  Title: Charles Frohman: Manager and Man Author: Isaac Frederick Marcosson and Daniel Frohman Language: English Character set encoding: ISO-8859-1 Charles Frohman: With an Appreciation by James M. Barrie Illustrated logo New York and London Charles Frohman: Manager and Man To Hamlet Contents
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Charles Frohman: By James M. Barrie The man who never broke his word. There was a great deal more to him, but every one in any land who has had dealings with Charles Frohman will sign that. I would rather say a word of the qualities that to his friends were his great adornment than about his colossal enterprises or the energy with which he heaved them into being; his energy that was like a force of nature, so that if he had ever "retired" from the work he loved (a thing incredible) companies might have been formed, in the land so skilful at turning energy to practical account, for exploiting the vitality of this Niagara of a man. They could have lit a city with it. He loved his schemes. They were a succession of many-colored romances to him, and were issued to the world not without the accompaniment of the drum, but you would never find him saying anything of himself. He pushed them in front of him, always taking care that they were big enough to hide him. When they were able to stand alone he stole out in the dark to have a look at them, and then if unobserved his bosom swelled. I have never known any one more modest and no one quite so shy. Many actors have played for him for years and never spoken to him, have perhaps seen him dart up a side street because they were approaching. They may not have known that it was sheer shyness, but it was. I have seen him ordered out of his own theater by subordinates who did not know him, and he went cheerfully away. "Good men, these; they know their business," was all his comment. Afterward he was shy of going back lest they should apologize. At one time he had several theaters here and was renting others, the while he had I know not how many in America; he was not always sure how many himself. Latterly the great competition at home left him no time to look after more than one in London. But only one anywhere seemed a little absurd to him. He once contemplated having a few theaters in Paris, but on discovering that French law forbids your having more than one he gave up the scheme in disgust. A sense of humor sat with him through every vicissitude like a faithful consort. "How is it going?" a French author cabled to him on the first night of a new play. "It has gone," he genially cabled back. Of a Scotch play of my own that he was about to produce in New York, I asked him what the Scotch would be like. "You wouldn't know it was Scotch," he replied, "but the American public will know." He was very dogged. I had only one quarrel with him, but it lasted all the sixteen years I knew him. He wanted me to be a playwright and I wanted to be a novelist. All those years I fought him on that. He always won, but not because of his doggedness; only because he was so lovable that one had to do as he wanted. He also threatened, if I stopped, to reproduce the old plays and print my name in large electric letters over the entrance of the theater. A very distinguished actress under his management wanted to produce a play of mine of which he had no high opinion. He was in despair, as he had something much better for her. She was obdurate. He came to me for help, said nothing could move her unless I could. Would not I tell her what a bad play it was and how poor her part was and how much better the other parts were and how absolutely it fell to pieces after the first act? Of course I did as I was bid, and I argued with the woman for hours, and finally got her round, the while he sat cross-legged, after his fashion, on a deep chair and implored me with his eyes to do my worst. It happened long ago, and I was so obsessed with the desire to please him that the humor of the situation strikes me only now. For money he did not care at all; it was to him but pieces of paper with which he could make practical the enterprises that teemed in his brain. They were all enterprises of the theater. Having once seen a theater, he never afterward saw anything else except sites for theaters. This passion began when he was a poor boy staring wistfully at portals out of which he was kept by the want of a few pence. I think when he first saw a theater he clapped his hand to his heart, and certainly he was true to his first love. Up to the end it was still the same treat to him to go in; he still thrilled when the band struck up, as if that boy had hold of his hand. I n a sense he had no illusions about the theater, knew its tawdriness as he knew the nails on his stages (he is said to have known every one). He would watch the performance of a play in some language of which he did not know a word and at the end tell you not only the whole story, but what the characters had been saying to one another; indeed, he could usually tell what was to happen in any act as soon as he saw the arrangement of the furniture. But this did not make him blasÉ—a strange word, indeed, to apply to one who seemed to be born afresh each morning. It was not so much that all the world was a stage to him as that his stage was a world, a world