To plays he gave thought, study, and preparation. The author received much advice and direction from him. He himself possessed the expert knowledge and abilities of a playwright, as is always true of every good stage-director. Each new play was planned, written, cast, and revised completely under his guidance and supervision. His stage-manager had been instructed in advance in the "plotting" of its treatment. The first rehearsals were usually left in charge of this assistant. At the first rehearsals Frohman made little or no comments. He watched and studied in silence. Thereafter his master-mind would reveal itself in reconstruction of lines and scenes, re-accentuation of the high and low lights of the story involved, and improvement of the acting and representation. Frohman consulted with his authors, artists, and assistants more in his office than in actual rehearsal. In the theater he was sole auditor and judge. His stage-manager would rarely make suggestions during rehearsals unless beckoned to and asked by his manager. When the office-boy came in at rehearsal on some important business errand, he got a curt dismissal, or at most a brief consideration of the despatch, contract, or message. Here is a vivid view of Frohman at rehearsal by one who often sat under the magic of his direction: "In the dim theater he sits alone, the stage-manager being at a respectable distance. If by chance there are one or two others present directly concerned in the production, they all sit discreetly in the extreme rear. The company is grouped in the wings, never in the front. The full stage lights throw into prominence the actors in the scene in rehearsal. Occasionally the voice of Mr. Frohman calls from the auditorium, and the direction is sometimes repeated more loudly by the stage-manager. Everybody is listening and watching. "The wonderfully responsive and painstaking nature of Maude Adams is fully alive, alert, and interested in Mr. Frohman's directions even in the scenes in which she has no personal part, during which, very likely, she will half recline on the floor near the proscenium--all eyes and ears. "Or perhaps it is a strong emotional scene in which Margaret Anglin is the central character. At the theatrically most effective point in the acting the voice breaks in, Miss Anglin stops, hastens to the footlights, and listens intently to a few simple, quiet words. Over her face pass shadow and storm, and in her eyes tears form. Again she begins the scene, and yet again, with cumulative passion. Each time, with each new incitement from the sympathetic director, new power, deeper feeling, keener thought develop, until a great glow of meaning and of might fills the stage and the theater with its radiance. Mr. Frohman is at last satisfied, and so the play moves on." Just as Frohman loved humor in life, so did he have a rare gift for comedy rehearsal. William Faversham pays him this tribute: