying "star" receipts. So come along to-morrow if you can. It would be fine to have you, and fine to have some of the original members of the Empire company to play in this house, and I should like it beyond words. I don't, however, believe in that sex-against-sex play. In these great days of the superiority of woman over mere man I don't think it would do.

Referring to a young actress he wished to secure, he writes to Col. Henry W. Savage in January, 1913:

My dear Colonel: I want to enter on your works in this way. You have a girl called——. I know she is very good, because I have never seen her act, but I understand she is not acting just as you want her to, and therefore not playing, either because she is laying off, or that you have stopped her from playing. I have a part for which I could use this girl. Will you let me have her, and in that way do another great wrong by doing me a favor? If she doesn't, or you do not wish her to play, perhaps it would be as much satisfaction to you if you thought you were doing me a favor and let her play in my company as if she were not playing at all. My best regards, and I hope this letter will not add much to the many pangs of the season to you.

To Sir James M. Barrie, October, 1913:

As I wrote you, I felt we had a good opportunity here under the conditions here, and I produced your "The Dramatists Get What They Want" last night. It went splendidly with the audiences, and has very good press. Of course the class of first-night audience that we had last night understood it. The censor is a new thing over here. The general public don't understand it, and it may on that account not make so strong an impression on further audiences. However, that is all right. I am delighted with the way it went, and you would have been delighted had you been present. I think the press was very good when you consider the subject is so new to us. The three plays have all, I assure you, been nicely done, well produced and cast, and you would be pleased with them as I am pleased in having had them to produce. It helped considerably with plays that would not have made much of an impression without them. It has helped the general business of these plays, which, although it is not great, is good, and makes a fair average every week. It is chiefly what you would call "stall" business. "The Will" has been a fine thing for John Drew, and he is very happy in it. He has made a very deep impression indeed. I think the part with the changes of character as played by him has made it really a star part. If you have any more of them, send them along.

To W. Somerset Maugham, October, 1913:

Regarding the first act of "The Land of Promise," this is what I think, and maybe you will think the same, and, if you do, give me a good speech. Send it as soon as you can. I think that we should have a different ending to the first act, uplifting the ending. After the girl tells about her brother being married, wouldn't it be a good idea for her to say something like this, in your own language, of course: "Canada! Canada! You are right." (Turning to Miss Pringle), "England, why should I stay in England? I'm young, I want gaiety, new life. Then why not go to a young country where all is life and gaiety and sunshine and joy and youth—the land of promise, the land for me?" Remember, in the last act she speaks of all she expected to find and how different the realization. This new idea of the end of the first act will help this speech, I think. And besides uplifting the ending, gives the great contrast we want to show in the play and is driven into the minds of the audience at the end of the first act. Give the girl a good uplifting speech at the end of the first act, instead of a downward one. That is what I mean. Then after that we get the contrast of the countries. I hope this is clear and you will understand what I mean.

To J. E. Dodson, October, 1913:

My greatest regret is that my profession takes me to Baltimore on the day that you are giving the dinner at the Lotus Club to my friend Cyril Maude. It would give me the greatest pleasure to eat his health with you. I rejoice that you are giving recognition on his first arrival here in New York to such a sincere actor and such a real man. He belongs to all countries.

To Haddon Chambers, June, 1911:

Had a fine trip over. Found it hot here. Started in building your scenery. Am only dropping you a line because I want to ask you, while I think of it, if you will get a copy of that special morning dress that Gerald wears at the beginning of the second act, for Richard Bennett. I think it would be a good idea to bring it over. Bennett is not quite as tall as Du Maurier and just a bit thicker, and as it is a sort of loose dress there will be no difficulty in fitting it here.Now our cast is in good shape for your play, and I am very pleased with it. We have an asylum full of children awaiting your selection on your arrival.

Now our cast is in good shape for your play, and I am very pleased with it. We have an asylum full of children awaiting your selection on your arrival.

To Sir Arthur Wing Pinero, August, 1911:

The man I selected to produce your play is Charles Frohman. He is not only good at producing plays that have never been staged before, but he likes your play thoroughly. He has made such a careful study of it that he believes that he knows it in every detail. He feels confident of his ability to handle it and to make the changes you have made just as he thinks you and your public over here would like to have it done.

