He now did a daring but characteristic Frohman thing. He believed implicitly in Miss Murdock's talents; he felt that the part of the ingenuous young girl in this play was ideally suited to her pleading personality, so, in conjunction with Mrs. Thomas Whiffen and Charles Cherry, he featured her in the cast. Miss Murdock's characterization amply justified Frohman's confidence, but the play failed in New York and on the road. He wrote to Miss Murdock: _I am afraid our little play is too gentle for the West. Come back. I have something else for you._ He now put Miss Murdock into Porter Emerson Browne's play "A Girl of To-day," which had its first presentation in Washington. Frohman, Miss Murdock, and her mother were riding from the station in Washington to the Shoreham Hotel. As they passed the New National Theater, where the young actress was to appear, Miss Murdock suddenly looked out of the cab and saw the following inscription in big type on the bill: _Charles Frohman presents Ann Murdock in "A Girl of To-day."_ It was the first intimation that she had been made a star, and she burst into tears. In this episode Frohman had repeated what he had done in the case of Ethel Barrymore ten years before. Frohman had predicted great things for Miss Murdock, for at the time of his death there was no doubt of the fact that she was destined, in his mind, for a very remarkable career. * * * But those last years of Frohman's life were not confined exclusively to the pleasant and grateful task of making lovely women stars. The men also had a chance, as the case of Donald Brian shows. Frohman had been much impressed with his success in "The Merry Widow," so he put him under his management and starred him in "The Dollar Princess," which was the first of a series of Brian successes. Frohman saw that Brian had youth, charm, and pleasing appearance. He was an unusually good singer and an expert dancer. He was equipped to give distinction to the musical play Frohman wanted to present. He had watched the interest of his audiences, and saw that young Brian was a distinct favorite with women as well as men, and his success as star justified all these plans. While Frohman was making new stars, older ones came under his control in swift succession, among them Madame Nazimova, William Courtnay, James K. Hackett, Kyrle Bellew, Mrs. Fiske, Charles Cherry, John Mason, Martha Hedman, Alexandra Carlisle, William Courtleigh, Nat Goodwin, Blanche Bates, Hattie Williams, Gertrude Elliott, Constance Collier, Richard Carle, and Cyril Maude. Frohman now reached the very apex of his career. At one time he had twenty-eight stars under his management; and in addition fully as many more companies bore his name throughout the country. To be a Frohman star was the acme of stage ambition, for it not only meant professional distinction, but equitable and honorable treatment. * * *