"Peter Pan" recorded the longest single engagement in the history of the Empire. It ran from November 6, 1905, until June 9, 1906. But "Peter Pan" did more than give Miss Adams her most popular part. It became a nation-wide vogue. Children were named after the fascinating little lad Who Never Would Grow Up; articles of wearing-apparel were labeled with his now familiar title; the whole country talked and loved the unforgettable little character who now became not merely a stage figure, but a real personal friend of the American theater-going people. It was on a road tour of "Peter Pan" that occurred one of those rare anecdotes in which Miss Adams figures. Frohman always had a curious prejudice against the playing of matinees by his stars, especially Maude Adams. A matinee was booked at Altoona, Pennsylvania. Frohman immediately had it marked off his contract. The advance-agent of the company, however, ordered the matinee played at the urgent request of the local manager, but he did not notify the office in New York. When Charles got the telegram announcing the receipts, he was most indignant. "I'll discharge the person responsible for this matinee," he said. In answer to his telegraphed inquiry he received the following wire: _The matinee was played at my request. I preferred to work rather than spend the whole day in a bad hotel._ MAUDE ADAMS. In connection with "Peter Pan" is a curious and tragic coincidence. Of all the Barrie plays that Charles produced he loved "Peter Pan" the best. Curiously enough, it was little _Peter_ himself who gave him the cue for his now historic farewell as he stood on the sinking deck of the _Lusitania_. At the end of one of the acts in "Peter Pan" the little boy says: _To die will be an awfully big adventure._ These words had always made a deep impression on Frohman. They came to his mind as he stood on that fateful deck and said: _Why fear death? It is the most beautiful adventure in life._ Having made such an enormous success with "Peter Pan," Miss Adams now turned to her third boy's part. It was that of "Chicot, the Jester," John Raphael's adaptation of Miguel Zamaceis's play "The Jesters." This was a very delightful sort of Prince Charming play, fragile and artistic. The opposite part was played by Consuelo Bailey. It was a great triumph for Miss Adams, but not a very great financial success. Now came the first of her open-air performances. During the season of "The Jesters" she appeared at Yale and Harvard as _Viola_ in "Twelfth Night." She gave a charming and graceful performance of the role. * * * But Maude Adams could not linger long from the lure that was Barrie's. After what amounted to the failure of "The Jesters" she turned to her fourth Barrie play, which proved to be a triumph.