s suffered loss.

During the last year of Charles Frohman's life the Syndicate and the
Shuberts, wisely realizing that such an uneconomic procedure could only
spell disaster in a large way for the whole theatrical business, buried
their differences. A harmonious working agreement was entered into that
put an end to the destructive strife. Theatrical booking became an open
field, and the producer can now play his attractions in both Syndicate
and Shubert theaters.

* * *

Charles Frohman's activities were now nation-wide. Just as Harriman
built up a transcontinental railroad system, so did the rotund little
manager now set up an empire all his own. The building of the Empire
Theater had given him a closer link with Rich and Harris. Through them
he acquired an interest in the Columbia Theater, in Boston, and
subsequently he became part owner of the Hollis Street Theater in that
city. His third theater in Boston was the Park. By this time the firm
name for Boston operation was Rich, Harris, and Charles Frohman. Their
next venture was the construction of the magnificent Colonial Theater,
on the site of the old Boston Public Library, which was opened with
"Ben-Hur." With the acquisition of the Boston and Tremont playhouses,
the firm controlled the situation at Boston.

Up to this time Frohman had controlled only one theater in New York--the
Empire. In 1896 he saw an opportunity to acquire control of the Garrick
in Thirty-fifth Street. He wrote to William Harris, saying, "I will take
it if you will come on and run it." Harris assented, and the Garrick
passed under the banner of Charles Frohman, who inaugurated his regime
with John Drew in "The Squire of Dames." He put some of his biggest
successes into this theater and some of his favorite stars, among them
Maude Adams and William Gillette. To the chain of Charles Frohman
controlled theaters in New York were added in quick order the Criterion,
the Savoy, the Garden, and a part interest in the Knickerbocker.

During his early tenancy of the Garrick occurred an incident which
showed Frohman's resource. He produced a play called "The Liars," by
Henry Arthur Jones, in which he was very much interested. In the
out-of-town try-out up-state Frohman heard that the critic of one of the
most important New York newspapers had expressed great disapproval of
the piece on account of some personal prejudice. He did not want this
prejudice to interfere with the New York verdict, so he w