ne of continuous
star-making linked with far-flung enterprise. He now had a chain of
theaters that reached from Boston by way of Chicago to Seattle; his
productions at home kept on apace; his prestige abroad widened.

Frohman had watched the development of Otis Skinner with great interest.
That fine and representative American actor had thrived under his own
management. Early in the season of 1905 he revived his first starring
vehicle, a costume play by Clyde Fitch, called "His Grace de Grammont."
It failed, however, and Skinner looked about for another piece. He heard
that Frohman, who had a corner on French plays for America, owned the
rights to Lavedan's play "The Duel," which had scored a big success in
Paris. He knew that the leading role ideally fitted his talent and
temperament.

Skinner went to Frohman and asked him if he could produce "The Duel" in
America.

"Why don't you do it under my management?" asked the manager.

"All right," replied the actor, "I will."

With these few remarks began the connection between Charles Frohman and
Otis Skinner.

It was during the closing years of Frohman's life that his genius for
singling out gifted young women for eminence found its largest
expression. Typical of them was Marie Doro, a Dresden-doll type of girl
who made her first stage appearance, as did Billie Burke and Elsie
Ferguson, in musical comedy.

Charles Frohman saw her in a play called "The Billionaire" at Daly's
Theater in New York, in which she sang and danced. He had an unerring
eye for beauty and talent. With her, as with others that he transported
from musical pieces to straight drama, he had an uncanny perception. He
engaged her and featured her in a slender little play called
"Friquette."

Miss Doro made such an impression on her first appearance that Frohman
now put her in "Clarice," written by William Gillette, in which he also
appeared. Her success swept her nearer to stardom, for she next appeared
in a Frohman production which, curiously enough, reflected one of
Frohman's sentimental moods.

For many years Mrs. G. H. Gilbert was a famous figure on the American
stage. She had been one of the "Big Four" of Augustin Daly's company for
many years, and remained with Daly until his death. She was the beloved
first old woman of the dramatic profession. When the Daly company
disbanded Mrs. Gilbert did not prepare to retire. She was hearty and
active.

Frohman realized what a warm place this grand