of the "artistic temperament"—that is to say, a very childish world of which he was occasionally the stern but usually indulgent father. His innumerable companies were as children to him; he chided them as children, soothed them, forgave them, and certainly loved them as children. He exulted in those who became great names in that world and gave them beautiful toys to play with; but, great as was their devotion to him, it is not they who will miss him most, but rather the far greater number who never "made a hit," but set off like the rest to do it and fell by the way. He was of so sympathetic a nature, he understood so well the dismalness to them of being "failures," that he saw them as children with their knuckles to their eyes, and then he sat back cross-legged on his chair with his knuckles, as it were, to his eyes, and life had lost its flavor for him until he invented a scheme for giving them another chance. A uthors of to-day sometimes discuss with one another what great writer of the past they would like most to spend an evening with if the shades were willing to respond, and I believe (and hope) that the choice most often falls on Johnson or Charles Lamb. Lamb was fond of the theater, and I think, of all those connected with it that I have known, Mr. Frohman is the one with whom he would most have liked to spend an evening. Not because of Mr. Frohman's ability, though he had the biggest brain I have met with on the stage, but because of his humor and charity and gentle chivalry and his most romantic mind. One can conceive him as often, sitting at ease, far back in his chair, cross-legged, occasionally ringing for another ice, for he was so partial to sweets that he could never get them sweet enough, and sometimes he mixed two in the hope that this would make them sweeter. I hear him telling stories of the stage as only he could tell them, rising now and roaming the floor as he shows how the lady of the play receives the declaration, and perhaps forgetting that you are the author of the play and telling you the whole story of it with superb gesture and gleaming eyes. Then back again cross-legged to the chair. What an essay Elia might have made of that night, none of it about the stories told, all about the man in the chair, the humorous, gentle, roughly educated, very fine American gentleman in the chair! J. M. Barrie. London, 1915. Charles Frohman IA CHILD AMID THE THEATER One evening, toward the close of the 'sixties, a plump, rosy-cheeked lad in his eighth year stood enthralled in the gallery of the old Niblo's Garden down on lower Broadway in New York. Far below him on the stage "The Black Crook"—the extravaganza that held all New York—unfolded itself in fascinating glitter and feminine loveliness. Deaf to his brother's entreaties to leave, and risking a parental scolding and worse, the boy remained transfixed until the final curtain. When he reached home he was not in the least disturbed by the uproar his absence had caused. Quite the contrary. His face beamed, his eyes shone. All he could say was: "I have seen a play. It's wonderful!" The boy was Charles Frohman, and such was his first actual experience in the theater—the institution that he was to dominate in later years with far-flung authority. To write of the beginnings of his life is to become almost immediately the historian of some phase of amusement. He came from a family in whom the love of mimic art was as innate as the desire for sustenance. About his parents was the glamour of a romance as tender as any he disclosed to delighted audiences in the world of make-believe. His father, Henry Frohman, was both idealist and dreamer. Born on the pleasant countryside that encircles the town of Darmstadt in Germany, he grew up amid an appreciation of the best in German literature. He was a buoyant and imaginative boy who preferred reading plays to poring over tiresome school-books. One day he went for a walk in the woods. He passed a young girl of rare and appealing beauty. Their eyes met; they paused a moment, irresistibly drawn to each other. Then they went their separate ways. He inquired her name and found that she was Barbara Strauss and lived not far away. He sought an introduction, but before it could be brought about he left home to make his fortune in the New World. He was eighteen when he stepped down the gang-plank of a steamer in New York in 1845. He had mastered no trade; he was practically without friends, so he took to the task which so many of his co-religionists had found profitable. He invested his modest financial nest-egg in a supply of dry goods and notions and, shouldering a pack, started up the Hudson Valley to peddle his wares. Henry Frohman had a magnetic and fascinating personality. A ready story was always on his lips; a smile shone constantly on his face. It was said of him that he could hypnotize the most unresponsive housewife into buying articles she never needed. Up and down the highways he trudged, unmindful of wind, rain, or hardship. New York was his headquarters. There was his home and there he replenished his stocks. He made friends quickly. With them he often went to the German theater. On one of these occasions he heard of a family named Strauss that had just arrived from Germany. They had been shipwrecked near the Azores, had endured many trials, and had