"All right," said Gustave, still the good angel. "I'll put you out ahead of our Number Two 'Hazel Kirke' Company at a salary of seventy-five dollars a week. You can start out right away. What do you say?"

Charles thought a moment, and then said: "Well, Gus, it's pretty tough to go ahead of a Number Two company even at seventy-five dollars a week when you have been manager of Haverly's Mastodons. The money doesn't mean anything to me. I like the minstrel boys and they like me."

He still hesitated and walked up and down the room two or three times, as was his habit. Finally he came over to his brother and said, decisively:

"I'll take it."

During this memorable visit to San Francisco occurred another event that had large influence on the whole future life of the young man. One night in a famous ratheskeller on Kearney Street he saw an artistic-looking youth with curly hair and dreamy eyes sitting in the midst of a group of actors. This youth was David Belasco, who had pa.s.sed from actor to author-stage-manager and whose melodrama, "American Born," was running at the Baldwin Theater. Frohman had seen this play and was much impressed with it. Thrillers had interested him from the start.

Gustave, who was with Belasco, said to him: "There's my brother Charley.

You ought to know him."

Simultaneously Belasco was pointed out to Charles. They glanced up at the same time, nodded smilingly across the s.p.a.ce between, and later on when they were introduced Charles expressed his great admiration for "American Born." Belasco had just received the offer from Daniel Frohman to come to the Madison Square Theater in New York as stage-manager.

Out of this contact came the a.s.sociation between Charles Frohman and David Belasco that added much to their achievements.

Charles gave Haverly notice, and at Indianapolis he left the Mastodons.

He slipped away without farewells, and when his absence became known a gloom settled down on the company. Unconsciously the rosy-cheeked boy had become its inspiration. For weeks the performances lacked their customary zip and enthusiasm.

His minstrel days over, save for two brief intervals, Charles was now about to begin his connection with the Madison Square Theater. It was to mark, because of the men with whom he now became a.s.sociated and the revolution in theatrical methods which he brought about, the first really significant epoch in his crowded career.

IV

IN THE NEW YORK THEATRICAL WHIRLPOOL

When Charles Frohman went to the Madison Square Theater in 1881 the three Frohman brothers were literally installed for the first time under the same managerial roof. From this hour on the affairs of Charles were bound up in large theatrical conduct.

Since the Madison Square Theater thus becomes the background of his real activities, the sh.e.l.l out of which he emerged as a full-fledged manager, the inst.i.tution, and its significance in dramatic history, are well worth recording here.

The little Madison Square Theater, located back of the old Fifth Avenue Hotel, on Twenty-fourth Street near Broadway, was established at a time when a new force was hovering over the New York stage. This playhouse, destined to figure so prominently in the fortunes of all the Frohmans, and especially Charles, grew out of the somewhat radical convictions of Steele Mackaye, one of the most brilliant and erratic characters of his time. He was actor, lecturer, and playwright, and he taught the art of acting on lines laid down by Delsarte. Dr. George Mallory, editor of _The Churchman_, became interested in his views and regarded Mackaye as a man with a distinct mission. He induced his brother, Marshall Mallory, to build the Madison Square Theater.

Steele Mackaye was the first director, and, with the active co-operation of the Mallorys, launched its career. Dr. Mallory believed that the drama needed reform; that the way to reform it was to play reformed drama. So the place was dedicated to healthy plays. "A wholesome place for wholesome amus.e.m.e.nt" became the slogan. Contracts for plays were made only with American authors. Here were produced the earlier triumphs of Steele Mackaye, Bronson Howard, William Gillette, H. H. Boyessen, and Mrs. Frances Hodgson Burnett. In this house, in "May Blossom," De Wolf Hopper first appeared in a stock company, afterward going into musical comedy. Among the actors seen on its boards during the Frohman regime were Agnes Booth, Viola Allen, Effie Ellsler, Georgia Cayvan, Mrs.

Whiffen, Marie Burroughs, Annie Russell, George Clarke, Jeffreys Lewis, C. W. Couldock, Thomas Whiffen, Dominick Murray, and Eben Plympton. Rose Coghlan was also a member of the company, but had no opportunity of playing.

The house had certain unique and attractive qualities. It had been charmingly decorated by Louis C. Tiffany, and one of its princ.i.p.al features was a double stage, which enabled the scenery for one act to be set while another was being played before the audience. Thus long waits were avoided.

The name of Frohman was a.s.sociated with this theater from the very start, because its first manager was Daniel Frohman. It opened in February, 1880, with Steele Mackaye's play "Hazel Kirke," which was an instantaneous success. The little theater, with its novel stage, intimate atmosphere, admirable company, and a policy that was definite and original, became one of the most popular in America. "Hazel Kirke"

ran four hundred and eighty-six nights in New York City without interruption, which was a record run up to that time. In the original cast were Effie Ellsler, Eben Plympton, Mr. and Mrs. Whiffen, and Charles W. Couldock.

* * *

The Madison Square Theater was also an important factor in New York dramatic life and began to rival the prestige of the Wallack, Palmer, and Daly inst.i.tutions. Its fame, due to the record-breaking "Hazel Kirke" success, became nation-wide.

Now began an activity under its auspices that established a whole new era in the conduct of the theater. It was the dawn of a "big business"

development that sent the Madison Square successes throughout the country, and Charles Frohman was one of its sponsors.

Gustave Frohman had been engaged as director of the traveling companies.

He engaged Charles as an a.s.sociate. The work of the Frohmans was carefully mapped out. It was Daniel's business to select the casts, organize and rehea.r.s.e the companies in New York; Gustave took general charge of the road equipment; while Charles arranged and booked the road tours.

