As usual, Frohman surrounded Miss Adams with a magnificent cast. William Faversham played _Romeo_; James K. Hackett was _Mercutio_; W. H.

Thompson was _Friar Lawrence_; Orrin Johnson played _Paris_; R. Peyton Carter was _Peter_. Others in the company were Campbell Gollan and Eugene Jepson.

"Romeo and Juliet" was produced at the Empire Theater May 8, 1899, and was a distinguished artistic success. Miss Adams's _Juliet_ was appealing, romantic, lovely. It touched the chords of all her gentle womanliness and gave the character, so far as the American stage was concerned, a new tradition of youthful charm.

A unique feature of the first night's performance of "Romeo and Juliet"

was the presence of Mary Anderson. This distinguished actress, who had just arrived from London for a brief visit, expressed a desire to see the new _Juliet_, and to feel once more the thrill of a Broadway first night. Miss Anderson herself had, of course, achieved great distinction as _Juliet_. She was regarded, in her day, as the physical and romantic ideal of the role.

When her desire to see the play was communicated to Charles, it was found that every box had been sold except the one reserved for his sisters. He therefore purchased this from them with a check for $200.

At the conclusion of the performance Miss Anderson was introduced to Miss Adams, and congratulated her on her success.

It was in 1900 that Miss Adams first played the part of a boy, a type of character that, before many years would pa.s.s, was to give her a great success. Her debut as a lad, however, was under the most brilliantly artistic circ.u.mstances, because it was in Edmond Rostand's "L'Aiglon,"

adapted in English by Louis N. Parker. As the young Eaglet, son of the great Napoleon, she had fresh opportunity to display her versatility. It was a character in which romance, pathos, and tragedy were curiously entwined. Bernhardt had done it successfully in Paris, but Miss Adams brought to it the fidelity and brilliancy of youth. In "L'Aiglon" she was supported by Edwin Arden, Oswald Yorke, Eugene Jepson, J. H.

Gilmour, and R. Peyton Carter.

When Charles Frohman put Miss Adams into "Romeo and Juliet" she received a whimsical letter from J. M. Barrie, saying, among other things:

_Are you going to take Willie Shakespeare by the arm and l'ave me?_

The time was now at hand when she once more took the fascinating Scot by the arm. She now appeared in his "Quality Street," a new play with the real Barrie charm, in which she took the part of an exquisite English girl whose betrothed goes to the Napoleonic wars. She thinks he has forgotten her, and allows herself to externally fade into spinsterhood.

When he comes back he does not recognize her. Then she suddenly blooms into exquisite youth--radiant and beguiling--and he discovers that it is his old love.

"Quality Street" was tried out in Toledo, Ohio, early in the season of 1901. On the opening night an incident occurred which showed Frohman's att.i.tude toward new plays. The third act dragged somewhat toward the end, evidently on account of an anti-climax. On the following day Frohman asked his business manager to sit with him during the third act, saying:

"Last night Miss Adams played this act as Barrie wrote it. This afternoon she will play it as I want it."

The act went much more effectively, and it was never changed after that matinee performance.

"Quality Street" was another of what came to be known as a typical "Adams success."

For her next starring vehicle, Charles presented Maude Adams in "The Pretty Sister of Jose," a play which Mrs. Frances Hodgson Burnett made of her well-known story. She was supported by Harry Ainley, at that time England's great matinee idol. Here Miss Adams encountered for the first time something that resembled failure, because she was not adapted to the fiery, pa.s.sionate character of the impetuous Spanish girl. The play, however, made its usual tour after the local season, and with much financial success.

The tour ended, Miss Adams suddenly disappeared from sight. There were even rumors that she had left the stage. As a matter of fact, she had retired to the seclusion of a convent at Tours, in France. There were two definite reasons for her retirement. One was that she wanted time for convalescence from an operation for appendicitis; the other, that she wished to perfect her French in order to fulfil a long-cherished desire to play _Juliet_ to Sarah Bernhardt's _Romeo_. Unfortunately, this plan was never consummated, but it gave Miss Adams a very rare experience, for she lived with the simple French nuns for months. Later, when they were driven from France, she found them quarters near Birmingham, in England, saw to their comfort, and got them buyers for their lace.

Brilliant as had been Miss Adams's success up to this time, the moment was now at hand when she was to appear in the role that, more than all her other parts combined, would complete her conquest of the American heart. Once more she became a boy, this time the irresistible _Peter Pan_.

As _Peter Pan_ she literally flew into a new fame. This play of Barrie's provided Frohman with one of the many sensations he loved, and perhaps no production of the many hundreds that he made in his long career as manager gave him quite so much pleasure as the presentation of the fascinating little Boy Who Never Would Grow Up.

The very beginning of "Peter Pan," so far as the stage presentation was concerned, was full of romantic interest. Barrie had agreed to write a play for Frohman, and met him at dinner one night at the Garrick Club in London. Barrie seemed nervous and ill at ease.

