ly by James K. Hackett,
David Belasco, and Henry W. Savage. The fight on the huge combination
became a matter of nation-wide interest.

All the while the Syndicate was growing in power and authority.
Gradually the revolutionists returned to the fold because desirable
terms were made for them. Only Mrs. Fiske remained outside the ranks. In
order to secure a New York City stage for her Mr. Fiske leased the
Manhattan Theater for a long term.

It was during these strenuous years, and as one indirect result of the
Syndicate fight, that a whole new theatrical dynasty sprang up. It took
shape and centered in the growing importance of three then obscure
brothers, Lee, Sam, and Jacob J. Shubert by name, who lived in Syracuse,
New York. They were born in humble circumstances, and early in life had
been forced to become breadwinners. The first to get into the theatrical
business was Sam, the second son, who, as a youngster barely in his
teens, became program boy and later on assistant in the box-office of
the Grand Opera House in his native town. At seventeen he was treasurer
of the Weiting Opera House there, and from that time until his death in
a railroad accident in 1905 he was an increasingly powerful figure in
the business.

Before Sam Shubert was twenty he controlled a chain of theaters with
stock companies in up-state New York cities and had taken his two
brothers into partnership with him. In 1900 he subleased the Herald
Square Theater in New York City and thus laid the corner-stone of what
came to be known as the "Independent Movement" throughout the country.
He had initiative and enterprise. Gradually he and his brothers and
their associates controlled a line of theaters from coast to coast. In
these theaters they offered attractive bookings to the managers who were
outside the Syndicate. The Shuberts also became producers and
encouragers of productions on a large scale.

For the first time the Syndicate now had real opposition. A warfare
developed that was almost as bitter and costly in its way as was the old
disorganized method in vogue before the business was put on a commercial
basis. It naturally led to over-production and to a surplus of theaters.
Towns that in reality could only support one first-class playhouse were
compelled to have a "regular" and an "independent" theater. Attractions
of a similar nature, such as two musical comedies, were pitted against
each other. In dividing the local patronage both side