frequent trips to Baltimore to rehearse
and superintend the production of his plays in that city. He has this to
say of Baltimore in a letter to Tunis F. Dean, manager of a theater
there:_

I was glad to have an opportunity of seeing your fine theater, for
I have decided on a very important production with one of our
leading stars there next season. So that I shall spend a week in
Baltimore. I like that. There is no one living in Baltimore that
has a greater regard for that fine, dignified city. I have had it
for years, and with the beautiful theater and my feeling for
Baltimore and you at the head of that theater, I am looking forward
with pleasure to coming to you next season.

_Frohman was simple, direct, and forcible in his criticism of plays. In
rejecting a French play, he wrote to Michael Morton in defense of his
judgment, New York, February, 1913:_

I was awfully glad you made arrangements for the play, the one I
don't like, and I hope the other fellow is right. These
three-cornered French plays are going to have a hard time over here
in the future unless they contain something that is pretty big,
novel, or human. The guilty wife is a joke here now, and they have
lots of fun when they play these scenes in these plays. The
American and English play is different. They get there quicker in a
different manner instead of the old-fashioned scheme. Of course,
French plays, as you say, may be laid in England and in America. I
understand that. But even then it seems to be about the same as if
they were in France.

_His brief, epigrammatic style of criticism is evident in a letter to
Charles B. Dillingham, wherein he speaks of a certain play under
consideration:_

I think the end of the play is not good. It is that old-time
stand-around-with-a-glass-of-wine-in-your-hand and wish success to
the happy people.

_Extracts from an interview with Frohman which he wrote for the London
papers, March, 1913:_

There will be no change in my work of producing for the London
stage. I shall continue to do so at my own theaters or with other
London managers just as long as I am producing on any stage, and I
fear that will be for a long time yet, as I am younger now than I
was twenty years ago.

_Prior to his departure for England he wrote the following to John Drew
in March, 1913:_

Than