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Charles Frohman: Manager and Man

by Isaac Frederick Marcosson

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Language
EN
Format
EPUB
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3.1 MB

Description

This work is a biographical account of Charles Frohman, presented as a narrative in prose form that combines elements of history and personal character study. It chronicles the life and career of Frohman, focusing on his rise from childhood fascination with the theatre to becoming a significant figure in American theatrical management during the early 20th century. The book examines his ambition, family connections, and the development of his enterprise, emphasizing his strong principles and vigorous energy.

Written in a historical context, the book reflects the period's interest in prominent American figures and their contributions to industry and culture. It offers insights into the evolution of the theatre industry, illustrating how Frohman’s personal qualities and professional ventures shaped American theatrical history. The narrative employs descriptive language to portray his character and achievements, providing a detailed account of his influence in the theatrical world of his time.

From the opening pages

T he man who never broke his word. There was a great deal more to him, but every one in any land who has had dealings with Charles Frohman will sign that. I would rather say a word of the qualities that to his friends were his great adornment than about his colossal enterprises or the energy with which he heaved them into being; his energy that was like a force of nature, so that if he had ever "retired" from the work he loved (a thing incredible) companies might have been formed, in the land so skilful at turning energy to practical account, for exploiting the vitality of this Niagara of a man. They could have lit a city with it. He loved his schemes. They were a succession of many-colored romances to him, and were issued to the world not without the accompaniment of the drum, but you would never find him saying anything of himself. He pushed them in front of him, always taking care that they were big enough to hide him. When they were able to stand alone he stole out in the dark to have a look at them, and then if unobserved his bosom swelled. I have never known any one more modest and no one quite so shy. Many actors have played for him for years and never spoken to him, have perhaps seen him dart up a side street because they were approaching. They may not have known that it was sheer shyness, but it was. I have seen him ordered out of his own theater by subordinates who did not know him, and he went cheerfully away. "Good men, these; they know their business," was all his comment. Afterward he was shy of going back lest they should apologize. At one time he had several theaters here and was renting others, the while he had I know not how many in America; he was not always sure how many himself. Latterly the great competition at home left him no time to look after more than one in London. But only one anywhere seemed a little absurd to him. He once contemplated having a few theaters in Paris, but on discovering that French law forbids your having more than one he gave up the scheme in disgust. A sense of humor sat with him through every vicissitude like a faithful consort.

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