Chapter XIII: Part 13

My dear Colonel: I want to enter on your works in this way. You
have a girl called----. I know she is very good, because I have
never seen her act, but I understand she is not acting just as you
want her to, and therefore not playing, either because she is
laying off, or that you have stopped her from playing. I have a
part for which I could use this girl. Will you let me have her, and
in that way do another great wrong by doing me a favor? If she
doesn't, or you do not wish her to play, perhaps it would be as
much satisfaction to you if you thought you were doing me a favor
and let her play in my company as if she were not playing at all.
My best regards, and I hope this letter will not add much to the
many pangs of the season to you.

_To Sir James M. Barrie, October, 1913:_

As I wrote you, I felt we had a good opportunity here under the
conditions here, and I produced your "The Dramatists Get What They
Want" last night. It went splendidly with the audiences, and has
very good press. Of course the class of first-night audience that
we had last night understood it. The censor is a new thing over
here. The general public don't understand it, and it may on that
account not make so strong an impression on further audiences.
However, that is all right. I am delighted with the way it went,
and you would have been delighted had you been present. I think the
press was very good when you consider the subject is so new to us.
The three plays have all, I assure you, been nicely done, well
produced and cast, and you would be pleased with them as I am
pleased in having had them to produce. It helped considerably with
plays that would not have made much of an impression without them.
It has helped the general business of these plays, which, although
it is not great, is good, and makes a fair average every week. It
is chiefly what you would call "stall" business. "The Will" has
been a fine thing for John Drew, and he is very happy in it. He has
made a very deep impression indeed. I think the part with the
changes of character as played by him has made it really a star
part. If you have any more of them, send them along.

_To W. Somerset Maugham, October, 1913:_

Regarding the first act of "The Land of Promise," this is what I
think, and maybe you will think the same, and, if you do, give me a
good speech. Send it as soon as you can. I think that we should
have a different ending to the first act, uplifting the ending.
After the girl tells about her brother being married, wouldn't it
be a good idea for her to say something like this, in your own
language, of course: "Canada! Canada! You are right." (Turning to
Miss Pringle), "England, why should I stay in England? I'm young, I
want gaiety, new life. Then why not go to a young country where all
is life and gaiety and sunshine and joy and youth--the land of
promise, the land for me?" Remember, in the last act she speaks of
all she expected to find and how different the realization. This
new idea of the end of the first act will help this speech, I
think. And besides uplifting the ending, gives the great contrast
we want to show in the play and is driven into the minds of the
audience at the end of the first act. Give the girl a good
uplifting speech at the end of the first act, instead of a downward
one. That is what I mean. Then after that we get the contrast of
the countries. I hope this is clear and you will understand what I
mean.

_To J. E. Dodson, October, 1913:_

My greatest regret is that my profession takes me to Baltimore on
the day that you are giving the dinner at the Lotus Club to my
friend Cyril Maude. It would give me the greatest pleasure to eat
his health with you. I rejoice that you are giving recognition on
his first arrival here in New York to such a sincere actor and such
a real man. He belongs to all countries.

_To Haddon Chambers, June, 1911:_

Had a fine trip over. Found it hot here. Started in building your
scenery. Am only dropping you a line because I want to ask you,
while I think of it, if you will get a copy of that special morning
dress that Gerald wears at the beginning of the second act, for
Richard Bennett. I think it would be a good idea to bring it over.
Bennett is not quite as tall as Du Maurier and just a bit thicker,
and as it is a sort of loose dress there will be no difficulty in
fitting it here.

Now our cast is in good shape for your play, and I am very pleased
with it. We have an asylum full of children awaiting your selection
on your arrival.

_To Sir Arthur Wing Pinero, August, 1911:_

The man I selected to produce your play is Charles Frohman. He is
not only good at producing plays that have never been staged
before, but he likes your play thoroughly. He has made such a
careful study of it that he believes that he knows it in every
detail. He feels confident of his ability to handle it and to make
the changes you have made just as he thinks you and your public
over here would like to have it done.

_To Sir James M. Barrie, London, September, 1911:_

This will be signed for me, as I am still confined to my
bed--fighting rheumatism. I thought I would not write you until you
return to London. All goes well here. So far my new productions
have met with success. Miss Barrymore began in Mason's play last
night in Trenton, New Jersey. The play was well received before a
large audience. Miss Adams begins the new season in Buffalo next
Monday night. I am hoping within the next two weeks to be able to
get out on crutches. I have been to many rehearsals. They carry me
in a Bath chair to and from the theater.

_To Somerset Maugham, September, 1911:_

Thanks for yours. I am still down with rheumatism--partly on
account of the weather, but more especially because you are not
doing any work.

_To a New York critic, October, 1911:_

I hope in two or three weeks to be able to see myself as other good
critics, like you, would see me--well and about again in my various
theaters.

_To Sir James M. Barrie, November, 1911:_

Your letter was a delight, and it will be fine news for Miss Adams.
I hope you will send the material as soon as you can. Here I am
dictating to you from bed; so I will be brief. My foot is now tied
to a rope which is tied to the bed with weights. They are trying to
stretch the leg. I am hoping that in three or four weeks I may be
able to sit around. Five months on one's back is not good for much
more than watching aeroplanes.

_To Sir James M. Barrie, December, 1911:_

I was very glad to get your letter. I am still in bed, so that I am
obliged to dictate this letter to you. The manuscript arrived, but
found me out of condition to read it. I sent it on at once to Maude
Adams. She telegraphed me how delighted she is with it, and I have
had a letter from her telling me what a remarkable piece of work it
is. When she gets back to town I shall read the manuscript. Any
plan you work out for London will be fine. I should judge, without
knowing, that your idea for matinees is the best.

I am hoping that in another month I will be out; I am living on
that hope. Then I will commence to think about coming over to you.
I dare not think of it until I once more get out, I am afraid. All
this has naturally disturbed my London season. I am happy in the
thought that we will soon have "Peter" on again in London. What a
difference your plays made to my London season!

I shall write you again soon. "Peter and Wendy" is fine. My most
affectionate remembrances.

_To Sir James M. Barrie, January, 1912:_

I cabled you on receiving your letter because my voice was leaving
me rapidly. It was a case of a bad throat, and I wanted to get some
reply to you quickly. My throat is better now. I have had about
everything, and I fear I shall have to keep to my rooms for some
time to come. I hope to see you around the end of March.

I think your Shakespearian play is a most wonderful work. I quite
appreciate all you say about its chances. I rather felt that a
Shakespearian novelty of this kind would be most striking if
produced by Tree on top of his newspaper claim of having lost over
40,000 pounds on Shakespeare.

I am all bungled up here. I don't know quite what to do about
London this season. As I understood what you wanted, I replied as I
did. You know how I hate to lose any of your work for anybody or
anywhere. Now you understand. That is splendid about the Phillpotts
play, and I thank you. I am hoping about the Pinero play. I shall
be glad to see you.

This is all the voice I have left for dictation; so I end with my
best regards.

_To David Belasco, February, 1912:_

This is written for me. I am still confined to my rooms, and,
although able to sit up during the day for work, I do not get out
in the evening. I was glad to hear from you, and I hope you will
telephone that you will come round any old night that suits you.

I wish you could play "Peter Grimm" up here; I'd like to see it.

_To Sir James M. Barrie, February, 1912:_

I haven't written you because lately I have been having a lot of
pain. I sent you papers which will tell you how wonderfully your
fine play--"A Slice of Life"--has been received. It has caused a
tremendous lot of talk; but I just want to tell you that there is
absolutely no comparison, in performance, as the play is given here
and the way it was given in London. Fine actors, although the
London cast had, my people here seem to have a better grasp of what
you wanted. They have brought it out with a sincerity and
intelligence of stroke that is quite remarkable. Ethel Barrymore
never did better work. Her emotional breakdown, tears, her
humiliation--when she confesses to her husband that she had been a
good woman even before she met him, all this is managed in a keener
fashion, and with even a finer display of stage pathos than she
showed in her fine performance in "Mid-Channel."

As the husband, Jack Barrymore is every inch a John Drew. He feels,
and makes the audience feel, the humiliation of his position. When
he confesses, it is a terrible confession. Hattie Williams, in her
odd manner, imitated Nazimova--as Nazimova would play a butler.

So these artists step out into the light--before a houseful of
great laughter; one feels that they have struck the true note of
what you meant your play should have. I think the impossible
seriousness of triangle scenes in modern plays has been swept off
the stage here--and "A Slice of Life" has done it....

The effect of "A Slice of Life" is even greater and more general
than "The Twelve-Pound Look." All agree that each year you have
given our stage the real novelty of its theatrical season. And the
fine thing about it is that you have given me the opportunity of
putting these before the public.

I am getting along very slowly. I am able to do my work in my rooms
and go on crutches for a couple of hours at rehearsals. But always
I am in great pain. I hope to see you by the end of March. I don't
know whether you will shake my hand or my crutch. But I expect to
be there. We can take up the matters of "A Slice of Life," etc.,
then.

I am so delighted about "Peter Pan" this season. I am wondering if
you have done anything about that Shakespeare play, which I believe
would be another big novelty.

_To Sir Arthur Wing Pinero, March, 1912:_

Perhaps this will reach you on your return from the Continent. I
hope you have made a good trip and that you are happy.

I hope to give you for the "Mind the Paint Girl" Miss Billie Burke,
who is an enormous attraction here. She played in her little piece
from the French last week in St. Louis to $15,700. All the way
along the line her houses are sold out completely before her
appearance. Her play is only a slight thing--an adaptation from the
French, but play-goers seem to have gone wild over her. Besides
this, she is not only handsome, but every inch the very
personification of the "Paint Girl." Moreover, she is a genuinely
human actress. It will be a big combination for me to make--the
large cast required for the "Paint Girl," together with this
valuable star and your great play.

_To John Drew, March, 1912:_

I am glad to hear from you and to know that you are having
freezingly cold weather in the South. The joke is on the people
here. They think you are having such nice warm weather.

I am getting along pretty well. I am about the same as when you
left me except that there is great excitement among my doctors
because I can now move my small toe.

_To Sir James M. Barrie, September, 1913:_

"Half an Hour" has been going splendidly and had a fine reception
the first night. The majority of the press were splendid indeed,
one or two felt an awakening to see the change in the work that you
have been doing. I am awfully pleased the way it came out. I am
delighted to see that you have added another act to the "Adored
One." That makes it a splendid program for Miss Adams. Making it a
three-act play is fine for this side, as I cabled you. All the
Americans coming home who have seen your play are delighted with it
in every way. Hope all is going well. I am leaving to-morrow to
meet Maude Adams and see the piece that she is now playing called
"Peter Pan." I shall be away from New York for perhaps a week, and
on my return I will write you again fully.

_To Alfred Sutro, September, 1911:_

You know how happy your success has made me. You know how I longed
for it. You know all that so thoroughly that words were not
necessary. My illness prevented me from reading the play. I shall
read it in eight or ten days. But it is all understood, and when I
get up and out I shall fix up all the business.

John Drew, who is now free of worry concerning his new production,
is to read "The Perplexed Husband" next week. I shall write you
then. But the main thing is, we have the success and can take care
of it. And I am extremely happy over it.

_To J. A. E. Malone, the London manager, regarding the American presentation of "The Girl from Utah" and its instantaneous success:_

Believe me that the success is due entirely to the _American_
members, the _American_ work, and, of course, the _American_
stars.... The English numbers went for nothing. In short, the
American numbers caught on.

_To Haddon Chambers, in London in 1914:_

There have been a number of failures already, but they would have
failed if every day was a holiday. There has been just now a new
departure here in play-writing--a great success--"On Trial." This
is by a boy twenty-one years of age. The scenes are laid in the
court-room, and as the witness gets to the dramatic part of the
story the scene changes and the characters are shown to act out the
previous incidents of the story that is told in court, and then
they go back to the court and work that way through the play. It
has been a great sensation and is doing great business.

_Concerning one of his English productions in London, he writes Dion Boucicault:_

I want on my side to have you understand, however, that as far as I
am concerned I am keeping the theater open for the company and the
employees, and not for myself. I should have closed positively if I
had not my people in mind. That was my only reason....

_To Dion Boucicault:_

It seems to me that there are too many English actors coming over
here, and I fear some of them will be in distress, because there
don't seem to be positions enough for all that are coming, and
people are wondering why so many are coming instead of enlisting.
It might be well for you to inform some of these actors that the
chances are not so great now, because there are so many here on the
waiting-list. I use a great _many_, but I also use a great _many_
Americans, as merit is the chief thing.

_To Otis Skinner:_

I felt all that you now feel about the vision effect when I saw the
dress rehearsal. It looked to me like a magic-lantern scene that
would be given in the cellar of a Sunday-school.

_To Dion Boucicault, October, 1914:_

I am despondent as to what to do in London. I'd rather close. I
don't want to put on things at losses, because I do not wish to
send money to cover losses to London now. The rates of exchange are
something terrific, and therefore I don't want to be burdened with
this extra expense. Twelve pounds on every hundred pounds is too
much for any business man to handle. Over here we are feeling the
effects of the war, but the big things (and I am glad to say I am
in some of them) are all right.

_To an English actor about to enlist in the army:_

I have your letter. I am awfully sorry, but I haven't anything to
offer. So therefore I congratulate the army on securing your
services.

_Declining an invitation for a public dinner:_

I thank you very much for your very nice invitation to be present
at the dinner, but I regret that, first, I do not speak at dinners,
and, next, I do not attend dinners.

_One of the lines that Frohman wrote very often, and which came to be somewhat hackneyed, was to his general manager, Alf Hayman. It was:_

Send me a thousand pounds to London.

_To W. Lestocq, in 1914, regarding another manager:_

I notice that Mr. Z---- has a man who can sign for royalties I send
him. I wonder why he can't find some one to sign for royalties that
are due me!

