out if Mr. Frohman was in, he immediately
said, after the grand fashion of theatrical office-boys:

"Mr. Frohman is out and I don't know when he will return."

"But I have an engagement with Mr. Frohman," said Drew.

"You will have to wait," said the boy.

Drew cooled his heels outside while Frohman waited impatiently inside
for him. When he emerged at lunchtime he was surprised to find his man
about to depart.

Daly was immediately discharged by Julius Cahn, who was office manager,
but was promptly reinstated the next day by Frohman, who had been
greatly impressed with the boy's quick wit and intelligence.

This office-boy, it is interesting to relate, became Arnold Daly, the
actor. No experience of his life was perhaps more amusing or picturesque
than the crowded year when he manned the outside door of Charles
Frohman's office. Instead of attending to business, he spent most of his
time writing burlesques on contemporary plays, which he solemnly
submitted to Harry Rockwood, the bookkeeper.

During these days occurred a now famous episode. Young Daly was
luxuriously reclining in the most comfortable chair in the
reception-room one day when Louise Closser Hale, the actress, entered
and asked to see Charles Frohman.

"He is out," said Daly.

"May I wait for him?" asked the visitor.

"Yes," answered Daly, and the woman sat down.

After three hours had passed she asked Daly, "Where is Mr. Frohman?"

"He's in London," was the reply.

Afterward Daly became "dresser" for John Drew, the virus of the theater
got into his system, and before long he was an actor.

Thus even Charles Frohman's office-boys became stars.

* * *

Epochal as had been 1892, witnessing the first big Frohman star and a
great artistic expansion, the new year that now dawned realized another
and still greater dream of Charles Frohman, for it brought the
dedication of his own New York theater at last, the famous Empire.

Ever since he had been launched in the metropolitan theatrical
whirlpool, Frohman wanted a New York theater. As a boy he had witnessed
the glories of the Union Square Theater under Palmer; as a road manager
he had a part in the success of the Madison Square Theater activities;
in his early managerial days he had been associated with the Lester
Wallack organization; he had watched the later triumphs of the Lyceum
Theater Company at home and on the road. Quite naturally he came to the
conviction that he was ready to opera