Charles Frohman remained silent. He was keenly sensitive to the sensation he was creating, and was biding his time to launch another. It came when he announced Maude Adams as John Drew's leading woman. He had watched her development with eager and interested eye. She had made good wherever he had placed her. Now he gave her what was up to this time her biggest chance. The moment her name became bracketed with Drew's there was a feeling of satisfaction over the choice. How wise Charles Frohman was in the whole Drew venture was about to be abundantly proved.

Charles Frohman not only made John Drew a star, but the nucleus of a whole system. It was a time of rebirth for the whole American stage.

Nearly all the old stars were gone or were pa.s.sing from view. Forrest, McCullough, Cushman, Janauschek were gone; Modjeska's power was waning; Clara Morris was soon to leave the stage world; Lawrence Barrett and W.J. Florence were dead; Edwin Booth had retired.

Frohman realized that with the pa.s.sing of these stars there also pa.s.sed the system that had created them. He knew that the public--the new generation--wanted younger people, popular names--somebody to talk about. He realized further that the public adored personality and that the strongest prop that a play could get was a fascinating and magnetic human being, whether male or female. The old stars had made themselves--risen from the ranks after years of service. Frohman saw the opportunity to accelerate this advance by providing swift and spectacular recognition. The new stars that were now to blossom into life under him owed their being to the initiative and the vision of some one else. Thus he became the first of the star-makers.

Charles was now all excitement. He had the making of his first big star, and he proceeded to launch him in truly magnificent fashion.

A play was needed that would bring out all those qualities that had made Drew shine in the drawing-room drama. The very play itself was destined to mark an epoch in the life of a man in the theater. Through Elizabeth Marbury, who had just launched herself as play-broker in a little office on Twenty-fourth Street, around the corner from Charles Frohman's, his attention was called to a French farcical comedy called "The Masked Ball," by Alexandre Bisson and Albert Carre. Frohman liked the story and wanted it adapted for American production. It was the beginning of his long patronage of French plays.

"I know a brilliant young man who could do this job for you very well,"

said Miss Marbury.

"What's his name?" asked Frohman.

"Clyde Fitch, and I believe he is going to have a great career," was the answer of his sponsor.

Fitch was given the commission. He did a most successful piece of adaptation, and in this Way began the long and close relationship between the author of "Beau Brummel" (his first play) and the man who, more than any other, did so much to advance his career.

For Drew's debut under his management Charles spared no expense. In addition to Maude Adams, the company included Harry Harwood (who was then coming into his own as a forceful and versatile character actor), C. Leslie Allen, Mrs. Annie Adams, and Frank E. Lamb.

With his usual desire to do everything in a splendid way, Frohman arranged for Drew's debut at Palmer's Theater, the old Lester Wallack playhouse which was now under the management of A. M. Palmer, then one of the shining figures in the American drama, and located opposite Drew's former scenes of activity. Thus Drew's first stellar appearance was on a stage rich with tradition.

"The Masked Ball" opened October 3, 1892, in the presence of a representative audience. It was an instantaneous success. Drew played with brilliancy and distinction, and Frohman's confidence in him was amply justified.

[Ill.u.s.tration: _CLYDE FITCH_]

[Ill.u.s.tration: _HENRY ARTHUR JONES_]

The performance, however, had a human interest apart from the star.

Maude Adams, for the first time in her career, had a real Broadway opportunity, and she made the most of it in such a fashion as to convince Frohman and every one else that before many years were past she, too, would have her name up in electric lights. She played the part of _Zuzanne Blondet_, a more or less frivolous person, and it was in distinct contrast with the character that she had just abandoned, that of _Nell_, the consumptive factory-girl in "The Lost Paradise."

[Ill.u.s.tration: A CHARACTERISTIC FROHMAN BLUE PENCIL SKETCH]

As _Zuzanne_ in "The Masked Ball," Miss Adams went to a ball and a.s.sumed tipsiness in order to influence her dissipated husband and achieve his ultimate reformation. The way she prepared for this part was characteristic of the woman. She wore a hat with a long feather, and she determined to make it a "tipsy feather." This feature became one of the comedy hits of the play, but in order to achieve it she worked for days and days to bring about the desired effect. The result of all this painstaking preparation was a brilliant performance. When the curtain went down on that memorable night at Palmer's Theater the general impression was:

"Maude Adams will be the next Frohman star."