_Of a production waiting to come to New York:_

Broadway may throw things when we play the piece here, still I have
failed before on Broadway.

_To James B. Fagan, in London, December, 1912, referring to his production of "Bella Donna" in this country:_

Mr. Bryant is giving an exceptionally good performance of the part,
and is so much taken with my theater and company that I have the
newspapers' word that he married my star (Nazimova).

_To Alfred Sutro, November, 1914:_

It seems to me that a strong human play, with good characters (and
clean), is the thing over here; and now, my dear Sutro, I do
believe that throughout the United States a play really requires a
star artist, man or woman--woman for choice....

_To W. Lestocq, in November, 1914:_

I have just returned from Chicago, where Miss Adams has a very
happy and delightful program in "Leonora" and "The Ladies'
Shakespeare." "The Ladies' Shakespeare" is delightful, but very
slight. The little scenes that Barrie has written that are spoken
before the curtain are awfully well received, but the scenes from
Shakespeare's play when they are acted are very short and the whole
thing is played in less than an hour. Miss Adams, of course, is
delightful in it, and it goes with a sparkle with her; and as it is
so slight and so much Shakespeare and so little Barrie, although
the Barrie part in front of the curtain is fine, I cannot say how
it would go with your audiences [referring to the London public]. I
am happy in the thought, however, that Barrie has furnished Miss
Adams with a program that will last her all through the season and
well into the summer.

_To Haddon Chambers:_

Hubert Henry Davies's "Outcast" has made a hit, but he really has a
wonderful woman--I should say the best young emotional actress on
the stage--in Miss Ferguson. So he is in for a good thing.

_To Cyril Maude, in Boston, November, 1914:_

Yours to Chicago has just reached me here in New York. As soon as I
heard that you were going to write me to Chicago I immediately left
for New York.

I am glad you are doing so very big in Boston. They say you are
going to stay all season. Things are terrible with me in London,
and the interests I had outside of London have been shocking. I am
hoping and believing, however, that all will be well again on the
little island--the island that I am so devoted to.

In this letter, it is worth adding, Frohman made one of his very rare confessions of bad business. He only liked to write about his affairs when they were booming.

_To Margaret Mayo Selwyn, New York, November 30, 1914:_

I was glad to receive your letter. I have been thinking about the
revival of the play you mentioned. In fact, the thought has been a
long one--three years--but I haven't reached it yet. I have been
thinking more about the new play you are writing for me. I know you
now have a lot of theaters, a lot of managers, and a lot of
husbands and things like that, but, all the same, I _want_ that
play. My best regards.

_Frohman loved sweets. He went to considerable trouble sometimes to get the particular candy he wanted. Here is a letter that he wrote to William Newman, then manager of the Maude Adams Company, in care of the Metropolitan Opera House, St. Paul:_

Will you go to George Smith's Chocolate Works, 6th and Robert
Streets, St. Paul, and get four packages of Smith's Delicious Cream
Patties and send them to me to the Knickerbocker Hotel, New York?

_Frohman had his own way of acknowledging courtesies. A London friend, Reginald Nicholson, circulation manager of the Times, sent him some flowers to the Savoy. He received this reply from the manager, scrawled with blue pencil on a sheet of hotel paper:_

A lot of thanks from Savoy Court 81.

Frohman's apartment for years at the Savoy Hotel was Savoy Court 81.

_To Paul Potter, written from the Blackstone, Chicago, in February, 1915:_

Dear Paul:

I received your telegram, and was glad to get it. The sun is
shining here and all is well. I hope to see you Saturday night at
the Knickerbocker.

C. F.

This is in every way a typical Charles Frohman personal note. He usually had one thing to say and said it in the fewest possible words.

_One day Frohman sent a certain play to his brother Daniel for criticism. On receiving an unfavorable estimate of the work he wrote him the following memorandum:_

Who are you and who am I that can decide the financial value of
this play? The most extraordinary plays succeed, and many that
deserve a better fate fail; so how are we to know until after we
test a play before the public?

_In reply to Charles Burnham's invitation to attend the Theatrical Managers' dinner, he wrote:_

Thank you very much, but my condition is still such that my game
leg would require at least four seats, and as we now have at least
several managers to every theater, and several theaters in every
block, I haven't the heart to accept the needed room, and thus
deprive them of any.

_Writing to E. H. Sothern and Julia Marlowe, in April, 1915, he said:_

I wonder why you don't both sail with me May 1 (_Lusitania_). As
far as I am concerned, when you consider all the stars I have
managed, mere submarines make me smile. But most affectionate
regards to you both.

_Writing to John Drew, who was willing to prolong his touring season in 1915, he says:_

All right. Why a young man like you cares to continue on his long
tours, I don't know. I hope to get away on May 1st and to return
shortly after you reach New York. Am in quest of something for you.
Our last talk before you left gave me much happiness.

_Refusing to book his attractions in a city for a week where three nights were sufficient, he said:_

My stars like week stands, but they don't like weak business.

_To Haddon Chambers, in London:_

I am hoping to get off on the _Lusitania_. It seems to be the best
ship to sail on. I shall be glad to see you.

_Writing to S. F. Nixon, a business colleague, regarding Miss Barrymore in "The Shadow":_

You are quite right as to the play being terribly somber. I thought
it a good idea to show what a representative American actress of
serious parts she was; so that next season we will offer a
contrast, and make the audiences laugh so much that they will be
compelled to crowd the theater. She will play then as humorous a
part ("Our Mrs. McChesney") as she did so earnestly a serious one.

_To J. C. O'Laughlin, of the Chicago_ Herald:

We managers have certain ideas about plays. We produce a play and
find our ideas and opinions often wrong. Our opinions are only
sound, I think, as far as the question of a play being actable is
concerned. My sympathetic feeling for all writers makes it very
hard to venture an opinion detrimental to their work, especially as
we find we are frequently wrong.

_To one of his leading women, April, 1915:_

I appreciate the expression of your affection. It almost makes me
turn westward instead of eastward. However, we must do our jobs,
and so I do mine. I am sailing Saturday (per _Lusitania_). Heaven
only will know where I am in July. I cannot tell this year anything
about anything.

_To Booth Tarkington:_

I don't suppose you have any idea of coming to New York. There are
a lot of fine things here worth your while, including myself.

_Concerning Hubert Henry Davies, the author of "Outcast," Miss Elsie Ferguson's very successful vehicle:_

He is a delightful, charming, simple, splendid fellow. You will be
delighted with him, and Miss Ferguson will be more than delighted
with him, because he will be so delighted with her. It is a fine
thing to have so nice a man as Davies arrive, and entirely
misunderstanding the person he is to rehearse because the surprise
will be all the greater. It pleases me, knowing what a fine
emotional (one of the very best in the world) young actress our
star is.