"What's the matter?" said Charles.

"Simply this," said Barrie. "You know I have an agreement to deliver you the ma.n.u.script of a play?"

"Yes," said Frohman.

"Well, I have it, all right," said Barrie, "but I am sure it will not be a commercial success. But it is a dream-child of mine, and I am so anxious to see it on the stage that I have written another play which I will be glad to give you and which will compensate you for any loss on the one I am so eager to see produced."

"Don't bother about that," said Frohman. "I will produce both plays."

Now the extraordinary thing about this episode is that the play about whose success Barrie was so doubtful was "Peter Pan," which made several fortunes. The ma.n.u.script he offered Frohman to indemnify him from loss was "Alice-Sit-By-The-Fire," which lasted only a season. Such is the estimate that the author often puts on his own work!

When Frohman first read "Peter Pan" he was so entranced that he could not resist telling all his friends about it. He would stop them in the street and act out the scenes. Yet it required the most stupendous courage and confidence to put on a play that, from the ma.n.u.script, sounded like a combination of circus and extravaganza; a play in which children flew in and out of rooms, crocodiles swallowed alarm-clocks, a man exchanged places with his dog in its kennel, and various other seemingly absurd and ridiculous things happened.

But Charles believed in Barrie. He had gone to an extraordinary expense to produce "Peter Pan" in England. He duplicated it in the United States. No other character in all her repertory made such a swift appeal to Miss Adams as _Peter Pan_. She saw in him the idealization of everything that was wonderful and wistful in childhood.

The way she prepared for the part was characteristic of her att.i.tude toward her work. She took the ma.n.u.script with her up to the Catskills.

She isolated herself for a month; she walked, rode, communed with nature, but all the while she was studying and absorbing the character which was to mean so much to her career. In the great friendly open s.p.a.ces in which little _Peter_ himself delighted, and where he was king, she found her inspiration for interpretation of the wondrous boy.

The try-out was made in Washington at the old National Theater. It went with considerable success, although the first-night audience was somewhat mystified and did not know exactly what to say or do.

It was when the play was launched on November 6, 1905, at the Empire Theater in New York, that little _Peter_ really came into his own. The human birds, the droll humor, the daring allegory, above all the appealing, almost tragic, spectacle of _Peter_ playing his pipe up in the tree-tops of the Never-Never Land, all contributed to an event that was memorable in more ways than one.

On this night developed the remarkable and thrilling feature in "Peter Pan" which made the adorable dream-child the best beloved of all American children. It came when _Peter_ rushed forward to the footlights in the frantic attempt to save the life of his devoted little _Tinker Bell_, and asked:

"Do you believe in fairies?"

It registered a whole new and intimate relation between actress and audience, and had the play possessed no other distinctive feature, this alone would have at once lifted it to a success that was all its own.

[Ill.u.s.tration: _MAUDE ADAMS_]

This episode became one of the many marvelous features of the memorable run of "Peter Pan" at the Empire. Nearly every child in New York--and subsequently, on the long and successful tours that Miss Adams made in "Peter Pan," their brothers everywhere--became acquainted with the episode and longed impatiently to have a part in it. On one occasion, fully fifteen minutes before Miss Adams made her appeal, a little child rose in a box at the Empire and said: "_I_ believe in fairies."

"Peter Pan" recorded the longest single engagement in the history of the Empire. It ran from November 6, 1905, until June 9, 1906.

But "Peter Pan" did more than give Miss Adams her most popular part. It became a nation-wide vogue. Children were named after the fascinating little lad Who Never Would Grow Up; articles of wearing-apparel were labeled with his now familiar t.i.tle; the whole country talked and loved the unforgettable little character who now became not merely a stage figure, but a real personal friend of the American theater-going people.

It was on a road tour of "Peter Pan" that occurred one of those rare anecdotes in which Miss Adams figures. Frohman always had a curious prejudice against the playing of matinees by his stars, especially Maude Adams. A matinee was booked at Altoona, Pennsylvania. Frohman immediately had it marked off his contract. The advance-agent of the company, however, ordered the matinee played at the urgent request of the local manager, but he did not notify the office in New York. When Charles got the telegram announcing the receipts, he was most indignant.

"I'll discharge the person responsible for this matinee," he said.

In answer to his telegraphed inquiry he received the following wire:

_The matinee was played at my request. I preferred to work rather than spend the whole day in a bad hotel._

MAUDE ADAMS.

In connection with "Peter Pan" is a curious and tragic coincidence. Of all the Barrie plays that Charles produced he loved "Peter Pan" the best. Curiously enough, it was little _Peter_ himself who gave him the cue for his now historic farewell as he stood on the sinking deck of the _Lusitania_.

At the end of one of the acts in "Peter Pan" the little boy says:

_To die will be an awfully big adventure._

These words had always made a deep impression on Frohman. They came to his mind as he stood on that fateful deck and said: