Mansfield became one of the leaders of the opposition to the Syndicate.

He made speeches before the curtain, denouncing its methods. His lead was followed by Francis Wilson, and subsequently by James K. Hackett, David Belasco, and Henry W. Savage. The fight on the huge combination became a matter of nation-wide interest.

All the while the Syndicate was growing in power and authority.

Gradually the revolutionists returned to the fold because desirable terms were made for them. Only Mrs. Fiske remained outside the ranks. In order to secure a New York City stage for her Mr. Fiske leased the Manhattan Theater for a long term.

It was during these strenuous years, and as one indirect result of the Syndicate fight, that a whole new theatrical dynasty sprang up. It took shape and centered in the growing importance of three then obscure brothers, Lee, Sam, and Jacob J. Shubert by name, who lived in Syracuse, New York. They were born in humble circ.u.mstances, and early in life had been forced to become breadwinners. The first to get into the theatrical business was Sam, the second son, who, as a youngster barely in his teens, became program boy and later on a.s.sistant in the box-office of the Grand Opera House in his native town. At seventeen he was treasurer of the Weiting Opera House there, and from that time until his death in a railroad accident in 1905 he was an increasingly powerful figure in the business.

Before Sam Shubert was twenty he controlled a chain of theaters with stock companies in up-state New York cities and had taken his two brothers into partnership with him. In 1900 he subleased the Herald Square Theater in New York City and thus laid the corner-stone of what came to be known as the "Independent Movement" throughout the country.

He had initiative and enterprise. Gradually he and his brothers and their a.s.sociates controlled a line of theaters from coast to coast. In these theaters they offered attractive bookings to the managers who were outside the Syndicate. The Shuberts also became producers and encouragers of productions on a large scale.

For the first time the Syndicate now had real opposition. A warfare developed that was almost as bitter and costly in its way as was the old disorganized method in vogue before the business was put on a commercial basis. It naturally led to over-production and to a surplus of theaters.

Towns that in reality could only support one first-cla.s.s playhouse were compelled to have a "regular" and an "independent" theater. Attractions of a similar nature, such as two musical comedies, were pitted against each other. In dividing the local patronage both sides suffered loss.

During the last year of Charles Frohman's life the Syndicate and the Shuberts, wisely realizing that such an uneconomic procedure could only spell disaster in a large way for the whole theatrical business, buried their differences. A harmonious working agreement was entered into that put an end to the destructive strife. Theatrical booking became an open field, and the producer can now play his attractions in both Syndicate and Shubert theaters.

Charles Frohman's activities were now nation-wide. Just as Harriman built up a transcontinental railroad system, so did the rotund little manager now set up an empire all his own. The building of the Empire Theater had given him a closer link with Rich and Harris. Through them he acquired an interest in the Columbia Theater, in Boston, and subsequently he became part owner of the Hollis Street Theater in that city. His third theater in Boston was the Park. By this time the firm name for Boston operation was Rich, Harris, and Charles Frohman. Their next venture was the construction of the magnificent Colonial Theater, on the site of the old Boston Public Library, which was opened with "Ben-Hur." With the acquisition of the Boston and Tremont playhouses, the firm controlled the situation at Boston.

Up to this time Frohman had controlled only one theater in New York--the Empire. In 1896 he saw an opportunity to acquire control of the Garrick in Thirty-fifth Street. He wrote to William Harris, saying, "I will take it if you will come on and run it." Harris a.s.sented, and the Garrick pa.s.sed under the banner of Charles Frohman, who inaugurated his regime with John Drew in "The Squire of Dames." He put some of his biggest successes into this theater and some of his favorite stars, among them Maude Adams and William Gillette. To the chain of Charles Frohman controlled theaters in New York were added in quick order the Criterion, the Savoy, the Garden, and a part interest in the Knickerbocker.

During his early tenancy of the Garrick occurred an incident which showed Frohman's resource. He produced a play called "The Liars," by Henry Arthur Jones, in which he was very much interested. In the out-of-town try-out up-state Frohman heard that the critic of one of the most important New York newspapers had expressed great disapproval of the piece on account of some personal prejudice. He did not want this prejudice to interfere with the New York verdict, so he went to Charles Dillingham one day shortly before the opening and said:

"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."

[Ill.u.s.tration: _MARGARET ANGLIN_]

[Ill.u.s.tration: _ANNIE RUSSELL_]

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 role 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 Calve's performance of the leading role, 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 d.u.c.h.ess." 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 compet.i.tion with him had to be on the same elaborate scale.

Fully a year before Maude Adams made her stellar debut 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 ma.n.u.script 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 bra.s.s b.u.t.ton was still his, and he plunged heavily on "Secret Service."

It was first put on in Philadelphia. Even at that time there obtained the superst.i.tion widely felt in the theatrical business that what fails out of town must succeed in New York. Frohman, who shared this superst.i.tion, was really eager not to register successfully in the Quaker capital.

But "Secret Service" smashed this superst.i.tion, 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.

During their visit in 1899, "Sherlock Holmes" had become the literary rage. Everybody was talking about the masterful detective of Baker Street.

"We must get those Doyle stories," said Frohman to Gillette.

"All right," said the author.

Frohman personally went to see Conan Doyle and made a bid for the rights.