Nothing gave Charles more satisfaction in England perhaps than his encouragement of the British playwright. He inherited Pinero from his brother Daniel, and remained his steadfast friend and producer until his death. Pinero would not think of submitting a play to any other American manager without giving Frohman the first call. In all the years of their relations, during which Charles paid Pinero a large fortune, there was not a sign of contract between them. Frohman practically made Somerset Maugham in America. His first association with this gifted young Englishman was typical of the man's method of doing business. Maugham had written a play called "Mrs. Dot," in which Marie Tempest was to appear. Frederick Harrison, of the Haymarket Theater, had an option on it, which had just expired. Another manager wanted the play. Frohman heard of it, and asked to be allowed to read it. Maugham then said: "It must be decided to-night." It was then dinner-time. "Give me three hours," said Frohman. At one o'clock in the morning he called up Maugham at his house and accepted the play, which was probably the quickest reading and acceptance on record in England. Another experience with Maugham shows how Frohman really inspired plays. He was riding on the train with the playwright when he suddenly said to him: "I want a new play from you." "All right," said Maugham. Frohman thought a moment, and suddenly flashed out: "Why not rewrite 'The Taming of the Shrew' with a new background?" "All right," said Maugham. The result was Maugham's play "The Land of Promise," which was really built around Frohman's idea. Frohman produced all of Maugham's plays in America, and most of them were great successes. He also did the great majority of them in England. Maugham waxed so prosperous that he was able to buy a charming old residence in Chesterfield Street which he remodeled in elaborate fashion. On its completion his first dinner guest was Charles Frohman. When Maugham sent him the invitation it read: _Will you come and see the house that Frohman built?_ In the same way he developed men like Michael Morton. He would see a French farce in the Paris theaters, and, although he could not understand a word of French, he got the spirit and the meaning through its action. He would buy the play, go to London with the manuscript, and get Morton or Paul Potter to adapt it for American consumption. * * * Life in London to Charles Frohman was one series of adventures. Like Harun-al-Rashid in the _Arabian Nights_, he delighted to wander about, often with Barrie, sometimes with Lestocq, seeking out strange and picturesque places in which to eat. These adventures began in his earliest days in England. Here is a characteristic experience: One day Madeline Lucette Ryley, the playwright, came to see him in his office in Henrietta Street. A battered old man was hanging around the door. "Did you see that man outside?" asked Frohman.