er since.

Just as Edna May had bidden farewell to America in "The Catch of the
Season," so she now bade farewell to the English stage in "Nelly Neil."
She had become engaged to Oscar Lewisohn, who insisted on an early
marriage. About this time Frohman and George Edwardes secured the
English rights to "The Merry Widow." They both urged Miss May to
postpone her marriage and appear in it. Miss May was now compelled to
decide between matrimony and what would have been perhaps her greatest
success, and she chose matrimony.

Her good-by appearance on the stage, May 1, 1907, was one of the most
extraordinary events in the history of the English theater. This lovely,
unassuming American girl had so completely endeared herself to the
hearts of the London theater-goers that she was made the center of a
tumultuous farewell. The day the seat-sale opened there was a queue
several blocks long. During the opening performance Charles sat in his
box alone. When some friends entered he was in tears. He had a genuine
personal affection for Miss May, and her retirement touched him very
deeply.

[Illustration: _BILLIE BURKE_]

In connection with "Nelly Neil" there is a little story which
illustrates Charles's attitude toward his productions. He had spent a
fortune on "Nelly Neil," and it was not a financial success. After
giving it every chance he instructed Lestocq to put up the two weeks'
notice. Lestocq remarked that it was a shame to end such a
magnificent presentation. Whereupon Frohman turned around quickly and
said:

"Shut up, or I'll run it another month. You know, Lestocq, if I don't
keep a hand on myself sometimes my sentiment will be the ruin of me."

* * *

By this time Frohman and James M. Barrie had become close friends. The
manager had produced "Quality Street" at the Vaudeville Theater with
great success. He now approached a Barrie production which gave him
perhaps more pleasure than anything he did in his whole stage life. The
advent of "Peter Pan" was at hand. The remarkable story of how Charles
got the manuscript of "Peter Pan" has already been told in this
biography.

The original title that Barrie gave the play was "The Great White
Father," which Frohman liked. Just as soon as Barrie suggested that it
be named after its principal character, Frohman fairly overflowed with
enthusiasm. In preparing for "Peter Pan" in England, Charles was like a
child with a toy. Money was spent lavishly; whole scenes were made