To Sir James M. Barrie, London, September, 1911:

This will be signed for me, as I am still confined to my bed—fighting rheumatism. I thought I would not write you until you return to London. All goes well here. So far my new productions have met with success. Miss Barrymore began in Mason's play last night in Trenton, New Jersey. The play was well received before a large audience. Miss Adams begins the new season in Buffalo next Monday night. I am hoping within the next two weeks to be able to get out on crutches. I have been to many rehearsals. They carry me in a Bath chair to and from the theater.

To Somerset Maugham, September, 1911:

Thanks for yours. I am still down with rheumatism—partly on account of the weather, but more especially because you are not doing any work.

To a New York critic, October, 1911:

I hope in two or three weeks to be able to see myself as other good critics, like you, would see me—well and about again in my various theaters.

To Sir James M. Barrie, November, 1911:

Your letter was a delight, and it will be fine news for Miss Adams. I hope you will send the material as soon as you can. Here I am dictating to you from bed; so I will be brief. My foot is now tied to a rope which is tied to the bed with weights. They are trying to stretch the leg. I am hoping that in three or four weeks I may be able to sit around. Five months on one's back is not good for much more than watching aeroplanes.

To Sir James M. Barrie, December, 1911:

I was very glad to get your letter. I am still in bed, so that I am obliged to dictate this letter to you. The manuscript arrived, but found me out of condition to read it. I sent it on at once to Maude Adams. She telegraphed me how delighted she is with it, and I have had a letter from her telling me what a remarkable piece of work it is. When she gets back to town I shall read the manuscript. Any plan you work out for London will be fine. I should judge, without knowing, that your idea for matinées is the best.I am hoping that in another month I will be out; I am living on that hope. Then I will commence to think about coming over to you. I dare not think of it until I once more get out, I am afraid. All this has naturally disturbed my London season. I am happy in the thought that we will soon have "Peter" on again in London. What a difference your plays made to my London season!I shall write you again soon. "Peter and Wendy" is fine. My most affectionate remembrances.

I am hoping that in another month I will be out; I am living on that hope. Then I will commence to think about coming over to you. I dare not think of it until I once more get out, I am afraid. All this has naturally disturbed my London season. I am happy in the thought that we will soon have "Peter" on again in London. What a difference your plays made to my London season!

I shall write you again soon. "Peter and Wendy" is fine. My most affectionate remembrances.

To Sir James M. Barrie, January, 1912:

I cabled you on receiving your letter because my voice was leaving me rapidly. It was a case of a bad throat, and I wanted to get some reply to you quickly. My throat is better now. I have had about everything, and I fear I shall have to keep to my rooms for some time to come. I hope to see you around the end of March.I think your Shakespearian play is a most wonderful work. I quite appreciate all you say about its chances. I rather felt that a Shakespearian novelty of this kind would be most striking if produced by Tree on top of his newspaper claim of having lost over 40,000 pounds on Shakespeare.I am all bungled up here. I don't know quite what to do about London this season. As I understood what you wanted, I replied as I did. You know how I hate to lose any of your work for anybody or anywhere. Now you understand. That is splendid about the Phillpotts play, and I thank you. I am hoping about the Pinero play. I shall be glad to see you.This is all the voice I have left for dictation; so I end with my best regards.

I think your Shakespearian play is a most wonderful work. I quite appreciate all you say about its chances. I rather felt that a Shakespearian novelty of this kind would be most striking if produced by Tree on top of his newspaper claim of having lost over 40,000 pounds on Shakespeare.

I am all bungled up here. I don't know quite what to do about London this season. As I understood what you wanted, I replied as I did. You know how I hate to lose any of your work for anybody or anywhere. Now you understand. That is splendid about the Phillpotts play, and I thank you. I am hoping about the Pinero play. I shall be glad to see you.

This is all the voice I have left for dictation; so I end with my best regards.

To David Belasco, February, 1912:

This is written for me. I am still confined to my rooms, and, although able to sit up during the day for work, I do not get out in the evening. I was glad to hear from you, and I hope you will telephone that you will come round any old night that suits you.I wish you could play "Peter Grimm" up here; I'd like to see it.

I wish you could play "Peter Grimm" up here; I'd like to see it.

