ed a whole new and brilliant theatrical activity in towns and
cities removed from theatrical centers, regarding which the other big
managers in New York were ignorant.

With the organization of these Madison Square companies the "Number Two
Company" idea was born. It was a distinct innovation. A play like "Hazel
Kirke," for example, was played by as many as five companies at one
time, each company being adjusted financially to the type of town to
which it was sent. "Hazel Kirke" appeared simultaneously in New York
City at three different theaters, each with a separate and distinct type
of audience.

Under the direction of Gustave and Charles, the outside business of the
Madison Square Theater spread so rapidly that in a short time fourteen
road companies carried the name of the establishment to all parts of the
United States. Despite their youth, the three Frohmans had had a very
extensive experience over the whole country.

In those days the booking of road attractions was not made through
syndicates. Applications for time had to be made individually to every
manager direct, even in the case of the most obscure one-night stand.
The big New York managers only concerned themselves with the larger
cities in which their companies made annual appearances. The smaller
towns had to trust to chance to get attractions outside the standard
"road shows."

Charles realized this lack of booking facilities, and dedicated his
talents and experience to remedying it. His seasons on the road with
John Dillon and the Haverly Minstrels had equipped him admirably. He
not only displayed remarkable judgment in routing companies, but he was
now able to express his genius for publicity. He always believed in the
value of big printing.

"Give them pictures," he said.

He urged a liberal policy in this respect, and the Madison Square
Theater backed his judgment to the extent of more than one hundred
thousand dollars a year for picture posters and elaborate printing of
all kinds. The gospel of Madison Square Theater art and its enterprises
was thus spread broadcast, not with ordinary cheap-picture advertising,
but with artistic lithographs. In fact, here began the whole process of
expensive and elaborate bill-posting, and Charles Frohman was really the
father of it.

Under his direction the first "flashlights" ever taken of a theatrical
company for advertising purposes were made at the Madison Square
Theater.

* * *

Charles was now