Early in 1897, therefore, he took what was up to that time his biggest
English step, for he leased the Duke of York's Theater for nineteen
years. His name went over the doorway and from that time on this theater
was the very nerve-center, if not the soul, of Charles Frohman's English
operations. It was one of the best known and the most substantial of
British playhouses, located in St. Martin's Lane, in the very heart of
the theatrical district. He took a vast pride in his control of it. He
even emblazoned the announcement of his London management on the walls
of the Empire on Broadway in New York. In his affections it was in
England what the Empire was to him in America. It was destined to be the
background of his distinguished artistic endeavors, perhaps the most
distinguished.

Charles now embarked on a sea of lavish productions. Typical of his
attitude was his employment of the best-known and highest-salaried
producer in London. This man was Dion Boucicault, son of the famous
playwright of the same name, who was himself a very finished and
versatile actor. He gave the Frohman productions a touch of genuine
distinction, and his wife, the accomplished Irene Vanbrugh, added much
to the attractiveness of the Frohman ventures.

The Frohman sponsorship of the Duke of York's was celebrated with a
magnificent production of Anthony Hope's "The Adventure of Lady Ursula,"
which had been a success in New York with E. H. Sothern. It ran the
entire season. The play was put on in the usual Frohman way, so much so
that the British critics said that "the production, from first to last,
was correct down to a coat-button."

Until the end of his life the Duke of York's Theater had a large place
in his heart. At the back of private box F, which was his own box, and
which was also used for royalty when it visited the play, was a
comfortable retiring-room, charmingly decorated in red. Here Frohman
loved to sit and entertain his friends, especially such close intimates
as Sir James M. Barrie, Haddon Chambers, Sir Arthur Pinero, Henry Arthur
Jones, Michael Morton, and other English playwrights.

These busy days at the Duke of York's furnished Frohman with many
amusing episodes. On one occasion he was caught in the self-operating
elevator of the theater and was kept a prisoner in it for over an hour.
His employees were in consternation. When he was finally extricated they
began to apologize most profusely.

"Nonsense!" said Frohman. "I