To Sir James M. Barrie, February, 1912:

I haven't written you because lately I have been having a lot of pain. I sent you papers which will tell you how wonderfully your fine play—"A Slice of Life"—has been received. It has caused a tremendous lot of talk; but I just want to tell you that there is absolutely no comparison, in performance, as the play is given here and the way it was given in London. Fine actors, although the London cast had, my people here seem to have a better grasp of what you wanted. They have brought it out with a sincerity and intelligence of stroke that is quite remarkable. Ethel Barrymore never did better work. Her emotional breakdown, tears, her humiliation—when she confesses to her husband that she had been a good woman even before she met him, all this is managed in a keener fashion, and with even a finer display of stage pathos than she showed in her fine performance in "Mid-Channel."As the husband, Jack Barrymore is every inch a John Drew. He feels, and makes the audience feel, the humiliation of his position. When he confesses, it is a terrible confession. Hattie Williams, in her odd manner, imitated Nazimova—as Nazimova would play a butler.So these artists step out into the light—before a houseful of great laughter; one feels that they have struck the true note of what you meant your play should have. I think the impossible seriousness of triangle scenes in modern plays has been swept off the stage here—and "A Slice of Life" has done it....The effect of "A Slice of Life" is even greater and more general than "The Twelve-Pound Look." All agree that each year you have given our stage the real novelty of its theatrical season. And the fine thing about it is that you have given me the opportunity of putting these before the public.I am getting along very slowly. I am able to do my work in my rooms and go on crutches for a couple of hours at rehearsals. But always I am in great pain. I hope to see you by the end of March. I don't know whether you will shake my hand or my crutch. But I expect to be there. We can take up the matters of "A Slice of Life," etc., then.I am so delighted about "Peter Pan" this season. I am wondering if you have done anything about that Shakespeare play, which I believe would be another big novelty.

As the husband, Jack Barrymore is every inch a John Drew. He feels, and makes the audience feel, the humiliation of his position. When he confesses, it is a terrible confession. Hattie Williams, in her odd manner, imitated Nazimova—as Nazimova would play a butler.

So these artists step out into the light—before a houseful of great laughter; one feels that they have struck the true note of what you meant your play should have. I think the impossible seriousness of triangle scenes in modern plays has been swept off the stage here—and "A Slice of Life" has done it....

The effect of "A Slice of Life" is even greater and more general than "The Twelve-Pound Look." All agree that each year you have given our stage the real novelty of its theatrical season. And the fine thing about it is that you have given me the opportunity of putting these before the public.

I am getting along very slowly. I am able to do my work in my rooms and go on crutches for a couple of hours at rehearsals. But always I am in great pain. I hope to see you by the end of March. I don't know whether you will shake my hand or my crutch. But I expect to be there. We can take up the matters of "A Slice of Life," etc., then.

I am so delighted about "Peter Pan" this season. I am wondering if you have done anything about that Shakespeare play, which I believe would be another big novelty.

To Sir Arthur Wing Pinero, March, 1912:

Perhaps this will reach you on your return from the Continent. I hope you have made a good trip and that you are happy.I hope to give you for the "Mind the Paint Girl" Miss Billie Burke, who is an enormous attraction here. She played in her little piece from the French last week in St. Louis to $15,700. All the way along the line her houses are sold out completely before her appearance. Her play is only a slight thing—an adaptation from the French, but play-goers seem to have gone wild over her. Besides this, she is not only handsome, but every inch the very personification of the "Paint Girl." Moreover, she is a genuinely human actress. It will be a big combination for me to make—the large cast required for the "Paint Girl," together with this valuable star and your great play.

Perhaps this will reach you on your return from the Continent. I hope you have made a good trip and that you are happy.

I hope to give you for the "Mind the Paint Girl" Miss Billie Burke, who is an enormous attraction here. She played in her little piece from the French last week in St. Louis to $15,700. All the way along the line her houses are sold out completely before her appearance. Her play is only a slight thing—an adaptation from the French, but play-goers seem to have gone wild over her. Besides this, she is not only handsome, but every inch the very personification of the "Paint Girl." Moreover, she is a genuinely human actress. It will be a big combination for me to make—the large cast required for the "Paint Girl," together with this valuable star and your great play.

To John Drew, March, 1912:

I am glad to hear from you and to know that you are having freezingly cold weather in the South. The joke is on the people here. They think you are having such nice warm weather.I am getting along pretty well. I am about the same as when you left me except that there is great excitement among my doctors because I can now move my small toe.

I am glad to hear from you and to know that you are having freezingly cold weather in the South. The joke is on the people here. They think you are having such nice warm weather.

I am getting along pretty well. I am about the same as when you left me except that there is great excitement among my doctors because I can now move my small toe.