lost everything but their lives. "Have they a daughter named Barbara?" asked Frohman. "Yes," was the reply. Henry Frohman's heart gave a leap. There came back to his mind the picture of that day in the German woods. "Where do they come from?" he continued, eagerly. On being told that it was Darmstadt, he cried, "I must meet her." He gave his friend no peace until that end had been brought about. He found her the same lovely girl who had thrilled him at first sight; he wooed her with ardor and they were betrothed. He now yearned for a stable business that would enable him to marry. Meanwhile his affairs had grown. The peddler's pack expanded to the proportion of a wagon-load. Then, as always, the great West held a lure for the youthful. In some indescribable way he got the idea that Kentucky was the Promised Land of business. Telling his fiancÉe that he would send for her as soon as he had settled somewhere, he set out. But Kentucky did not prove to be the golden country. He was advised to go to Ohio, and it was while driving across the country with his line of goods that he came upon Sandusky. The little town on the shores of a smiling lake appealed to him strongly. It reminded him of the home country, and he remained there. He found himself at once in a congenial place. There was a considerable German population; his ready wit and engaging manner made him welcome everywhere. The road lost its charm; he turned about for an occupation that was permanent. Having picked up a knowledge of cigar-making, he established a small factory which was successful from the start. This fact assured, his next act was to send to New York for Miss Strauss, who joined him at once, and they were married. These were the forebears of Charles Frohman—the exuberant, optimistic, pleasure-loving father; the serene, gentle-eyed, and spacious-hearted woman who was to have such a strong influence in the shaping of his character. The Frohmans settled in a little frame house on Lawrence Street that stood apart from the dusty road. It did not even have a porch. Unpretentious as it was, it became a center of artistic life in Sandusky. Henry Frohman had always aspired to be an actor. One of the first things he did after settling in Sandusky was to organize an amateur theatrical company, composed entirely of people of German birth or descent. The performances were given in the Turner Hall, in the German tongue, on a makeshift stage with improvised scenery. Frohman became the directing force in the production of Schiller's and other classic German plays, comic as well as tragic. Nor was he half-hearted in his histrionic work. One night he died so realistically on the stage that his eldest son, who sat in the audience, became so terrified that he screamed out in terror, and would not be pacified until his parent appeared smilingly before the curtain and assured him that he was still very much alive. Frohman's business prospered. He began to build up trade in the adjoining country. With a load of samples strapped behind his buggy, he traveled about. He usually took one of his older sons along. While he drove, the boy often held a prompt-book and the father would rehearse his parts. Out across those quiet Ohio fields would come the thrilling words of "The Robbers," "Ingomar," "Love and Intrigue," or any of the many plays that the amateur company performed in Sandusky. He even mixed the drama with business. Frequently after selling a bill of goods he would be requested by a customer, who knew of his ability, to recite or declaim a speech from one of the well-known German plays. It was on his return from one of these expeditions that Henry Frohman was greeted with the tidings that a third son had come to bear his name. When he entered that little frame house the infantile Charles had made his first entrance on the stage of life. It was June 17, 1860, a time fateful in the history of the country, for already the storm-clouds of the Civil War were brooding. It was pregnant with meaning for the American theater, too, because this lusty baby was to become its Napoleon. Almost before Charles was able to walk his wise and far-seeing mother, with a pride and responsibility that maintained the best traditions of the mothers in Israel, began to realize the restrictions and limitations of the Sandusky life. "These boys of ours," she said to the husband, "have no future here. They must be educated in New York. Their careers lie there." Strong-willed and resolute, she sent the two older sons, one at a time, on to the great city to be educated and make their way. The eldest, Daniel, went first, soon followed by Gustave. In 1864, and largely due to her insistent urging, the remainder of the family, which included the youthful Charles, packed up their belongings and, with the proceeds of the sale of the cigar factory, started on their eventful journey to New York. They first settled in one of the original tenement houses of New York, on Rivington Street, subsequently moving to Eighth Street and Avenue D. Before long they moved over to Third Street, while their fourth residence was almost within the shadow of some of the best-known city theaters. Henry Frohman had, as was later developed in his son Charles, a peculiar disregard of money values. Generous to a fault, his resources were constantly at the call of the