Charles Frohman: Manager and Man Part 21

"I'll show you," said Frohman. "You shall represent me in London hereafter."

Out of this conference came one of the longest and most loyal a.s.sociations in Charles's career, because from that hour until the day of his death Lestocq represented Charles Frohman in England with a fidelity of purpose and a devotion of interest that were characteristic of the men who knew and worked with Charles Frohman.

[Ill.u.s.tration: THE DOVER STUDIOS. LONDON

_W. LESTOCQ_]

Frohman now returned to America to produce "Charley's Aunt." In spite of the success of the Empire, Frohman had "plunged" in various ways, and had reached one of the numerous financial crises in his life. He looked upon "Charley's Aunt" as the agency that was to again redeem him.

For the American production he imported Etienne Girardot, who had played the leading role in the English production. He surrounded Girardot with an admirable cast, including W. J. Ferguson, Frank Burbeck, Henry Woodruff, Nanette Comstock, and Jessie Busley.

Frohman personally rehea.r.s.ed "Charley's Aunt." He tried it out first at Bethlehem, Pennsylvania, where the reception was not particularly cordial. He returned to New York in a great state of apprehension, although his good spirits were never dampened. On October 2, 1893, he produced the play at the Standard, and it was an immediate success. As the curtain went down on the first night's performance he a.s.sembled the company on the stage and made a short speech, thanking them for their co-operation. It was the first time in his career that he had done this, and it showed how keenly concerned he was. It was another "Shenandoah,"

because it recouped his purse, depleted from numerous outside ventures, inspired him with a fresh zeal, and enabled him to proceed with fresh enterprises. It ran for two hundred nights, and then duplicated its New York success on the road.

While gunning for "Charley's Aunt," Charles Frohman made his first London production with "The Lost Paradise." He put it on in partnership with the Gattis, at the Adelphi Theater in the Strand. It was a failure, however, and it discouraged him from producing in England for some little time.

These were the years when Frohman was making the few intimate friendships that would mean so much to him until the closing hours of his life. That of Charles Dillingham is an important one.

Dillingham had been a newspaper man in Chicago at a time when George Ade, Peter Dunne, and Frank Vanderlip (now president of the National City Bank) were his co-workers. He became secretary to Senator Squire, and at Washington wrote a play called "Twelve P.M." A manager named Frank Williams produced it in the old Bijou Theater, New York, just about the time that Charles Frohman was presenting John Drew across the street in "The Masked Ball." Dillingham had previously come on to New York, and his hopes, naturally, were in the play. "Twelve P.M." was a dismal failure, but it brought two unusual men together who became bosom friends. It came about in this extraordinary way:

During the second (and last) week of the engagement of "Twelve P.M." at the Bijou, Dillingham, who came every night to see his play, noticed a short, stout, but important-looking man pa.s.s into the playhouse.

"Who is that man?" he asked.

He was told it was Charles Frohman.

A few days later he received a letter from Frohman, which said:

_Your play lacks all form and construction, but I like the lines very much. Would you like to adapt a French farce for me?_

Dillingham accepted this commission and thus met Frohman. Dillingham was then dramatic editor of the New York _Evening Sun_. One day he called on Frohman and asked him to send him out with a show.

"When do you want to go?"

"Right away."

"Very well," said Frohman, who would always have his little joke. "You can go to-morrow. I would like to get you off that paper, anyhow. You write too many bad notices of my plays."

Dillingham first went out ahead of the Empire Stock Company and afterward in advance of John Drew, in "That Imprudent Young Couple." He left the job, however, and soon returned to Frohman, seeking other work.

"What would you like to do?" asked Frohman.

"Take my yacht and go to England," said Dillingham, facetiously.

"All right," said Frohman. "We sail Sat.u.r.day," and handed him fifty thousand dollars in stage money that happened to be lying on his desk.

Dillingham thought at first he was joking, but he was not. They sailed on the _St. Paul_. Frohman had just established his first offices in Henrietta Street. There was not much business to transact, and the pair spent most of their time seeing plays. Dillingham acted as a sort of secretary to Frohman.