To Sir James M. Barrie, September, 1913:

"Half an Hour" has been going splendidly and had a fine reception the first night. The majority of the press were splendid indeed, one or two felt an awakening to see the change in the work that you have been doing. I am awfully pleased the way it came out. I am delighted to see that you have added another act to the "Adored One." That makes it a splendid program for Miss Adams. Making it a three-act play is fine for this side, as I cabled you. All the Americans coming home who have seen your play are delighted with it in every way. Hope all is going well. I am leaving to-morrow to meet Maude Adams and see the piece that she is now playing called "Peter Pan." I shall be away from New York for perhaps a week, and on my return I will write you again fully.

To Alfred Sutro, September, 1911:

You know how happy your success has made me. You know how I longed for it. You know all that so thoroughly that words were not necessary. My illness prevented me from reading the play. I shall read it in eight or ten days. But it is all understood, and when I get up and out I shall fix up all the business.John Drew, who is now free of worry concerning his new production, is to read "The Perplexed Husband" next week. I shall write you then. But the main thing is, we have the success and can take care of it. And I am extremely happy over it.

John Drew, who is now free of worry concerning his new production, is to read "The Perplexed Husband" next week. I shall write you then. But the main thing is, we have the success and can take care of it. And I am extremely happy over it.

To J. A. E. Malone, the London manager, regarding the American presentation of "The Girl from Utah" and its instantaneous success:

Believe me that the success is due entirely to theAmericanmembers, theAmericanwork, and, of course, theAmericanstars.... The English numbers went for nothing. In short, the American numbers caught on.

To Haddon Chambers, in London in 1914:

There have been a number of failures already, but they would have failed if every day was a holiday. There has been just now a new departure here in play-writing—a great success—"On Trial." This is by a boy twenty-one years of age. The scenes are laid in the court-room, and as the witness gets to the dramatic part of the story the scene changes and the characters are shown to act out the previous incidents of the story that is told in court, and then they go back to the court and work that way through the play. It has been a great sensation and is doing great business.

Concerning one of his English productions in London, he writes Dion Boucicault:

I want on my side to have you understand, however, that as far as I am concerned I am keeping the theater open for the company and the employees, and not for myself. I should have closed positively if I had not my people in mind. That was my only reason....

To Dion Boucicault:

It seems to me that there are too many English actors coming over here, and I fear some of them will be in distress, because there don't seem to be positions enough for all that are coming, and people are wondering why so many are coming instead of enlisting. It might be well for you to inform some of these actors that the chances are not so great now, because there are so many here on the waiting-list. I use a greatmany, but I also use a greatmanyAmericans, as merit is the chief thing.

To Otis Skinner:

I felt all that you now feel about the vision effect when I saw the dress rehearsal. It looked to me like a magic-lantern scene that would be given in the cellar of a Sunday-school.

To Dion Boucicault, October, 1914:

I am despondent as to what to do in London. I'd rather close. I don't want to put on things at losses, because I do not wish to send money to cover losses to London now. The rates of exchange are something terrific, and therefore I don't want to be burdened with this extra expense. Twelve pounds on every hundred pounds is too much for any business man to handle. Over here we are feeling the effects of the war, but the big things (and I am glad to say I am in some of them) are all right.

To an English actor about to enlist in the army:

I have your letter. I am awfully sorry, but I haven't anything to offer. So therefore I congratulate the army on securing your services.

Declining an invitation for a public dinner:

I thank you very much for your very nice invitation to be present at the dinner, but I regret that, first, I do not speak at dinners, and, next, I do not attend dinners.

One of the lines that Frohman wrote very often, and which came to be somewhat hackneyed, was to his general manager, Alf Hayman. It was:

Send me a thousand pounds to London.

To W. Lestocq, in 1914, regarding another manager:

I notice that Mr. Z—— has a man who can sign for royalties I send him. I wonder why he can't find some one to sign for royalties that are due me!

Of a production waiting to come to New York:

Broadway may throw things when we play the piece here, still I have failed before on Broadway.

To James B. Fagan, in London, December, 1912, referring to his production of "Bella Donna" in this country:

Mr. Bryant is giving an exceptionally good performance of the part, and is so much taken with my theater and company that I have the newspapers' word that he married my star (Nazimova).

To Alfred Sutro, November, 1914:

It seems to me that a strong human play, with good characters (and clean), is the thing over here; and now, my dear Sutro, I do believe that throughout the United States a play really requires a star artist, man or woman—woman for choice....

To W. Lestocq, in November, 1914:

I have just returned from Chicago, where Miss Adams has a very happy and delightful program in "Leonora" and "The Ladies' Shakespeare." "The Ladies' Shakespeare" is delightful, but very slight. The little scenes that Barrie has written that are spoken before the curtain are awfully well received, but the scenes from Shakespeare's play when they are acted are very short and the whole thing is played in less than an hour. Miss Adams, of course, is delightful in it, and it goes with a sparkle with her; and as it is so slight and so much Shakespeare and so little Barrie, although the Barrie part in front of the curtain is fine, I cannot say how it would go with your audiences [referring to the London public]. I am happy in the thought, however, that Barrie has furnished Miss Adams with a program that will last her all through the season and well into the summer.

To Haddon Chambers:

Hubert Henry Davies's "Outcast" has made a hit, but he really has a wonderful woman—I should say the best young emotional actress on the stage—in Miss Ferguson. So he is in for a good thing.

To Cyril Maude, in Boston, November, 1914:

Yours to Chicago has just reached me here in New York. As soon as I heard that you were going to write me to Chicago I immediately left for New York.I am glad you are doing so very big in Boston. They say you are going to stay all season. Things are terrible with me in London, and the interests I had outside of London have been shocking. I am hoping and believing, however, that all will be well again on the little island—the island that I am so devoted to.

Yours to Chicago has just reached me here in New York. As soon as I heard that you were going to write me to Chicago I immediately left for New York.

I am glad you are doing so very big in Boston. They say you are going to stay all season. Things are terrible with me in London, and the interests I had outside of London have been shocking. I am hoping and believing, however, that all will be well again on the little island—the island that I am so devoted to.

In this letter, it is worth adding, Frohman made one of his very rare confessions of bad business. He only liked to write about his affairs when they were booming.

To Margaret Mayo Selwyn, New York, November 30, 1914:

I was glad to receive your letter. I have been thinking about the revival of the play you mentioned. In fact, the thought has been a long one—three years—but I haven't reached it yet. I have been thinking more about the new play you are writing for me. I know you now have a lot of theaters, a lot of managers, and a lot of husbands and things like that, but, all the same, Iwantthat play. My best regards.

Frohman loved sweets. He went to considerable trouble sometimes to get the particular candy he wanted. Here is a letter that he wrote to William Newman, then manager of the Maude Adams Company, in care of the Metropolitan Opera House, St. Paul:

Will you go to George Smith's Chocolate Works, 6th and Robert Streets, St. Paul, and get four packages of Smith's Delicious Cream Patties and send them to me to the Knickerbocker Hotel, New York?

Frohman had his own way of acknowledging courtesies. A London friend, Reginald Nicholson, circulation manager of the Times, sent him some flowers to the Savoy. He received this reply from the manager, scrawled with blue pencil on a sheet of hotel paper:

A lot of thanks from Savoy Court 81.

Frohman's apartment for years at the Savoy Hotel was Savoy Court 81.

To Paul Potter, written from the Blackstone, Chicago, in February, 1915:

Dear Paul:

I received your telegram, and was glad to get it. The sun is shining here and all is well. I hope to see you Saturday night at the Knickerbocker.

C. F.

This is in every way a typical Charles Frohman personal note. He usually had one thing to say and said it in the fewest possible words.

One day Frohman sent a certain play to his brother Daniel for criticism. On receiving an unfavorable estimate of the work he wrote him the following memorandum:

Who are you and who am I that can decide the financial value of this play? The most extraordinary plays succeed, and many that deserve a better fate fail; so how are we to know until after we test a play before the public?

In reply to Charles Burnham's invitation to attend the Theatrical Managers' dinner, he wrote:

Thank you very much, but my condition is still such that my game leg would require at least four seats, and as we now have at least several managers to every theater, and several theaters in every block, I haven't the heart to accept the needed room, and thus deprive them of any.

Writing to E. H. Sothern and Julia Marlowe, in April, 1915, he said:

I wonder why you don't both sail with me May 1 (Lusitania). As far as I am concerned, when you consider all the stars I have managed, mere submarines make me smile. But most affectionate regards to you both.

Writing to John Drew, who was willing to prolong his touring season in 1915, he says:

All right. Why a young man like you cares to continue on his long tours, I don't know. I hope to get away on May 1st and to return shortly after you reach New York. Am in quest of something for you. Our last talk before you left gave me much happiness.

Refusing to book his attractions in a city for a week where three nights were sufficient, he said:

My stars like week stands, but they don't like weak business.