_To Harry Powers, manager of Powers Theater, Chicago, where his play "The Beautiful Adventure," with Ann Murdock, was then running:_

Regarding "The Beautiful Adventure," if I am doing wrong in making
a clean situation out of one that is not clean, I am going to do
wrong. The theater-going public in the cities may not always get a
good play from me, but they trust me, and I shall try and retain
that trust. We may not get the same amount of money, but if we can
live through it we will get a lot more satisfaction for those we
like and for ourselves.

_Some of the last letters written by Frohman were filled with a curious tenderness and affection. In the light of what happened after he sailed they seem to be overcast with a strange foreboding of his doom. The most striking example of this is furnished in a letter he wrote to Henry Miller on April 29th, a few days before he went aboard the_ Lusitania. _He had not written to Miller for a year, yet this is what he said:_

Dear Henry: I am going to London Saturday A.M. I want to say
good-by to you with this--and tell you how glad I am you've had a
good season.

Affectionately, C. F.

Miller was immensely touched by this communication. He wired to his son Gilbert to find out what steamer Frohman was taking, and send him a wireless. This message was probably the last ever received by Frohman, for no other similar telegram was sent him in care of the _Lusitania_.

_The last letter written by Frohman, before leaving the Hotel Knickerbocker on the morning the_ Lusitania _sailed, was to his intimate friend and companion Paul Potter. Potter, who had telephoned that he expected to meet him at the steamer, was much depressed, which explains one of the sentences in Frohman's letter:_

Saturday A.M., May 1, 1915.

Dear Paul: We had a fine time this winter. I hope all will go well
with you. And I think luck is coming to you. I hope another
"Trilby." It's fine of you to come to the steamer with all these
dark, sad conditions.

C. F.

On his way to the _Lusitania_ Frohman stopped for a moment at his office in the Empire Theater. There he dictated a note to Porter Emerson Browne, the playwright. It was his last dictation. The note merely said, "Good-by. Keep me posted." He referred to a new play that Browne was writing for him.

_Appendix B_

COMPLETE CHRONOLOGICAL LIST OF THE FROHMAN PRODUCTIONS

Altogether Charles Frohman produced more than five hundred plays--a greater number than any other manager of his time. The list of his productions, therefore, is really a large part of the record of the English-speaking stage during the last quarter of a century.

In the list which follows, the name of the star or stars appear immediately after the title of the piece. Except when otherwise indicated, the theater mentioned is in New York.

Here is the complete list of Frohman's productions in chronological order:

I

PRODUCTIONS IN AMERICA

_1883_

PLAY DATE THEATER

_The Stranglers of Paris_ November 12 New Park

_1884_

_The Pulse of New York_ May 10 Star

_Caprice_ (Minnie Maddern) November 6 Indianapolis

_1885_

_Victor Durand Road tour with Wallack's Theater_ Co.

_Moths_ " " "

_Lady Clare_ " " "

_Diplomacy_ " " "

_La Belle Russe_" " "

_The World_ " " "

_1886_

_The Golden Giant_ April 11 Fifth Avenue (McKee Rankin)

_A Toy Pistol_ (Tony Hart) February 20 New York Comedy

_A Wall Street Bandit_ September 20 Standard

_A Daughter of Ireland_ October 18 Standard (Georgia Cayvan)

_The Jilt_ (Dion Boucicault) October 29 Standard

_1887_

_Baron Rudolph_ October 24 Fourteenth Street

_She_ November 29 Niblo's Garden

_1888_

_Held by the Enemy_ Road tour

_1889_

_Shenandoah_ September 9 Star

_1890_

_The Private Secretary_ August 26 Grand Opera House

_All the Comforts of Home_ September 8 Proctor's 23d Street

_Men and Women_ October 20 Lyceum

_1891_

_Mr. Wilkinson's Widows_ March 30 Proctor's 23d Street

_Diplomacy_ June 12 Los Angeles, Cal.

_Jane_ August 3 Madison Square

_The Solicitor_ (Henry E. Dixey) September 8 Hermann's

_Thermidor_ October 12 Proctor's 23d Street

_The Man with a Hundred Heads_ November 2 Hermann's (Henry E. Dixey)

_Miss Helyett_ (Mrs. Leslie Carter) November 3 Star

_The Lost Paradise_ November 16 Proctor's 23d Street

_The Junior Partner_ December 8 Hermann's

_1892_

_Glorianna_ February 15 Hermann's

_Settled Out of Court_ August 8 Hermann's

_The Masked Ball_ (John Drew) October 3 Palmer's

_1893_

_The Girl I Left Behind Me_ January 25 Empire

_Ninety Days_ February 6 Broadway

_Liberty Hall_ August 21 Empire

_Fanny_ September 4 Standard

_The Other Man_ September 4 Garden

_Lady Windermere's Fan_ October Road tour

_Charley's Aunt_ October 2 Standard

_The Younger Son_ October 20 Empire

_The Councillor's Wife_ November 6 Empire

_Aristocracy_ November 14 Palmer's

_1894_

_Sowing the Wind_ January 2 Empire

_Poor Girls_ January 22 American

_The Butterflies_ (John Drew) February 5 Palmer's

_Gudgeons_ and

_The Luck of Roaring Camp_ May 14 Empire

_The Bauble Shop_ (John Drew) September 11 Empire

_The New Boy_ September 17 Standard

_Too Much Johnson_ November 26 Standard

_The Masqueraders_ (John Drew) December 3 Empire

_The Fatal Card_ December 31 Palmer's

_1895_

_The Foundling_ February 25 Hoyt's

_John A'Dreams_ March 18 Empire

_The Importance of Being Earnest_ April 22 Empire

_The Sporting Duchess_ August 29 Academy of Music

_The City of Pleasure_ September 2 Empire

_That Imprudent Young Couple_ September 22 Empire
(John Drew)

_The Gay Parisians_ September 23 Hoyt's

_Christopher Jr._ (John Drew) October 7 Empire

_Denise_ (Olga Nethersole) December 2 Empire

_Frou Frou_ (Olga Nethersole) December 5 Empire

_Camille_ (Olga Nethersole) December 9 Empire

_Carmen_ (Olga Nethersole) December 24 Empire

_1896_

_Michael and His Lost Angel_ January 15 Empire

_The Squire of Dames_ (John Drew) January 20 Empire

_A Woman's Reason_ January 27 Empire

_A Social Highwayman_ February 3 Garrick
(E. M. and Joseph Holland)

_Marriage_ February 17 Empire

_Bohemia_ March 9 Empire

_Thoroughbred_ April 20 Garrick

_Rosemary_ (John Drew) August 31 Empire

_The Liars_ September 7 Hoyt's

_Albert Chevalier_ September 7 Garrick

_Sue_ (Annie Russell) September 15 Hoyt's

_Secret Service_ October 5 Garrick

_Honors Are Easy_ November 9 Montauk, Brooklyn

_Two Little Vagrants_ November 23 Academy of Music

_Under the Red Robe_ December 28 Empire

_1897_

_Heartsease_ (Henry Miller) January 11 Garden

_Spiritissime_ February 22 Knickerbocker

_Never Again_ March 8 Garrick

_Courted Into Court_ August 30 Newark, N. J.

