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 circumstances, 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 assistant 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 associates 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-class 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 assented, and the Garrick passed under the banner of Charles Frohman, who inaugurated his régime 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.