Kirk La Shelle took the play and it was another "Arizona."
Frohman produced a whole series of Thomas successes, notably "The Other Girl," "Mrs. Leffingwell's Boots," and "De Lancey." To the end of his days the warmest and most intimate friendship existed between the men. It was marked by the usual humor that characterized Frohman's relations. Here is an example:
Thomas conducted the rehearsals of "The Other Girl" alone. Frohman, who was up-stairs in his offices at the Empire, sent him a note on a yellow pad, written with the blue pencil that he always used:
"How are you getting along at rehearsals without me?"
"Great!" scribbled Thomas.
The next day when he went up-stairs to Frohman's office, he found the note pinned on the wall.
Such was the mood of the man who had risen from obscurity to one of commanding authority in the whole English-speaking theater.
X
THE RISE OF ETHEL BARRYMORE
W hile the star of Maude Adams rose high in the theatrical heaven, another lovely luminary was about to appear over the horizon. The moment was at hand when Charles Frohman was to reveal another one of his protégés, this time the young and beautiful Ethel Barrymore. It is an instance of progressive and sympathetic Frohman sponsorship that gave the American stage one of its most fascinating favorites. Some stars are destined for the stage; others are born in the theater. Ethel Barrymore is one of the latter. Two generations of eminent theatrical achievement heralded her advent, for she is the granddaughter of Mrs. John Drew, mistress of the famous Arch Street Theater Company of Philadelphia, and herself, in later years, the greatest Mrs. Malaprop of her day. Miss Barrymore's father was the brilliant and gifted Maurice Barrymore; her mother the no less witty and talented Georgia Drew, while, among other family distinctions, she came into the world as the niece of John Drew.