"Naturally, I am also influenced by the fitness of the chief parts for my chief stars, but I often purchase the manuscript at once on learning its central idea. I commissioned Clyde Fitch and Cosmo Gordon-Lennox to go to work on 'Her Sister' after half an hour's account of the main idea. Ethel Barrymore's work in that play is the best instance that I can give of the artistic growth of that actress. The particular skill she had obtained--and this is the test of an actress worth remembering--is the art of acting scenes essentially melodramatic in an unmelodramatic manner. After all, what is melodrama? Life itself is melodrama, and life put upon the stage only seems untrue when it is acted melodramatically--that is, unnaturally." The foremost quality that Frohman sought in his plays was human interest. His appraisal of a dramatic product was often influenced by his love for a single character or for certain sentimental or emotional speeches. He would almost invariably discuss these plays with his intimates. Often he would act out the whole piece in a vivid and graphic manner and enlarge upon the situations that appealed to his special interest. Plays thus described by him were found to be extremely entertaining and diverting to his friends, but when presented on the stage to a dispassionate audience they did not always fare so well. A notable example was "The Hyphen." The big, patriotic speech of the old German-American in the third act made an immense impression on Frohman when he read the play. It led him to produce the piece in record time. He recited it to every caller; he almost lost sight of the rest of the play in his admiration for the central effort. But the audience and the critics only saw this speech as part of a long play. What Charles lacked in his study of plays in manuscript was the analytical quality. He could feel that certain scenes and speeches would have an emotional appeal, but he could not probe down beneath the surface for the why and the wherefore. For analysis, as for details, he had scant time. He accepted plays mainly for their general effect. He was very susceptible to any charm that a play held out. If he found the characters sympathetic, attractive, and lovable, that would outweigh any objections made on technical grounds. When once he determined to produce a play, only a miracle could prevent him. The more his associates argued to the contrary, the more dogged he became. He had superb confidence in his judgment; yet he invariably accepted failure with serenity and good spirit. He always assumed the responsibility. He listened sometimes to suggestions, but his views were seldom colored by them. His association with men like J. M. Barrie, Haddon Chambers, Paul Potter, William Gillette, Arthur Wing Pinero, and Augustus Thomas gave him a loftier insight into the workings of the drama. He was quick to absorb ideas, and he had a strong and retentive memory for details.