needy. His first business venture in New York—a small soap factory on East Broadway—failed. Later he became part owner of a distillery near Hoboken, which was destroyed by fire. With the usual Frohman financial heedlessness, he had failed to renew all his insurance policies, and the result was that he was left with but a small surplus. Adversity, however, seemed to trickle from him like water. Serene and smiling, he emerged from his misfortune. The only business he knew was the cigar business. With the assistance of a few friends he was able to start a retail cigar-store at what was then 708 Broadway. It was below Eighth Street and, whether by accident or design, was located in the very heart of the famous theatrical district which gave the American stage some of its greatest traditions. To the north, and facing on Union Square, was the Rialto of the day, hedged in by the old Academy of Music and the Union Square Theater. Down Broadway, and commencing at Thirteenth Street with Wallack's Theater, was a succession of more or less historic playhouses. At Eighth Street was the Old New York Theater; a few doors away was Lina Edwins's; almost flanking the cigar-store and ranging toward the south were the Olympic, Niblo's Garden, and the San Francisco Minstrel Hall. Farther down was the Broadway Theater, while over on the Bowery Tony Pastor held forth. Thus the little store stood in an atmosphere that thought, breathed, and talked of the theater. It became the rendezvous of the well-known theatrical figures of the period. The influence of the playhouses extended even to the shop next door, which happened to be the original book-store founded by August Brentano. It was the only clearing-house in New York for foreign theatrical papers, and to it came Augustin Daly, William Winter, Nym Crinkle, and all the other important managers and critics to get the news of the foreign stage. It was amid an environment touching the theater at every point that Charles Frohman's boyhood was spent. He was an impulsive, erratic, restless child. His mother had great difficulty in keeping him at school. His whole instinct was for action. Gustave, who had dabbled in the theatrical business almost before he was in his teens, naturally became his mentor. To Charles, Gustave was invested with a rare fascination because he had begun to sell books of the opera in the old Academy of Music on Fourteenth Street, the forerunner of the gilded Metropolitan Opera House. Every night the chubby Charles saw him forge forth with a mysterious bundle, and return with money jingling in his pocket. One night, just before Gustave started out, the lad said to him: "Gus, how can I make money like you?" "I'll show you some night if you can slip away from mother," was the brother's reply. Unrest immediately filled the heart of Charles. Gustave had no peace until he made good his promise. A week later he stole away after supper with his little brother. They walked to the Academy, where the old Italian opera, "The Masked Ball," was being sung. With wondering eyes and beating heart Charles saw Gustave hawk his books in the lobby, and actually sell a few. From the inside came the strains of music, and through the door a glimpse of a fashionable audience. But it was a forbidden land that he could not enter. Fearful of the maternal scolding that he knew was in store, Gustave hurried his brother home, even indulging in the unwonted luxury of riding on the street-car, where he found a five-dollar bill. The mother was up and awake, and immediately began to upbraid him for taking out his baby brother at night, whereupon Gustave quieted the outburst by permitting Charles to hand over the five-dollar bill as a peace offering. From that hour life had a new meaning for Charles Frohman. He had seen his brother earn money in the theater; he wanted to go and do likewise. The opportunity was denied, and he chafed under the restraint. In the afternoon, when he was through with the school that he hated, the boy went down to his father's store and took his turn behind the counter. Irksome as was this work, it was not without a thrilling compensation, because into the shop came many of the theatrical personages of the time to buy their cigars. They included Tony Pastor, whose name was then a household word, McKee Rankin, J. K. Mortimer, a popular Augustin Daly leading man, and the comedians and character actors of the near-by theaters. Here the magnetic personality of the boy asserted itself. His ready smile and his quick tongue made him a favorite with the customers. More than one actor, on entering the shop, asked the question: "Where is Charley? I want him to wait on me." In those days much of the theatrical advertising was done by posters displayed in shop-windows. To get these posters in the most conspicuous places passes were given to the shopkeepers, a custom which still holds. The Frohman store had a large window, and it was constantly plastered with play-bills, which meant that the family was abundantly supplied with free admission to most of the theaters in the district. The whole family shared in this dispensation, none more so than Henry Frohman himself, who could now gratify his desire for contact with the theater and its people to an almost unlimited extent. His greatest delight was to distribute these passes among