_The Little Minister_ (Maude Adams) September 27 Empire

_The Proper Caper_ October 4 Hoyt's

_The First Born_ and _A Night Session_ October 5 Manhattan

_A Marriage of Convenience_ November 8 Empire
(John Drew)

_The White Heather_ November 22 Academy of Music

_1898_

_Salt of the Earth_ January 3 Wallack's

_The Conquerors_ January 4 Empire

_The Circus Girl_ January 17 Columbia, Brooklyn

_Oh, Susannah_ February 7 Hoyt's

_One Summer's Day_ (John Drew) February 14 Wallack's

_The Master_ (Henry Miller) February 15 Garden

_Little Miss Nobody_ September 5 Philadelphia

_A Brace of Partridges_ September 7 Madison Square

_The Countess Valeska_ September 26 Troy, N. Y.
(Julia Marlowe)

_On and Off_ October 17 Madison Square

_Catherine_ (Annie Russell) October 24 Garrick

_As You Like It_ (Julia Marlowe) November 7 Omaha, Nebraska

_Phroso_ December 26 Empire

_Ingomar_ (Julia Marlowe) December 26 Indianapolis

_1899_

_Because She Loved Him So_ January 16 Madison Square

_Her Atonement_ February 13 Academy of Music

_Lord and Lady Algy_ February 14 Empire

_The Cuckoo_ April 3 Wallack's

_Colinette_ (Julia Marlowe) April 10 Knickerbocker

_Romeo and Juliet_ (Maude Adams) May 8 Empire

_His Excellency the Governor_ May 22 Empire

_Hamlet_ (Henry Miller) August 1 San Francisco

_The Girl from Maxim's_ August 29 Criterion

_Miss Hobbs_ (Annie Russell) September 7 Lyceum

_The Tyranny of Tears_ (John Drew) September 11 Empire

_The Only Way_ (Henry Miller) September 16 Herald Square

_Barbara Fritchie_ (Julia Marlowe) October 23 Criterion

_Sherlock Holmes_ November 6 Garrick
(William Gillette)

_Make Way for the Ladies_ November 13 Madison Square

_My Lady's Lord_ December 25 Empire

_1900_

_Brother Officers_ January 15 Empire

_The Surprises of Love_ January 22 Lyceum

_Coralie & Co., Dressmakers_ February 5 Madison Square

_Hearts Are Trumps_ February 21 Garden

_My Daughter-in-Law_ February 26 Lyceum

_A Man and His Wife_ and

_The Bugle Call_ April 2 Empire

_The Tree of Knowledge_ July 2 San Francisco
(Henry Miller)

_A Royal Family_ (Annie Russell) September 5 Lyceum

_The Rose of Persia_ September 6 Daly's

_The Husband of Leontine_ September 8 Madison Square

_Richard Carvel_ (John Drew) September 11 Empire

_David Harum_ (W. H. Crane) October 1 Garrick

_Self and Lady_ October 8 Madison Square

_L'Aiglon_ (Maude Adams) October 22 Knickerbocker

_1901_

_Mrs. Dane's Defense_ January 7 Empire

_The Girl from Up There_ January 8 Herald Square
(Edna May)

_My Lady Dainty_ January 8 Madison Square
(Herbert Kelcey and Effie Shannon)

_Captain Jinks_ (Ethel Barrymore) February 4 Garrick

_Under Two Flags_ February 5 Garden

_The Lash of a Whip_ February 25 Lyceum

_To Have and To Hold_ March 4 Knickerbocker

_Manon Lescaut_ March 19 Wallack's
(Kelcey and Shannon)

_Are You a Mason?_ April 1 Wallack's

_A Royal Rival_ August 26 Criterion
(William Faversham)

_The Second in Command_ September 2 Empire
(John Drew)

_A Message from Mars_ October 7 Garrick
(Charles Hawtrey)

_Eben Holden_ October 28 Savoy

_Quality Street_ (Maude Adams) November 11 Knickerbocker

_Alice of Old Vincennes_ December 2 Garden
(Virginia Harned)

_The Girl and the Judge_ December 4 Lyceum
(Annie Russell)

_The Wilderness_ December 23 Empire

_Sweet and Twenty_ December 30 Madison Square

_1902_

_Colorado_ January 12 Grand Opera House

_The Twin Sister_ March 3 Empire

_Sky Farm_ March 17 Garrick

_The New Clown_ August 25 Garrick

_The Mummy and the Humming-Bird_ September 4 Empire
(John Drew)

_There's Many a Slip_ September 15 Garrick

_Aunt Jeanne_ September 16 Garden
(Mrs. Patrick Campbell)

_Iris_ (Virginia Harned) September 22 Criterion

_Two Schools_ September 29 Madison Square

_The Second Mrs. Tanqueray_ October 6 Garden
(Mrs. Patrick Campbell)

_A Country Mouse_ and _Carrots_ October 6 Savoy (Ethel Barrymore)

_Everyman_ October 12 Mendelssohn Hall
(Edith Wynne Mathison and Charles Rann Kennedy)

_The Joy of Living_ October 23 Garden
(Mrs. Patrick Campbell)

_Imprudence_ (William Faversham) November 7 Lyceum

_The Girl with the Green Eyes_ December 25 Savoy
(Clara Bloodgood)

_1903_

_A Bird in the Cage_ January 12 Bijou

_The Unforeseen_ January 12 Empire

_Mice and Men_ (Annie Russell) January 19 Garrick

_Three Little Maids_ (G. P. Huntley) August 31 Daly's

_Ulysses_ September 14 Garden

_Drink_ (Charles Warner) September 14 Academy of Music

_The Man from Blankley's_ September 14 Criterion
(Charles Hawtrey)

_Captain Dieppe_ (John Drew) September 14 Herald Square

_Lady Rose's Daughter_ September 24 Garrick
(Fay Davis)

_The Spenders_ (W. H. Crane) October 5 Savoy

_The Best of Friends_ October 19 Academy of Music

_Cousin Kate_ (Ethel Barrymore) October 19 Hudson

_Charlotte Wiehe_ (French Players) October 21 Vaudeville

_The Girl from Kay's_ November 2 Herald Square
(Sam Bernard)

_The Pretty Sister of Jose_ November 9 Empire
(Maude Adams)

_The Admirable Crichton_ November 16 Lyceum
(William Gillette)

_Elizabeth's Prisoner_ November 23 Criterion
(William Faversham)

_Whitewashing Julia_ December 2 Garrick
(Fay Davis)

_The Other Girl_ December 23 Criterion

_Glad of It_ (Millie James) December 28 Savoy

_1904_

_My Lady Molly_ (Andrew Mack) January 4 Daly's

_The Light that Lies in Woman's Eyes_ (Virginia Harned) January 25 Criterion

_The Younger Mrs. Parling_ January 25 Garrick
(Annie Russell)

