"Frohman has done big things," Hare said to them. "He loses his money like a gentleman. Let us make him feel that he is not just an American, but one of us."
A dinner was planned in his honor at the Garrick Club. He is the only American theatrical manager to be elected to membership in this exclusive club. When Frohman was apprised of the dinner project he shrank from it.
"I don't like that sort of thing," he said. "Besides, I can't make a speech."
"But you won't have to make a speech," said Sir Arthur Pinero, who headed the committee.
Frohman tried in every possible way to evade this dinner. Finally he accepted on the condition that when the time came for him to respond he was merely to get up, bow his acknowledgment, and say, "Thank you." This he managed to do.
At this dinner, over which Sir John Hare presided, Frohman was presented with a massive silver cigarette-box, on which was engraved the facsimile signatures of every one present. These signatures comprise the "Who's Who" of the British theater. These princes of the drama were proud and glad to call themselves "A few of his friends," as the inscription on the box read.
The signers were, among others, Sir Arthur Pinero, Sir Charles Wyndham, Sir John Hare, Sir Herbert Beerbohm Tree, Sir James M. Barrie, Alfred Sutro, Cyril Maude, H. B. Irving, Lawrence Irving, Louis N. Parker, Anthony Hope, A. E. W. Mason, Seymour Hicks, Robert Marshall, W. Comyns Carr, Weedon Grossmith, Gerald Du Maurier, Eric Lewis, Dion Boucicault, A. E. Matthews, Arthur Bouchier, Cosmo Hamilton, Allan Aynesworth, R. C. Carton, Sam Sothern, and C. Aubrey Smith.
Nothing gave Charles more satisfaction in England perhaps than his encouragement of the British playwright. He inherited Pinero from his brother Daniel, and remained his steadfast friend and producer until his death. Pinero would not think of submitting a play to any other American manager without giving Frohman the first call. In all the years of their relations, during which Charles paid Pinero a large fortune, there was not a sign of contract between them.
Frohman practically made Somerset Maugham in America. His first association with this gifted young Englishman was typical of the man's method of doing business. Maugham had written a play called "Mrs. Dot," in which Marie Tempest was to appear. Frederick Harrison, of the Haymarket Theater, had an option on it, which had just expired. Another manager wanted the play. Frohman heard of it, and asked to be allowed to read it. Maugham then said:
"It must be decided to-night."