his boys. They were offered as rewards for good conduct. Charles frequently accompanied his father to matinÉes at Tony Pastor's and the other theaters. Pastor and the elder Frohman were great pals. They called each other by their first names, and the famous old music-hall proprietor was a frequent visitor at the shop. But Charles became quite discriminating. Every Saturday night he went down to the old ThÉÂtre Comique, where Harrigan and Hart were serving their apprenticeship for the career which made them the most famous Irish team of their time. The next morning at breakfast he kept the family roaring with laughter with his imitations of what he had seen and heard. Curiously enough, Tony Hart later became the first star to be presented by Charles Frohman. All the while the boy's burning desire was to earn money in the theater. He nagged at Gustave to give him a chance. One day Gustave saw some handsome souvenir books of "The Black Crook," which was then having its sensational run at Niblo's Garden. He found that he could buy them for thirty-three cents by the half-dozen, so he made a small investment, hoping to sell them for fifty cents in the lobby of the theater. That evening he showed his new purchases to Charles. Immediately the boy's eyes sparkled. "Let me see if I can sell one of them!" "All right," replied Gustave; "I will take you down to Niblo's to-night and give you a chance." The boy could scarcely eat his supper, so eager was he to be off. Promptly at seven o'clock the two lads (Charles was only eight) took their stand in the lobby, but despite their eager cries each was able to sell only a single copy. Gustave consoled himself with the fact that the price was too high, while Charles, with an optimism that never forsook him, answered, "Well, we have each sold one, anyhow, and that is something." Charles's profit on this venture was precisely seventeen cents, which may be regarded as the first money he ever earned out of the theater. But this night promised a sensation even greater. As the crowd in the lobby thinned, the strains of the overture crashed out. Through the open door the little boy saw the curtain rise on a scene that to him represented the glitter and the glory of fairyland. Beautiful ladies danced and sang and the light flashed on brilliant costumes. With their unsold books in their hands, the two boys gazed wistfully inside. Charles, always the aggressor, fixed the doorkeeper with one of his winning smiles, and the doorkeeper succumbed. "You boys can slip in," he said, "but you've got to go up in the balcony." Up they rushed, and there Charles stood delighted, his eyes sparkling and his whole face transfigured. During the middle of the second act Gustave tugged at his sleeve, saying: "We'll have to go now. You follow me down." With this he disappeared and hurried home. When he arrived he found the home in an uproar because Charles had not come back. Gustave ran to the theater, but the play was over, the crowd had dispersed, and the building was deserted. With beating heart and fearful of disaster to his charge, he rushed back to see Charles, all animation and excitement, in the midst of the family group, regaling them with the story of his first play. He had remained to the end. That thrilling night at "The Black Crook," his daily contact with the actors who came into the store, his frequent visits to the adjoining playhouses, fed the fire of his theatrical interest. The theater got into his very blood. A great event was impending. Almost within stone's-throw of the little cigar-store where he sold stogies to Tony Pastor was the Old New York Theater, which, after the fashion of that time, had undergone the evolution of many names, beginning with the AthenÆum, and continuing until it had come under the control of the three famous Worrell sisters, who tacked their name to it. Shortly after the New Year of 1869 they produced the extravaganza "The Field of the Cloth of Gold," in which two of them, Sophie and Jane, together with Pauline Markham, one of the classic beauties of the time, appeared. Charles had witnessed part of this extravaganza one afternoon. It kindled his memories of "The Black Crook," for it was full of sparkle and color. Charles and Gustave had made the acquaintance of Owen, the doorkeeper. One afternoon they walked over to the theater and stood in the lobby listening to a rehearsal. Owen, who knew the boys' intense love of the theater, spoke up, saying: "We need an extra page to-night. How would you like to go on?" Both youngsters stood expectant. They loved each other dearly, yet here was one moment where self-interest must prevail. Charles fixed the doorkeeper with his hypnotic smile, and he was chosen. Almost without hearing the injunction to report at seven o'clock, Charles ran back to the store, well-nigh breathless with expectancy over the coming event. With that family feeling which has marked the Frohmans throughout their whole life, Gustave hurried down-town to notify their eldest brother to be on hand for the grand occasion. Charles ate no supper, and was at the stage-door long before seven. Rigged up in a faded costume, he carried a banner during the performance. His two elder brothers sat in the gallery. All they saw in the entire brilliant spectacle was the little Charles and his faded flag. Charles got