"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."
| MARGARET ANGLIN | 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 rôle 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 Calvé's performance of the leading rôle, 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 Duchess." 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: