Henry Miller was not only a great director, but I think the greatest teacher of acting I have ever known. Any young actor or actress who passed through his hands had something behind them. He died as he had lived, ready for his job—waiting for the curtain to go up—and although I have never wanted to exchange my own life for any other man’s, I must admit I am a little envious of Henry Miller’s death. Charles Frohman knew what he wanted of his company and how to get it, and Daniel Frohman’s company was always guided by his good taste and honesty. Daniel Frohman is no longer active as a producer, but he holds, I think, the first place in the hearts of all of us who work in the theater. In saying this I am not thinking alone of his work for the Actors’ Fund, although his work there has been enormously important. But aside from that his sympathy and his appreciation of all the good work done by any of us, actor or dramatist, have given courage and joy to a lot of hard workers who at times were in sore need of both. I know that among my treasures I have a letter he wrote me just after the production of ICEBOUND that I value above the Pulitzer Prize that soon followed it. We of the theater are a close corporation, and we value the praise of our own people more than we do any opinion from the outside. Erlanger, the business head of the theater for many years, had a lot to do with the production of his own plays, and although not a director, he made his influence felt. William A. Brady at his best is a truly inspired director, and I have seen him do work that was fine and true; his ear is almost perfect, and his sense of the pulse and rhythm of melodrama is absolutely unfailing. He has faults to offset these virtues, but when he is right, when the scene he is directing is the kind of scene he knows about, he is a hard man to beat. I could go on writing for hours of the many adventures I had with Mr. Brady, grave and gay, absurd and thrilling, but in all of them there was at least the virtue of novelty. In all the years I worked with him he never by any chance did what I expected him to do, and he never did the same thing twice. After I was through with the popular-priced drama and was making an effort to get started as a Broadway writer, he was the first man who had any confidence in me, and he gave me my first chance.