To Haddon Chambers, in London:

I am hoping to get off on theLusitania. It seems to be the best ship to sail on. I shall be glad to see you.

Writing to S. F. Nixon, a business colleague, regarding Miss Barrymore in "The Shadow":

You are quite right as to the play being terribly somber. I thought it a good idea to show what a representative American actress of serious parts she was; so that next season we will offer a contrast, and make the audiences laugh so much that they will be compelled to crowd the theater. She will play then as humorous a part ("Our Mrs. McChesney") as she did so earnestly a serious one.

To J. C. O'Laughlin, of the ChicagoHerald:

We managers have certain ideas about plays. We produce a play and find our ideas and opinions often wrong. Our opinions are only sound, I think, as far as the question of a play being actable is concerned. My sympathetic feeling for all writers makes it very hard to venture an opinion detrimental to their work, especially as we find we are frequently wrong.

To one of his leading women, April, 1915:

I appreciate the expression of your affection. It almost makes me turn westward instead of eastward. However, we must do our jobs, and so I do mine. I am sailing Saturday (perLusitania). Heaven only will know where I am in July. I cannot tell this year anything about anything.

To Booth Tarkington:

I don't suppose you have any idea of coming to New York. There are a lot of fine things here worth your while, including myself.

Concerning Hubert Henry Davies, the author of "Outcast," Miss Elsie Ferguson's very successful vehicle:

He is a delightful, charming, simple, splendid fellow. You will be delighted with him, and Miss Ferguson will be more than delighted with him, because he will be so delighted with her. It is a fine thing to have so nice a man as Davies arrive, and entirely misunderstanding the person he is to rehearse because the surprise will be all the greater. It pleases me, knowing what a fine emotional (one of the very best in the world) young actress our star is.

To Harry Powers, manager of Powers Theater, Chicago, where his play "The Beautiful Adventure," with Ann Murdock, was then running:

Regarding "The Beautiful Adventure," if I am doing wrong in making a clean situation out of one that is not clean, I am going to do wrong. The theater-going public in the cities may not always get a good play from me, but they trust me, and I shall try and retain that trust. We may not get the same amount of money, but if we can live through it we will get a lot more satisfaction for those we like and for ourselves.

Some of the last letters written by Frohman were filled with a curious tenderness and affection. In the light of what happened after he sailed they seem to be overcast with a strange foreboding of his doom. The most striking example of this is furnished in a letter he wrote to Henry Miller on April 29th, a few days before he went aboard theLusitania.He had not written to Miller for a year, yet this is what he said:

Dear Henry: I am going to London Saturday A.M. I want to say good-by to you with this—and tell you how glad I am you've had a good season.Affectionately,C. F.

Miller was immensely touched by this communication. He wired to his son Gilbert to find out what steamer Frohman was taking, and send him a wireless. This message was probably the last ever received by Frohman, for no other similar telegram was sent him in care of theLusitania.

The last letter written by Frohman, before leaving the Hotel Knickerbocker on the morning theLusitaniasailed, was to his intimate friend and companion Paul Potter. Potter, who had telephoned that he expected to meet him at the steamer, was much depressed, which explains one of the sentences in Frohman's letter:

SaturdayA.M., May 1, 1915.Dear Paul: We had a fine time this winter. I hope all will go well with you. And I think luck is coming to you. I hope another "Trilby." It's fine of you to come to the steamer with all these dark, sad conditions.C. F.

SaturdayA.M., May 1, 1915.

Dear Paul: We had a fine time this winter. I hope all will go well with you. And I think luck is coming to you. I hope another "Trilby." It's fine of you to come to the steamer with all these dark, sad conditions.C. F.

On his way to theLusitaniaFrohman stopped for a moment at his office in the Empire Theater. There he dictated a note to Porter Emerson Browne, the playwright. It was his last dictation. The note merely said, "Good-by. Keep me posted." He referred to a new play that Browne was writing for him.

COMPLETE CHRONOLOGICAL LIST OF THE FROHMAN PRODUCTIONS

AltogetherCharles Frohman produced more than five hundred plays—a greater number than any other manager of his time. The list of his productions, therefore, is really a large part of the record of the English-speaking stage during the last quarter of a century.

In the list which follows, the name of the star or stars appear immediately after the title of the piece. Except when otherwise indicated, the theater mentioned is in New York.

Here is the complete list of Frohman's productions in chronological order:

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