The morning after the opening Frohman went to John Drew and said: "Well, John, you don't need me any more now. You're made."

"No, Charles; I shall need you always," was the reply.

Out of this engagement came the long and intimate friendship between Drew and Frohman. The first contract, signed and sealed on that precarious day when Frohman was seeing the vision of the modern star system, was the last formal bond between them. Though their negotiations involved hundreds of thousands of dollars in the years that pa.s.sed, there was never another sc.r.a.p of paper between them.

Seldom in the history of the American theater has another event been so productive of far-reaching consequence as "The Masked Ball." It brought Clyde Fitch into contact with the man who was to be his real sponsor; it made John Drew a star; it carried Maude Adams to the frontiers of the stellar realm; it gave Charles Frohman a whole new and distinguished place in the theater.

Frohman was quick to follow up this success. With Drew he had made his first real bid for what was known in those days as "the carriage trade"--that is, the patronage of the socially elect. He hastened to clinch this with another stunning production at Palmer's. It was Bronson Howard's play, "Aristocracy."

The play, produced on November 14, 1893, was done in Frohman's usual lavish way. The company included not less than half a dozen people who were then making their way toward stardom--Wilton Lackaye, Viola Allen, Blanche Walsh, William Faversham, Frederick Bond, Bruce McRae, Paul Arthur, W. H. Thompson, J. W. Piggott. "Aristocracy" was Bronson Howard's reversion to the serenity of the society drama after the spectacle of war. The first night's audience was fashionable. The distinction of the cast lent much to the success of the occasion.

When John Drew called on Charles Frohman for the first time at his offices at 1127 Broadway, his way was impeded by a bright-eyed, alert young office-boy who bore the unromantic name of Peter Daly. He incarnated every ill to which his occupation seems to be heir. Without troubling himself to find out if Mr. Frohman was in, he immediately said, after the grand fashion of theatrical office-boys:

"Mr. Frohman is out and I don't know when he will return."

"But I have an engagement with Mr. Frohman," said Drew.

"You will have to wait," said the boy.

Drew cooled his heels outside while Frohman waited impatiently inside for him. When he emerged at lunchtime he was surprised to find his man about to depart.

Daly was immediately discharged by Julius Cahn, who was office manager, but was promptly reinstated the next day by Frohman, who had been greatly impressed with the boy's quick wit and intelligence.

This office-boy, it is interesting to relate, became Arnold Daly, the actor. No experience of his life was perhaps more amusing or picturesque than the crowded year when he manned the outside door of Charles Frohman's office. Instead of attending to business, he spent most of his time writing burlesques on contemporary plays, which he solemnly submitted to Harry Rockwood, the bookkeeper.

During these days occurred a now famous episode. Young Daly was luxuriously reclining in the most comfortable chair in the reception-room one day when Louise Closser Hale, the actress, entered and asked to see Charles Frohman.

"He is out," said Daly.

"May I wait for him?" asked the visitor.

"Yes," answered Daly, and the woman sat down.

After three hours had pa.s.sed she asked Daly, "Where is Mr. Frohman?"

"He's in London," was the reply.

Afterward Daly became "dresser" for John Drew, the virus of the theater got into his system, and before long he was an actor.

Thus even Charles Frohman's office-boys became stars.

Epochal as had been 1892, witnessing the first big Frohman star and a great artistic expansion, the new year that now dawned realized another and still greater dream of Charles Frohman, for it brought the dedication of his own New York theater at last, the famous Empire.

Ever since he had been launched in the metropolitan theatrical whirlpool, Frohman wanted a New York theater. As a boy he had witnessed the glories of the Union Square Theater under Palmer; as a road manager he had a part in the success of the Madison Square Theater activities; in his early managerial days he had been a.s.sociated with the Lester Wallack organization; he had watched the later triumphs of the Lyceum Theater Company at home and on the road. Quite naturally he came to the conviction that he was ready to operate and control a big theater of his own.

The way toward its consummation was this:

One day toward the end of the 'eighties, William Harris came to New York to see Frohman about the booking of some attractions. He said:

"Charley, I want a theater in New York, and I know that you want one.

Let's combine."

"All right," said Frohman. "You can get the Union Square. The lease is on the market."