He did so in Clyde Fitch's version of "La Vie de Bohème," which was called "Bohemia."
"How did it go?" Potter wrote him from Switzerland.
"Pretty well," replied Frohman. "Unfortunately we left out 'Bengali.'"
On more than one occasion Frohman produced a play for the mere pleasure of doing it. He put on a certain little dramatic fantasy. It was foredoomed to failure and held the boards only a week.
"Why did you do this play?" asked William H. Crane.
"Because I wanted to see it played," answered Frohman. "I knew it would not be successful, but I simply had to do it. I saw every performance and I liked it better every time I saw it."
Often Frohman would make a contract with a playwright for a play, and long before the first night he would realize that it had no chance. Yet he kept his word with the author, and it was always produced.
The case of "The Heart of a Thief," by the late Paul Armstrong, is typical. Frohman paid him an advance of fifteen hundred dollars. After a week of rehearsals every one connected with the play except Armstrong realized that it was impossible.
Frohman, however, gave it an out-of-town opening and brought it to the Hudson Theater in New York, where it ran for one week. When he decided to close it he called the company together and said:
"You've done the best you could. It's all my fault. I thought it was a good play. I was mistaken."