-timer is sufficiently ameliorated to approve of
the change suggested. The leading lady trembles with the shock of
realization imparted by the stout little man with chubby smile who,
seated alone in the darkened auditorium, conveys his meaning as with
invisible wires, quietly, quaintly, simply, and rationally, so as to
stir the actors' souls to new sensibilities, awaken thought, and
viviby(?) glow of passion, sentiment, or humor."

At rehearsals Frohman usually sat alone about the tenth row back. He
rarely rose from his seat, but by voice and gesture indicated the moves
on his dramatic chess-board. When it became necessary for him to go on
the stage he did so with alacrity. He suggested, by marvelously simple
indications and quick transitions, the significance of the scene or the
manner of the presentation.

There was a curious similarity, in one respect, between the rehearsing
methods of Charles Frohman and Augustin Daly. This comparison is
admirably made by Frohman's life-long friend Franklin H. Sargent,
Director of the American Academy of Dramatic Arts and the Empire School
of Acting, in which Frohman was greatly interested and which he helped
in every possible way. He said:

"Like a great painter with a few stray significant lines of drawing,
Frohman revealed the spirit and the idea. In this respect he resembled
Augustin Daly, who could furnish much dramatic intuition by a grunt and
a thumb-joint. Both men used similar methods and possessed equal
keenness of intelligence and sense of humor, except that Frohman was
rarely sarcastic. Daly usually was. Frohman's demeanor and relationship
to his actors was kindly and considerate. Rules, and all strictly
enforced, were in Daly's policy of theater management. Frohman did not
resort to rules. He regulated his theaters on broad principles, but with
firm decision when necessary. In Daly's theater there was obedience; in
Frohman's theater there was a willing co-operation. The chief interest
of both managers was comedy--comedy of two opposite kinds. Daly's jest
was the artificial German farce and Shakespearian refinement. Frohman's
tastes ranged between the French school--Sardou's 'Diplomacy' and the
modern realities--and the pure sentiments of Barrie's 'The Little
Minister.' Frohman was never traditional in an artificial sense, though
careful to retain the fundamental original treatment of imported foreign
plays.

"The verities, the humanities, the joys of life always exi