ter. From this time on his life-story was to
be the narrative of the larger development of the drama and its people.

With the acquisition of his first big star, John Drew, he laid the
corner-stone of what is the so-called modern starring system, which
brought about a revolution in theatrical conduct. The story of Charles's
conquest in securing the management of Drew, with all its attendant
dramatic and sensational features, illustrates the resource and vision
of the one-time minstrel manager who now began to come into his own as a
real Napoleon of the stage.

Charles always attached importance and value to big names. He had paid
dearly in the past for this proclivity with the Lester Wallack Company.
Undaunted, he now turned to another investment in name that was to be
more successful.

About this time John Drew had made his way to a unique eminence on the
American stage. A member of a distinguished Philadelphia theatrical
family, he had scored an instantaneous success on his first appearance
at home and had become the leading man of Augustin Daly's famous stock
company. He was one of "The Big Four" of that distinguished
organization, which included Ada Rehan, Mrs. G. H. Gilbert, and James
Lewis. They were known as such in America and England. Drew was regarded
as the finest type of the so-called modern actor interpreting the
gentleman in the modern play. He shone in the drawing-room drama; he had
a distinct following, and was therefore an invaluable asset. The general
impression was that he was wedded to the environment that had proved so
successful and was so congenial.

Charles knew Drew quite casually. Their first meeting was
characteristic. It happened during the great "Shenandoah" run. Henry
Miller and Drew were old friends. It was Frohman's custom in those days
to have after-theater suppers on Saturday nights at his rooms in the old
Hoffman House, and sometimes a friendly game of cards.

One Saturday Miller called Frohman up and asked him if he could bring
Drew down for supper.

"Certainly; with pleasure," said Frohman.

That night after the play Miller picked Drew up at Daly's and took him
to the Hoffman House. Knowing the way to the Frohman rooms, he started
for them unannounced, when he was stopped by a bell-boy, who said, "Mr.
Frohman is expecting you in here," opening the door and ushering the
guests into a magnificent private suite that Frohman had engaged for the
occasion. It was the first step in