A marvelous exhibition of what Miss Adams and Mr. Frohman, when they put their heads together, could do in the way of contrast to Phœbe Throssell and Maggie Wylie, was the production for a single performance in the great Stadium at Harvard, one night in June, 1909, of Schiller’s _Maid of Orleans_. Miss Adams had played _Twelfth Night_ in Sanders Theatre one evening a year before. The _Maid of Orleans_ was an outgrowth of the earlier performance and was undertaken at the suggestion of the German department of Harvard. That there were one hundred and fifty mounted knights in full armor, one thousand men-at-arms, two hundred citizens, one hundred and fifty women and children, one hundred and twenty musicians, and ninety singers, besides sixty speaking parts, gives some idea of the magnitude of this unique presentation. In the coronation scene more than fifteen hundred persons were on the improvised Stadium stage. The cost of this single evening’s performance, with its specially constructed scenery and long preparation, was tremendous. And Maude Adams planned and carried through the entire proceeding. “This,” said one perhaps over-enthusiastic spectator, “is the biggest thing ever undertaken by any woman, except the one she is representing.” And through it all Miss Adams was playing the Maid, even to leading, on a great white charger, the troops of France in the battle charge. The spectacular effects--the storm scene, the battle scene, the scene of the coronation--were vastly impressive, though the petite figure and delicate art of the principal actress were often lost in the largeness of her surroundings. Maude Adams and James M. Barrie seem to have been, artistically, born for each other. At any rate, it is in his plays--_The Little Minister_, _Quality Street_, _Peter Pan_, _What Every Woman Knows_,--that she has deservedly won her fame. The latest in the list is _The Legend of Leonora_, in which she has forsaken Chanticler’s feathers and Peter Pan’s breeches once more to don petticoats. It brings Miss Adams back to a doting public in a part that gives rein to her old time ability as a light _comédienne_. That a portion of this public is more or less shocked to see its beloved Maude Adams playing the part of a murderess--even though Leonora and her crime are amiable unrealities--indicates the strongly personal element in the popularity of the actress.[211]