twenty-five cents for his evening's work, and brought it home bubbling with pride. To his great consternation he received a rebuke from his mother and the strong injunction never to appear on the stage again. This was Charles Frohman's first and only appearance on any stage. In the years to come, although he controlled and directed hundreds of productions, gave employment to thousands of actors in this country, England, and France, and ruled the destinies of scores of theaters, he never appeared in a single performance. Nor had he a desire to appear. It will be recalled that in one way or another a great many passes for the theater found their way into the hands of the elder Frohman, who, in his great generosity of heart, frequently took many of the neighboring children along. He was the type of man who loves to bestow pleasure. But this made no difference with Charles. He was usually able to wring an extra pass from the bill-poster or some of the actors who frequented the store. Hence came about his first contract, and in this fashion: At that time Gustave Frohman was a famous cyclist. He was the first man to keep a wheel stationary, and he won prizes for doing so. He had purchased his bicycle with savings out of the theatrical earnings, and his bicycle and his riding became a source of great envy to Charles, who asked him one night if he would teach him how to ride. "Yes," replied Gustave, "I'll teach you if you will make a contract with me to provide five dollars' worth of passes in return." "Good!" said Charles, and the deal was closed. Gustave kept his word, and down in Washington Place, in front of the residence of old Commodore Vanderbilt, Charles learned to ride. He kept his part of the contract, too, and delivered five dollars' worth of passes ahead of schedule time. One of Gustave's cycling companions was the son of George Vandenhoff, the famous reader. Through him he met the father, who engaged him to post his placards for his series of lectures on Dickens. Charles accompanied Gustave on these expeditions, and got his first contact with theatrical advertising. Frequently he held the ladder while Gustave climbed up to hang a placard. Charles often employed his arts to induce an obdurate shopkeeper to permit a placard in his window. These cards were not as attractive as those of the regular theaters and it took much persuasion to secure their display. Charles sometimes sat in the box-office of Association Hall, where the Vandenhoff lectures were given and where Gustave sold tickets. It was here that Charles got his introduction to the finance of the theater. These days in the early 'seventies were picturesque and carefree for Charles. The boy was growing up in an atmosphere that, unconsciously, was shaping his whole future life. In the afternoon he continued his service behind the counter, hearing the actors tell stories of their triumphs and hardships. Often he slipped next door to Brentano's, where he was a welcome visitor and where he pored over the illustrations in the theatrical journals. Life at the store was not without incident. Among those who came in to buy cigars were the Guy brothers, famous minstrels of their time. They were particular chums of Gustave, and they likewise became great admirers of the little Charles. At the boys' request they would step into the little reception-room behind the store and practise their latest steps to a small but appreciative audience. This was Charles Frohman's first contact with minstrelsy, in which he was to have such an active part later on. Strangely enough, music and moving color always fascinated Charles Frohman. At that time, for it was scarcely more than a decade after the Civil War, there were many parades in New York, and all of them passed the little Broadway cigar-store. To get a better view, Charles frequently climbed up on the roof and there beheld the marching hosts with all their tumult and blare. Here it was, as he often later admitted, that he got his first impressions of street-display and brass-band effects that he used to such good advantage. A picturesque friendship of those early days was with the clock-painter Washburn, perhaps the foremost worker of that kind in this country. He painted the faces of all the clocks that hung in front of the jewelers' shops in the big city. He always painted the time at 8.17½ o'clock, and it became the precedent which most clock-painters have followed ever since. Charles watched Washburn at work. One reason for his interest was that it dealt with gilt. The old painter took such a fancy to the lad that he wanted him to become his apprentice and succeed him as the first clock-face painter of his time. But this work seemed too slow for the future magnate. Now came the first business contact of a Frohman with the theater, and here one encounters an example of that team-work among the Frohman brothers by which one of them invariably assisted another whenever opportunity arose. Frequently they created this opportunity themselves. To Gustave came the distinction of being the first in the business, and also the privilege of bringing into it both of his brothers. Having hovered so faithfully and persistently about the edges of theatricals, Gustave now landed inside. It was at the time of the high-tide of minstrelsy in this country—1870 to 1880. Dozens of