One day a haughty Englishman came up to the offices and asked Dillingham to take in his card.

"I have no time," said Dillingham, whose sense of humor is proverbial.

"What have you to do?" asked the man.

"I've got to wash the office windows first," was the reply.

The Englishman became enraged, strode in to Frohman, and told him what Dillingham had said. Frohman laughed so heartily that he almost rolled out of his chair. After the Englishman left he went out and congratulated Dillingham on his jest. From that day dated a Damon and Pythias friendship between the two men. They were almost inseparable companions.

The time was at hand for another big star to twinkle in the Frohman heaven. During all these years William Gillette had developed in prestige and authority, both as actor and as playwright. The quiet, thoughtful, scholarly-looking young actor who had knocked at the doors of the Madison Square Theater with the ma.n.u.script of "The Professor,"

where it was produced after "Hazel Kirke," and whose road tours had been booked by Charles Frohman in his early days as route-maker, now came into his own. Curiously enough, his career was to be linked closely with that of the little man he first knew in his early New York days.

Frohman, who had booked and produced Gillette's play "Held By the Enemy," now regarded Gillette as star material of the first rank.

Combined with admiration for Gillette as artist was a strong personal friendship. Gillette now wrote a play, a capital farce called "Too Much Johnson," which Frohman produced with the author as star. In connection with this opening was a typical Frohman incident.

The play was first put on at Waltham, Ma.s.sachusetts. The house was small and the notices bad. Frohman joined the company next day at Springfield.

Gillette was much depressed, and he met Frohman in this mood.

"This is terrible, isn't it? I'm afraid the play is a failure."

"Nonsense!" said Frohman. "I have booked it for New York and for a long tour afterward."

"Why?" asked Gillette in astonishment.

"I saw your performance," was the reply.

[Ill.u.s.tration: _CHARLES DILLINGHAM_]

Frohman's confidence was vindicated, for when the play was put on at the Standard Theater in November, 1894, it went splendidly and put another rivet in Gillette's reputation.

Frohman now had two big stars, John Drew and William Gillette. A half-dozen others were in the making, chief among them the wistful-eyed little Maude Adams, who was now approaching the point in her career where she was to establish a new tradition for the American stage and give Charles Frohman a unique distinction.

VIII

MAUDE ADAMS AS STAR

When Charles Frohman put Maude Adams opposite John Drew in "The Masked Ball" he laid the foundation of what is, in many respects, his most remarkable achievement. The demure little girl, who had made her way from child actress through the perils of vivid melodrama to a Broadway success, now set foot on the real highway to a stardom that is unique in the annals of the theater.

Brilliant as was his experience with the various men and women whom he raised from obscurity to fame and fortune, the case of Maude Adams stands out with peculiar distinctness. It is the one instance where Charles Frohman literally manufactured a star's future.

Yet no star ever served so rigorous or so distinguished an apprenticeship. Her five years as leading woman with John Drew tried all her resource. After her brilliant performance as _Zuzanne Blondet_ in "The Masked Ball," she appeared in "The b.u.t.terflies," by Henry Guy Carleton. She had a much better part in "The Bauble Shop," which followed the next year.

John Drew's vehicle in 1895 was "That Imprudent Young Couple," by Henry Guy Carleton. This play not only advanced Miss Adams materially, but first served to bring forward John Drew's niece, Ethel Barrymore, a graceful slip of a girl, who developed a great friendship with Miss Adams. Following her appearance in the Carleton play came "Christopher Jr.," written by Madeline Lucette Ryley, in which Miss Adams scored the biggest hit of her career up to this time.

It remained for Louis N. Parker's charming play, "Rosemary," which was produced at the Empire Theater in 1896, to put Miss Adams into the path of the man who, after Charles Frohman, did more than any other person in the world to give her the prominence that she occupies to-day.

"Rosemary" was an exquisite comedy, and packed with sentiment. Maude Adams played the part of _Dorothy Cruikshank_, a character of quaint and appealing sweetness. It touched the hidden springs of whimsical humor and thrilling tenderness, qualities which soon proved to be among her chief a.s.sets.