_Man Proposes_ (Henry Miller) March 14 Hudson

_The Dictator_ (William Collier) April 4 Criterion

_Saucy Sally_ (Charles Hawtrey) April 4 Lyceum

_Camille_ April 18 Hudson
(Margaret Anglin and Henry Miller)

_When Knighthood Was in Flower_ May 2 Empire
(Julia Marlowe)

_Yvette_ (Hattie Williams) May 12 Knickerbocker

_Ben Greet Players_ October 5

_The School Girl_ (Edna May) September 1 Daly's

_The Duke of Killiecrankie_ September 5 Empire
(John Drew)

_Letty_ (William Faversham) September 12 Hudson

_Business is Business_ September 19 Hudson
(W. H. Crane)

_The Coronet of the Duchess_ September 21 Garrick
(Clara Bloodgood)

_The Sorceress_ October 10 New Amsterdam
(Mrs. Patrick Campbell)

_Joseph Entangled_ (Henry Miller) October 10 Garrick

_Shakespearian Repertory_ October 17 Knickerbocker
(Julia Marlowe and E. H. Sothern)

_Granny_ (Mrs. G. H. Gilbert) October 24 Lyceum

_David Garrick_ November 14 Lyceum
(Charles Wyndham)

_The Rich Mrs. Repton_ November 14 Criterion
(Fay Davis)

_Sunday_ (Ethel Barrymore) November 14 Hudson

_Brother Jacques_ (Annie Russell) December 5 Garrick

_Mrs. Goringe's Necklace_ December 12 Lyceum
(Charles Wyndham)

_A Wife Without a Smile_ December 19 Criterion
(Margaret Illington)

_1905_

_Cousin Billy_ (Francis Wilson) January 2 Criterion

_The Case of Rebellious Susan_ January 9 Lyceum
(Charles Wyndham)

_Mrs. Leffingwell's Boots_ January 11 Savoy

_Friquet_ (Marie Doro) January 30 Savoy

_'Op o' My Thumb_ February 6 Empire
(Maude Adams)

_Jinny the Carrier_ (Annie Russell) April 10 Criterion

_The Freedom of Suzanne_ April 17 Empire (Marie Tempest)

_The Rollicking Girl_ May 1 Herald Square
(Sam Bernard)

_A Doll's House_ May 2 Lyceum
(Ethel Barrymore)

_The Catch of the Season_ August 28 Daly's
(Edna May)

_De Lancey_ (John Drew) September 4 Empire

_The Beauty and the Barge_ September 6 Lyceum
(Nat C. Goodwin)

_Just Out of College_ September 27 Lyceum
(Joseph Wheelock)

_Shakespearian Repertory_ October 16 Knickerbocker
(Julia Marlowe and E. H. Sothern)

_Wolfville_ (Nat C. Goodwin) October 20 Philadelphia

_Peter Pan_ (Maude Adams) November 6 Empire

_On the Quiet_ (William Collier) November 27 Criterion

_La Belle Marseillaise_ November 27 Knickerbocker
(Virginia Harned)

_Alice Sit By the Fire_ and _Pantaloon_ December 25 Criterion (Ethel Barrymore)

_1906_

_Mispah_ January 22 Baltimore

_The Duel_ (Otis Skinner) February 12 Criterion

_The Mountain Climber_ March 5 Criterion
(Francis Wilson)

_The American Lord_ (W. H. Crane) April 16 Hudson

_The Little Father of the Wilderness_ April 16 Criterion
(Francis Wilson)

_The Little Cherub_ August 6 Criterion
(Hattie Williams)

_The Price of Money_ August 29 Garrick
(W. H. Crane)

_The Hypocrites_ August 30 Hudson
(Doris Keane and Richard Bennett)

_The Judge and Jury_ September 1 Wallack's

_His House in Order_ (John Drew) September 3 Empire

_Clarice_ (William Gillette) October 15 Garrick

_The House of Mirth_ (Fay Davis) October 22 Savoy
(William Collier)

_The Rich Mr. Hoggenheimer_ October 22 Wallack's
(Sam Bernard)

_Caught in the Rain_ December 31 Garrick

_1907_

_The Truth_ (Clara Bloodgood) January 7 Criterion

_Captain Brassbound's Conversion_ January 28 Empire
(Ellen Terry)

_Good Hope and Nance Oldfield_ February 11 Empire
(Ellen Terry)

_The Silver Box_ (Ethel Barrymore) March 18 Empire

_When Knights Were Bold_ August 20 Garrick
(Francis Wilson)

_The Dairymaids_ August 26 Criterion
(Julia Sanderson and G. P. Huntley)

_My Wife_ (John Drew) August 31 Empire

_The Thief_ September 9 Lyceum
(Margaret Illington and Kyrle Bellew)

_The Morals of Marcus_ November 18 Criterion
(Marie Doro)

_The Toymaker of Nuremberg_ November 25 Garrick

_Her Sister_ (Ethel Barrymore) December 25 Hudson

_Miss Hook of Holland_ December 31 Criterion
(Thomas Wise)

_1908_

_The Jesters_ (Maude Adams) January 13 Empire

_Twenty Days in the Shade_ January 20 Savoy
(Pauline Frederick and Richard Bennett)

_The Honor of the Family_ February 17 Hudson
(Otis Skinner)

_The Irish Players_ February 17 Savoy

_Father and the Boys_ (W. H. Crane) March 2 Empire

_Toddles_ (John Barrymore) March 16 Garrick

_Love Watches_ (Billie Burke) August 27 Lyceum

_The Mollusc_ September 2 Garrick
(Alexandra Carlisle and Joseph Coyne)

_The Girls of Gottenberg_ September 2 Knickerbocker
(Gertie Millar)

_Diana of Bobson's_ September 5 Savoy
(Carlotta Nilsson)

_Fluffy Ruffles_ (Hattie Williams) September 7 Criterion

_Jack Straw_ (John Drew) September 14 Empire

_Miss Hook of Holland_ October 2 Albany
(Frank Daniels)

_Samson_ (William Gillette) October 19 Criterion

_Lady Frederick_ (Ethel Barrymore) November 9 Hudson

_The Patriot_ (William Collier) November 23 Garrick

The Sicilian Players November 23 Broadway

_What Every Woman Knows_ December 23 Empire
(Maude Adams)

_1909_

_Kitty Grey_ (G. P. Huntley) January 25 New Amsterdam

_The Richest Girl_ (Marie Doro) March 1 Criterion

_An Englishman's Home_ March 23 Criterion

_The Happy Marriage_ April 12 Garrick
(Doris Keane and Edwin Arden)

_The Mollusc_ June 7 Empire
(Sir Charles Wyndham and Mary Moore)

Isadora Duncan in Classical Dances August 18 Criterion

_Detective Sparkes_ August 23 Garrick
(Hattie Williams)

_Arsene Lupin_ (William Courtnay) August 26 Lyceum

_The Flag Lieutenant_ August 30 Criterion
(Bruce McRae)

