Part 46

"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 rôle 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 Calvé's performance of the leading rôle, 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 début 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.