Charles was now all excitement. He had the making of his first big star, and he proceeded to launch him in truly magnificent fashion. A play was needed that would bring out all those qualities that had made Drew shine in the drawing-room drama. The very play itself was destined to mark an epoch in the life of a man in the theater. Through Elizabeth Marbury, who had just launched herself as play-broker in a little office on Twenty-fourth Street, around the corner from Charles Frohman's, his attention was called to a French farcical comedy called "The Masked Ball," by Alexandre Bisson and Albert Carre. Frohman liked the story and wanted it adapted for American production. It was the beginning of his long patronage of French plays. "I know a brilliant young man who could do this job for you very well," said Miss Marbury. "What's his name?" asked Frohman. "Clyde Fitch, and I believe he is going to have a great career," was the answer of his sponsor. Fitch was given the commission. He did a most successful piece of adaptation, and in this Way began the long and close relationship between the author of "Beau Brummel" (his first play) and the man who, more than any other, did so much to advance his career. For Drew's debut under his management Charles spared no expense. In addition to Maude Adams, the company included Harry Harwood (who was then coming into his own as a forceful and versatile character actor), C. Leslie Allen, Mrs. Annie Adams, and Frank E. Lamb. With his usual desire to do everything in a splendid way, Frohman arranged for Drew's debut at Palmer's Theater, the old Lester Wallack playhouse which was now under the management of A. M. Palmer, then one of the shining figures in the American drama, and located opposite Drew's former scenes of activity. Thus Drew's first stellar appearance was on a stage rich with tradition. "The Masked Ball" opened October 3, 1892, in the presence of a representative audience. It was an instantaneous success. Drew played with brilliancy and distinction, and Frohman's confidence in him was amply justified. [Illustration: _CLYDE FITCH_] [Illustration: _HENRY ARTHUR JONES_] The performance, however, had a human interest apart from the star. Maude Adams, for the first time in her career, had a real Broadway opportunity, and she made the most of it in such a fashion as to convince Frohman and every one else that before many years were past she, too, would have her name up in electric lights. She played the part of _Zuzanne Blondet_, a more or less frivolous person, and it was in distinct contrast with the character that she had just abandoned, that of _Nell_, the consumptive factory-girl in "The Lost Paradise." [Illustration: A CHARACTERISTIC FROHMAN BLUE PENCIL SKETCH]