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126 C&e Cfieatre
fact, was impressed with the idea that he would have to "show 'em." Mrs. Drew was still living, but in bad health, and the change of environment meant that the family would all be occupied in the same line of endeavor, for Mrs. Drew was prolific in adapting plays to the screen and evolving original scenarios as well, while S. Rankin Drev/, the idolized son almost from the outset, scored with his film work.
That Mrs. Drew's demise has removed from picturedom an author whose genius found expression in the theatre of science was best illustrated in the amazing success of "A Million Bid," which was adapted from Mrs. Drew's play, "Agnes." The influence of the Drews in the Vitagraph institution was apparent to all who attended the premier of the Vitagraph Theatre. I know of several critics and stage folk who were wont to "drop in" at the Vitagraph Theatre at least once a week, while "Goodness Gracious!" was on the program. In all his career Sydney Drew never revealed himself as a low comedian to greater advantage. In this production, which gave blase New York playgoers the "time of their lives," Clara Kimball Young gave a performance that has not been excelled on stage or screen in modern times.
"A Million Bid" was directed by Ralph Ince, one of three brothers, all directors. Ralph Ince rarely acts, himself, save in the Abraham Lincoln photoplays. ■ James Young directed the excruciatingly funny "Goodness Gracious." He is the same James Young who starred in "Brown of Harvard." With him during his starring tours were the two "matinee idols" of filmdom — Carlyle Blackwell and J. Warren Kerrigan. All three to-day are influential factors in the photoplay field as directors, authors and stars.