Charles Frohman: Manager and Man Part 61

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.

_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 n.a.z.imova--as n.a.z.imova 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.

_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.

_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.

_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 the _American_ members, the _American_ work, and, of course, the _American_ stars.... 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 great _many_, but I also use a great _many_ Americans, 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. f.a.gan, 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 (n.a.z.imova).

_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:_