ent to Charles
Dillingham one day shortly before the opening and said:

"Can you get me some loud laughers?"

Dillingham said he could.

"All right," said Frohman; "I want you to plant one on either side of
Mr. Blank," referring to the critic who had a prejudice against the
play.

This was done, and on the opening night the "prop" laughers made such a
noisy demonstration that the critic said it was the funniest farce in
years.

* * *

Charles Frohman's first foreign star, who paved the way for so many, was
Olga Nethersole. His management of her came about in a curious way. A
difference had arisen between Augustin Daly and Ada Rehan, his leading
woman. Miss Rehan had decided to withdraw from the company, and in
casting about quickly for a successor had decided upon Olga Nethersole,
then one of the most prominent of the younger English actresses. While
the deal was being consummated Daly and Miss Rehan adjusted their
differences, and the arrangements for Miss Nethersole's appearance in
America were abrogated.

Miss Nethersole was left without an American manager. Daniel Frohman,
then manager of the Lyceum Theater, stepped in and became her American
sponsor, forming a partnership with his brother Charles to handle her
interests. Jointly they now conducted an elaborate tour for her covering
two years, in which she appeared in "Denise," "Frou-Frou," "Camille,"
and "Carmen."

[Illustration: _MARGARET ANGLIN_]

[Illustration: _ANNIE RUSSELL_]

The sensational episode of her tour was the production of "Carmen." The
fiery, impetuous, emotional, and sensuous character of the Spanish
heroine appealed to Miss Nethersole's vivid imagination, and she gave a
realistic portrayal of the role that became popular and spectacular. In
all parts of the country the "Carmen Kiss" became a byword. The play, in
addition to its own merits as a striking drama, and its vogue at the
opera through Madame Calve's performance of the leading role, became a
very successful vehicle for Miss Nethersole's two tours. Miss Nethersole
was the first star outside of Charles Frohman's own force who appeared
at the Empire Theater, where she played a brief engagement with
"Camille" and "Carmen."

* * *

From his earliest theatrical day Charles believed implicitly in
melodrama. His first production on any stage was a thriller. The play
that turned the tide in his fortunes was a spine-stirrer. He now turned
to his favorite form of play by producing