minstrel companies, ranging from bands of real negroes recruited in the South to aggregations of white men who blacked their faces, traveled about the country. The minstrel was the direct product of the slave-time singer and entertainer. His fame was recognized the world over. The best audiences at home, and royalty abroad, paid tribute to his talents. Out of the minstrel ranks of those days emerged some of the best known of our modern stars—men like Francis Wilson, Nat Goodwin, Henry E. Dixey, Montgomery and Stone, William H. Crane, and scores of others. One of the most famous organizations of the time was Charles Callender's Original Georgia Minstrels, hailing from Macon, Georgia, composed entirely of negroes and headed by the famous Billy Kersands. Ahead of this show was a mulatto advance-agent, Charles Hicks. He did very well in the North, but when he got down South he faced the inevitable prejudice against doing business with a negro. Callender needed some one to succeed him. A man whom Gustave Frohman had once befriended, knowing of his intense desire to enter the profession, recommended him for the position, and he got it. All was excitement in the Frohman family. At last the fortunes of one member were definitely committed to the theater, and although it was a negro minstrel show, it meant a definite connection with public entertainment. No one, not even Gustave himself, felt the enthusiasm so keenly as did little Charles, then twelve years old. He buzzed about the fortunate brother. "Do you think you can get me a job as programmer with your show?" he asked. "No," answered the new advance-agent. "Don't start in the business until you can be an agent or manager." On August 2, 1872, Gustave Frohman started to Buffalo to go ahead of the Callender Minstrels. Charles followed his brother's career with eager interest, and he longed for the time when he would have some connection with the business that held such thrall for him. Life now lagged more than ever for Charles. He chafed at the service in the store; he detested school; his one great desire was to earn money and share in the support of the family. His father urged him to prepare for the law. "No," he said, "I won't be a lawyer. I want to deal with lots of people." Charles frequently referred to Tony Pastor. "He's a big man," he would often say. "I would like to do what he is doing." A seething but unformed aspiration seemed to stir his youthful breast. Once he heard his eldest brother recite some stanzas of Alexander Pope, in which the following line occurs: The whole, the boundless continent is ours. This line impressed the lad immensely. It became his favorite motto; he wrote it in his sister's autograph-album; he spouted it on every occasion; it is still to be found in his first scrap-book framed in round, boyish hand. Now the singular thing about this sentiment is that he never quoted it correctly. It was a life-long failing. His version—and it was strangely prophetic of his coming career—was: The whole—the boundless earth—is mine. Meanwhile, Daniel Frohman had gone from The Tribune to work in the office of The New York Graphic, down in Park Place near Church Street. The Graphic was the aristocrat of newspapers—the first illustrated daily ever published anywhere. With the usual family team-work, Daniel got Charles a position with him in 1874. He was put in the circulation department at a salary of ten dollars a week, his first regular wage. It was a position with which personality had much to do, for one of the boy's chief tasks was to select a high type of newsboy equipped to sell a five-cent daily. His genial manner won the boys to him and they became his loyal co-workers. With amazing facility he mastered his task. Among other things, he had to count newspapers. It was before the day of the machine enumerator, and the work had to be done by hand. Charles developed such extraordinary swiftness that patrons in the office often stopped to watch him. In throwing papers over the counter it was necessary to be accurate and positive, and here came the first manifestation of his dogged determination. He never lost his cunning in counting papers, and sometimes, when he was rich and famous, he would take a bundle of newspapers, to help a newsboy in the street, and run through them with all his old skill and speed. Though his fingers were in the newspapers, his heart yearned for the theater. This ambition was heightened by the fact that his brother Daniel, having heeded the lure of Gustave, joined the Callender Minstrels as advance-agent, while Gustave remained back with the show. Slowly but surely the theater was annexing the Frohman boys. In the summer of 1874 Charles was drawn into its charmed circle, and in a picturesque fashion. It was the custom for minstrel companies and other theatrical combinations to rent theaters outright during the dull summer months. The playhouses were glad to get the rental, and the organizations could remain intact during what would otherwise be a period of disorganization and loss. Gustave, therefore, took Hooley's Theater in Brooklyn for summer minstrel headquarters, and on a memorable morning in July Charles was electrified to receive the following letter from him: | ||||||||||||||||||||||||||||||||||||||||||||||
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