It was after the phenomenal first season's run of "Hazel Kirke" that Charles Frohman hung up his hat in the little "back office" of the Madison Square Theater to begin the work that was to project his name and his talents prominently for the first time. New York sizzled through the hottest summer it had ever known; Garfield lay dying, and the whole country was in a state of unrest. Charles sweltered in his little cubbyhole, but he was enthusiastic and optimistic about his new job.

Gustave and Charles had complete charge of all the traveling companies that developed out of the series of "runs" at the theater. They inaugurated a whole new and brilliant theatrical activity in towns and cities removed from theatrical centers, regarding which the other big managers in New York were ignorant.

With the organization of these Madison Square companies the "Number Two Company" idea was born. It was a distinct innovation. A play like "Hazel Kirke," for example, was played by as many as five companies at one time, each company being adjusted financially to the type of town to which it was sent. "Hazel Kirke" appeared simultaneously in New York City at three different theaters, each with a separate and distinct type of audience.

Under the direction of Gustave and Charles, the outside business of the Madison Square Theater spread so rapidly that in a short time fourteen road companies carried the name of the establishment to all parts of the United States. Despite their youth, the three Frohmans had had a very extensive experience over the whole country.

In those days the booking of road attractions was not made through syndicates. Applications for time had to be made individually to every manager direct, even in the case of the most obscure one-night stand.

The big New York managers only concerned themselves with the larger cities in which their companies made annual appearances. The smaller towns had to trust to chance to get attractions outside the standard "road shows."

Charles realized this lack of booking facilities, and dedicated his talents and experience to remedying it. His seasons on the road with John Dillon and the Haverly Minstrels had equipped him admirably. He not only displayed remarkable judgment in routing companies, but he was now able to express his genius for publicity. He always believed in the value of big printing.

"Give them pictures," he said.

He urged a liberal policy in this respect, and the Madison Square Theater backed his judgment to the extent of more than one hundred thousand dollars a year for picture posters and elaborate printing of all kinds. The gospel of Madison Square Theater art and its enterprises was thus spread broadcast, not with ordinary cheap-picture advertising, but with artistic lithographs. In fact, here began the whole process of expensive and elaborate bill-posting, and Charles Frohman was really the father of it.

Under his direction the first "flashlights" ever taken of a theatrical company for advertising purposes were made at the Madison Square Theater.

* * *

Charles was now director of nearly a score of agents who traveled about with the various companies. He vitalized them with his enthusiasm. In order to expedite their work, Charles and his brothers rented and furnished a large house on Twenty-fourth Street near the theater. It was in reality a sort of club, for a dining-room was maintained, and there were a number of bedrooms. When the agents came to town they lodged here. Charles, Gustave, and Daniel also had rooms in this house. A dressmaking department was established on the premises where many of the costumes for the road companies were made.

During these days Charles gave frequent evidence of his tact and persuasiveness. Often when matters of policy had to be fixed and discussed, the managers of out-of-town theaters would be called to New York. It was Charles's business to take them in hand and straighten out their troubles. They would leave, feeling that they had got the best "time" for their theaters and that they had made a friend in the optimistic little man who was then giving evidence of that uncanny instinct for road management that stood him in such good stead later on.

With his usual energy Charles was interested in every phase of the Madison Square Theater. Frequently, accompanied by Wesley Sisson, who succeeded Daniel Frohman during the latter's occasional absences from the theater, he would slip into the balcony and watch rehearsals. He sat with one leg curled under him, following the scenes with keenest interest. More than once his sharp, swift criticism helped to smooth away a rough spot.

He impressed his personality and capacity upon all who came in contact with him. It was said of him then, as it was said later on, that he could sit in his little office and make out a forty weeks' tour for a company without recourse to a map. In fact, he carried the whole theatrical map of the country under his hat.

* * *

In the strenuous life of those Madison Square days came some of Charles Frohman's closest and longest friendships.

The first was with Marc Klaw. It grew out of play piracy, the inevitable result of the theater's successes. Throughout the country local managers began to steal the Madison Square plays and put them on with "fly-by-night" companies. Since they were unable to get ma.n.u.scripts of the play, the pirates sent stenographers to the theater to copy the parts. These stenographers had to sit in the dark and write surrept.i.tiously. In many instances, in order to keep the lines of their notes straight, they stretched strings across their note-books.

Gustave Frohman happened to be in Louisville with the Number One "Hazel Kirke" Company. He was looking about for a lawyer who could investigate and prosecute the piracy of the Madison Square plays. He made inquiry of John T. Macauley, manager of Macauley's Theater, who said:

"There's a young lawyer here named Marc Klaw who is itching to get into the theatrical business. Why don't you give him a chance?"

Frohman immediately engaged Klaw to do some legal work for the Madison Square Theater, and he successfully combated the play pirates in the South. The copyright laws then were inadequate, however, and Klaw was ordered to New York, where, after a short preliminary training, he was sent out as manager of the Number Two "Hazel Kirke" Company of which Charles Frohman was advance-agent. In this way the meeting between the two men, each destined to wield far-flung theatrical authority, came about.

Charles resented going out with a "Number Two" Company, so to placate his pride and to give distinction to the enterprise, Daniel put Georgia Cayvan, leading lady of the Madison Square Theater, at the head of the cast.

There was good business method in putting out Miss Cayvan on this tour, because she was a New-Englander, born at Bath, Maine, and Bath was included in this tour. When Charles reached Bath ahead of the show he rode on the front seat of the stage to the hotel. He told the driver that he was coming with a big New York show, and said: