The real Charles Frohman emerged at rehearsals. The shy, sensitive man who shunned the outside world here stood revealed as a dynamic force. Yet he ruled by personality, because he believed in personality. He did every possible thing to bring out the personal element in the men and women in his companies. In rehearsing he showed one of the most striking of his traits. It was a method of speech that was little short of extraordinary. It grew out of the fact that his vocabulary could not express his enormous imagination. Instead of words he made motions. It was, as Augustus Thomas expressed it, "an exalted pantomime." Those who worked with him interpreted these gestures, for between him and his stars existed the finest kinship. Frohman seldom finished a sentence, yet those who knew him always understood the unuttered part. Even when he would give a star the first intimation of a new role he made it a piece of pantomime interspersed with short, jerky sentences. William Faversham had complained about having two very bad parts. When he went to see Frohman to hear about the third, this is the way the manager expressed it to him: "New play--see?... Fine part.--First act--_you_ know--romantic--light through the window ... nice deep tones of your voice, you see?... Then, audience say 'Ah!'--then the girl--see?--In the room ... you ... one of those big scenes--then, all subdued--light--coming through window.--See?--And then--curtain--audience say 'Great!' ... Now, second act ... all that tremolo business--you know?--Then you get down to work ... a tremendous scene ... let your voice go.... Great climax ... (Oh, a great play this--a great part!) ... Now, last act--simple--nice--lovable--refined ... sad tones in your voice--and, well, you know--and then you make a big hit.... Well, now we will rehearse this in about a week--and you will be tickled to death.... This is a great play--fine part.... Now, you see Humphreys--he will arrange everything." Of course Faversham went away feeling that he was about forty-four feet tall, that he was a great actor, and had a wonderful part. Like the soldier who thrills at the sound of battle, Frohman became galvanized when he began to work in the theater. He forgot time, space, and all other things save the task at hand. To him it was as the breath of life. One reason was that the theater was his world; the other that Charles was, first and foremost, a director and producer. His sensibility and force, his feeling and authority, his intelligence and comprehension in matters of dramatic artistry were best, almost solely, known to his players and immediate associates. No stage-director of his day was more admired and desired than he. At rehearsal the announcement, "C. F. is in front," meant for every one in the cast an eager enthusiasm and a desire to do something unusually good to merit his commendation. His enormous energy, aided by his diplomacy and humor, inspired the player to highest performance.