s death.

* * *

Once launched, the Syndicate proceeded to ride the tempest, for the
biggest storm in all American theatrical history soon began to develop.
Out of the long turmoil came a whole new line-up in the business. It
affected Charles Frohman less than any of his immediate associates in
the big combination because, first of all, he was a passive member, and,
second, he had a kingdom all his own. Yet the story of these turbulent
years is so inseparably linked up with the development of the drama in
this country that it is well worth rehearsing.

Although the Syndicate standardized the theatrical contract and made
efficient and economical booking possible, it did not immediately secure
the willing co-operation of some of the best-known traveling stars of
the day. They included Mrs. Fiske, Richard Mansfield, Joseph Jefferson,
Nat C. Goodwin, Francis Wilson (then in comic opera), and James A.
Herne. They were great popular favorites and had been accustomed to
appear at stated intervals in certain theaters in various parts of the
country. They booked their own "time" and had a more or less personal
relation with the lessees and managers of the theaters in which they
appeared.

The Syndicate began to book these stars as it saw fit and as they could
be best fitted into the country-wide scheme. A scale of terms was
arranged that was regarded as equitable both to the attraction and the
local manager.

These stars, however, refused to be booked in this way. They denied the
right of the new organization to say when and where they should play.
Out of this denial came the famous revolt against the Syndicate which
blazed intermittently for more than two decades.

[Illustration: _FRANCIS WILSON_]

[Illustration: _WILLIAM COLLIER_]

Chief among the insurgents was Mrs. Fiske, who had returned to the stage
in "Tess of the D'Urbervilles," a dramatization of Thomas Hardy's great
novel. Her husband and manager, Harrison Gray Fiske, was editor and
publisher of _The Dramatic Mirror_, which became the voice of protest.
Mrs. Fiske refused to appear in Syndicate theaters, and she hired
independent houses all over the country. Such places were few and far
between in those days, and she was forced to play in public halls,
even skating-rinks.

Mansfield became one of the leaders of the opposition to the Syndicate.
He made speeches before the curtain, denouncing its methods. His lead
was followed by Francis Wilson, and subsequent