_The Dollar Princess_ September 6 Knickerbocker
(Donald Brian)

_Inconstant George_ (John Drew) September 20 Empire

_Samson_ (James K. Hackett) October 1 Atlantic City

_The Harvest Moon_ (George Nash) October 15 Garrick

_Israel_ (Constance Collier) October 25 Criterion

_A Builder of Bridges_ October 26 Hudson
(Kyrle Bellew)

_Penelope_ (Marie Tempest) December 13 Lyceum

_The Bachelor's Baby_ December 27 Criterion
(Francis Wilson)

_Fires of Fate_ December 28 Liberty

_1910_

_Your Humble Servant_ January 3 Garrick
(Otis Skinner)

_The Arcadians_ (Julia Sanderson) January 17 Liberty

_A Lucky Star_ (William Collier) January 18 Hudson

_Mrs. Dot_ (Billie Burke) January 24 Lyceum

_Mid-Channel_ (Ethel Barrymore) January 31 Empire

_Caste_ April 25 Empire
(Marie Tempest, Elsie Ferguson, G. P. Huntley, Edwin Arden)

_Love Among the Lions_ August 8 Garrick
(A. E. Matthews)

_The Brass Bottle_ August 11 Lyceum

_Our Miss Gibbs_ (Pauline Chase) August 29 Knickerbocker

_Smith_ (John Drew) September 5 Empire

_Decorating Clementine_ September 19 Lyceum
(Hattie Williams and G. P. Huntley)

_A Thief in the Night_ September 30 Atlantic City
(Marie Tempest)

_The Scandal_ (Kyrle Bellew) October 17 Garrick

_Electricity_ (Marie Doro) October 31 Lyceum

_Raffles_ (Kyrle Bellew) November 1 Garrick

_The Speckled Band_ November 21 Garrick
(Edwin Stevens)

_The Foolish Virgin_ December 19 Knickerbocker
(Mrs. Patrick Campbell)

_Suzanne_ (Billie Burke) December 26 Lyceum

_United States Minister Bedloe_ December 28 Trenton, N. J.
(W. H. Crane)

_1911_

_The Philosopher in the Apple Orchard_
(Billie Burke) January 20 Lyceum

_Chantecler_ (Maude Adams) January 23 Knickerbocker

_Sire_ (Otis Skinner) January 24 Criterion

_The Twelve-Pound Look_ February 13 Empire
(Ethel Barrymore)

_The Zebra_ February 13 Garrick

William Gillette in Repertory March 13 Empire

_The Siren_ (Donald Brian) August 28 Knickerbocker

_A Single Man_ (John Drew) September 4 Empire

_The Mollusc_ (Kyrle Bellew) September 11 Buffalo

_Passers-By_ (Richard Bennett) September 14 Criterion

_The Other Mary_ September 21 Utica
(Madame Nazimova)

_The Runaway_ (Billie Burke) October 9 Lyceum

_The Butterfly on the Wheel_ October 26 Atlantic City
(Marie Doro)

_The Marionettes_ December 3 Lyceum
(Madame Nazimova)

_The Witness for the Defense_ December 4 Empire
(Ethel Barrymore)

_Kismet_--with Klaw & Erlanger December 25 Knickerbocker
(Otis Skinner)

_1912_

_A Slice of Life_ January 29 Empire
(Ethel Barrymore, Hattie Williams, and John Barrymore)

_Lady Patricia_ (Mrs. Fiske) February 26 Empire

_Preserving Mr. Panmure_ February 27 Lyceum
(Gertrude Elliott)

_Oliver Twist_ March 25 Empire
(Nat C. Goodwin, Marie Doro, Constance Collier, and Lyn Harding)

_The Girl from Montmartre_ August 5 Criterion
(Hattie Williams and Richard Carle)

_The Model_ (William Courtleigh) August 31 Harris

_The Perplexed Husband_ September 2 Empire
(John Drew)

_Mind the Paint Girl_ (Billie Burke) September 9 Lyceum

_Passers-by_ (Charles Cherry) September 19 Utica

_The Attack_ (John Mason) September 23 Garrick

_Bella Donna_ (Madame Nazimova) November 11 Empire

_The Conspiracy_ (John Emerson) December 23 Garrick

_1913_

_The Spy_ (Edith Wynne Mathison) January 13 Empire

_The New Secretary_ January 27 Lyceum
(Marie Doro and Charles Cherry)

_The Sunshine Girl_ February 3 Knickerbocker
(Julia Sanderson)

_Liberty Hall_ (John Mason) March 11 Empire

_The Witness for the Defense_ March 27 Poughkeepsie, N. Y.
(Blanche Bates)

_The Amazons_ (Billie Burke) April 28 Empire

_The Doll Girl_ August 23 Globe
(Hattie Williams and Richard Carle)

_Much Ado About Nothing_ September 1 Empire
(John Drew)

_Who's Who?_ (William Collier) September 15 Criterion

_The Marriage Market_ September 22 Knickerbocker
(Donald Brian)

_The Will_ (John Drew) September 29 Empire

_The Tyranny of Tears_ (John Drew) September 29 Empire

_The Younger Generation_ September 29 Lyceum

_Half an Hour_ (Grace George) September 29 Lyceum

_The Dramatists Get What They Want_ October 12 Globe
(Williams and Carle)

_Indian Summer_ (John Mason) October 27 Criterion

_Tante_ (Ethel Barrymore) October 28 Empire

_The Land of Promise_ (Billie Burke) December 25 Lyceum

_1914_

_A Little Water on the Side_ January 5 Hudson
(William Collier)

_The Legend of Leonora_ January 5 Empire
(Maude Adams)

_Half an Hour_ (Blanche Bates) January 25 Vaudeville

_The Laughing Husband_ February 2 Knickerbocker
(Curtice Pounds)

_Jerry_ (Billie Burke) March 30 Lyceum

_A Scrap of Paper_ May 11 Empire
(Ethel Barrymore and John Drew)

_The Girl from Utah_ August 24 Knickerbocker
(Julia Sanderson, Donald Brian, and Joseph Cawthorn)

_A Slice of Life_ September 6 Vaudeville
(Richard Carle and Hattie Williams)

_The Prodigal Husband_ (John Drew) September 7 Empire

_The Beautiful Adventure_ September 7 Lyceum
(Charles Cherry, Ann Murdock, and Mrs. Thomas Whiffen)

_The Heart of a Thief_ October 5 Hudson
(Martha Hedman)

_Rosalind_ (Maude Adams) October 12 Syracuse

_Diplomacy_ October 19 Empire
(William Gillette, Blanche Bates, and Marie Doro)

_The Ladies' Shakespeare_ October 26 Hamilton, Ont.
(Maude Adams)

_The Song of Songs_ October 29 Atlantic City

_Outcast_--with Klaw & Erlanger November 2 Lyceum
(Elsie Ferguson)

