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It has been aptly said of Mr. Wood that "whether we believe him to be right in his conclusions, or wrong; whether we look from his point of view, another's or our own, the fact remains that we have in him, and in men like him, the most valuable possession of the State — a citizen strong in the cour- age of his convictions, absolutely fear- less and free in the voicing of senti- ments that, in his belief, make for hon- est government."

CKarles FroKman—

Once upon a time a rolly-poly little man wore the burnt cork and tinseled toggery as a member of Jack Haverly's minstrels. Later, this short, fat little man established a little dramatic agen- cy where barn-storming companies were organized and out-at-elbow Thes- pians came to look for an engagement.

Another period past, and the same rotund, cherub-faced little man was manager of one of New York's leading theaters. But the management of one theater was not sufficient to satisfy the ambition of Charles Frohman — for that was the little fat man's name — and as time went on he gained control of one theater after another until he was mas- ter of eleven of the principal theaters in New York City. But his capacity for management was not bounded by the city limits of the metropolis. Today Charles Frohman is lord of the theatri- cal firmament, with only a few who dare dispute his sovereignty. About seventy theaters throughout the Unit- ed States are under his jurisdiction, while eight in London recognize his authority.

And there is no determining the number of actors, great and small, who look to him as an overlord. In his outer offices — for my lord is guarded most carefully from unwarrantable in- trusion — may be found the actors and actresses whose names rank in the van of the profession. No matter how great their stellar magnitude, it becomes as naught when the authority of the fat little man is approached. All the play- wrights bow to the same throne, and Frohman has the first consideration of nearly every play that is written. And

as the head of the "syndicate," his in- fluence is extended to nearly every theater of the better class throughout the land.

From the hard seat in a minstrel half-circle to a luxurious chair in the sumptuous offices of the Empire Thea- ter is a **long cry" — as Mowgli would say. Is it due, then, to a superior edu- cation, a high scholarship, devotion to art, high ideals? Nay, verily, for Mr. Frohman's education is the most mea- ger ; his scholarship, nil ; and as for An^ he snaps his fingers in her face. Bui because he has solved more successful- ly than any other man the equation be- tween the drama and the dollar; be- cause his sole aim is to attract audi-

CHARLES FROHMAN

ences; because the box-office receipts are his only criterion, and his man- agerial clear sightedness is not obscur- ed by any artistic ideals; because he prostitutes Melpomene to the service of his coffers, and makes of Thalia a wage-earning drudge, has he raised himself to this position of autocracy. Better than any living man does he un- derstand what the people want. And by supplying their every taste, whether it be for Shakespeare or for French.

farce, he has won success./^^ _ ^r^