_Driven_ (Alexandra Carlisle) December 14 Empire

_The Silent Voice_ (Otis Skinner) December 29 Liberty

_1915_

_Rosemary_ (John Drew) January 11 Empire

_The Shadow_ (Ethel Barrymore) January 25 Empire

_A Girl of To-day_ (Ann Murdock) February 8 Washington

_A Celebrated Case_
--with David Belasco April 7 Empire
(Nat C. Goodwin, Ann Murdock, Otis Skinner,
Helen Ware, Florence Reed, and Robert Warwick)

_The Hyphen_ April 19 Knickerbocker
(W. H. Thompson and Gail Kane)

The following productions were arranged by Charles Frohman before he sailed on the

_Lusitania_ and were staged, just as he planned them, after his death:

_1915_

_The Duke of Killiecrankie and Rosalind_ (Marie Tempest) September 6 Lyceum

_Grumpy_ (Cyril Maude) September 13 Empire

_Sherlock Holmes_ (William Gillette) October 11 Empire

_Our Mrs. McChesney_ October 19 Lyceum
(Ethel Barrymore)

_Secret Service_ (William Gillette) November 8 Empire

_The Chief_ (John Drew) November 22 Empire

_Peter Pan_ (Maude Adams) December 22 Empire

_Cock o' the Walk_ (Otis Skinner) December 27 Cohan

_1916_

_Sibyl_ January 10 Liberty
(Julia Sanderson, Donald Brian, and Joseph Cawthorn)

_The Little Minister_ January 11 Empire
(Maude Adams)

_Margaret Schiller_ --with Klaw & Erlanger --(Elsie Ferguson) January 31 New Amsterdam

_The Heart of Wetona_ --with David Belasco February 29 Lyceum

II

PRODUCTIONS IN ENGLAND

The following is the complete list of productions made by Charles Frohman in England, either alone or in collaboration with other managers, such as the Gattis, George Edwardes, Seymour Hicks, Sir Charles Wyndham, David Belasco, and Arthur Bourchier:

_1892_

PLAY DATE THEATER

_The Lost Paradise_ December 22 Adelphi

_1896_

_A Night Out_ April 29 Vaudeville

_1897_

_My Friend the Prince_ February 13 Garrick

_Secret Service_ (William Gillette) May 15 Adelphi

_Never Again_ October 11 Vaudeville

_1898_

_The Heart of Maryland_ April 8 Adelphi
(Mrs. Leslie Carter)

_Too Much Johnson_ April 19 Garrick

_Sue_ June 10 Garrick

_Adventures of Lady Ursula_ October 11 Duke of York's

_On and Off_ December 1 Vaudeville

_1899_

_My Daughter-in-Law_ September 27 Criterion

_The Christian_ October 16 Duke of York's

_Miss Hobbs_ December 18 Duke of York's

_1900_

_The Masked Ball_ January 6 Criterion

_Zaza_ (Mrs. Leslie Carter) April 16 Garrick

_Madame Butterfly_ April 28 Duke of York's

_Kitty Grey_ September 7 Apollo

_Self and Lady_ September 19 Vaudeville

_The Lackey's Carnival_ September 28 Duke of York's

_The Swashbuckler_ November 17 Duke of York's

_Alice in Wonderland_ December 19 Vaudeville

_1901_

_The Girl from Up There_ (Edna May) April 23 Duke of York's

_Sweet and Twenty_ April 24 Vaudeville

_Sherlock Holmes_ September 9 Lyceum

_Are You a Mason?_ September 12 Shaftesbury

_Bluebell in Fairyland_ December 8 Vaudeville

_1902_

_The Twin Sister_ January 1 Duke of York's

_The Girl from Maxim's_ March 20 Criterion

_All on Account of Eliza_ April 3 Shaftesbury

_Three Little Maids_ (Edna May) May 10 Apollo

_The Marriage of Kitty_ August 19 Duke of York's

_Quality Street_ September 17 Vaudeville

_1903_

_The School Girl_ (Edna May) May 9 Duke of York's

_Billy's Little Love Affair_ September 2 Criterion

_Little Mary_ September 24 Wyndham's

_Letty_ October 8 Duke of York's

_The Cherry Girl_ December 21 Vaudeville

_Madame Sherry_ December 23 Apollo

_1904_

_Love in a Cottage_ January 27 Terry's

_Captain Dieppe_ February 15 Duke of York's

_The Duke of Killiecrankie_ January 20 Criterion

_The Rich Mrs. Repton_ April 20 Duke of York's

_Cynthia_ May 16 Wyndham's

_Merely Mary Ann_ September 8 Duke of York's

_The Catch of the Season_ September 9 Vaudeville

_The Wife Without a Smile_ October 12 Wyndham's

_The Freedom of Suzanne_ November 15 Criterion

_Peter Pan_ December 27 Duke of York's

_1905_

_The Lady of Leeds_ February 9 Wyndham's

_Alice Sit By The Fire_ April 5 Duke of York's

_Leah Kleschna_ May 2 New

_The Dictator_ (William Collier) May 3 Comedy

_Clarice_ September 13 Duke of York's

_On the Quiet_ (William Collier) September 27 Comedy

_The Mountain Climber_ November 21 Comedy

_1906_

_The Alabaster Staircase_ February 21 Comedy

_All of a Sudden Peggy_ February 27 Duke of York's

_The Beauty of Bath_ March 19 Aldwych

_Punch and Josephine_ April 5 Comedy

_The Belle of Mayfair_ (Edna May) April 11 Vaudeville

_Fascinating Mr. Vandervelt_ April 26 Garrick

_Raffles_ May 12 Comedy

_The Lion and the Mouse_ May 22 Duke of York's

_Toddles_ December 3 Duke of York's

_1907_

_Nelly Neil_ (Edna May) January 10 Aldwych

_My Darling_ March 2 Hicks'

_The Great Conspiracy_ March 4 Duke of York's

_The Truth_ April 6 Comedy

_Brewster's Millions_ May 1 Hicks'

_The Hypocrites_ August 27 Hicks'

_The Barrier_ October 10 Comedy

_Miquette_ October 26 Duke of York's

_Angela_ December 4 Comedy

_1908_

_Lady Barbarity_ February 27 Comedy

_The Admirable Crichton_ March 2 Duke of York's

_A Waltz Dream_ March 7 Hicks'

_Mrs. Dot_ April 27 Comedy

_What Every Woman Knows_ September 3 Duke of York's

_Paid in Full_ September 26 Aldwych

_Sir Anthony_ November 28 Wyndham's

_1909_

_Penelope_ January 9 Comedy

_Samson_ February 3 Garrick

_The Dashing Little Duke_ February 17 Hicks'

_Strife_ March 29 Duke of York's

_Bevis_ April 1 Haymarket

_Love Watches_ May 11 Haymarket

_Arsene Lupin_ August 30 Duke of York's

_Madame X_ September 1 Globe

_The Great Divide_ September 15 Adelphi

_Smith_ September 30 Comedy

_A Servant in the House_ October 25 Adelphi

_Great Mrs. Alloway_ November 1 Globe

_1910_