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34 Pauline Frederick
whether she had been wise in leaving the musical comedy stage. Many maintained that she had gained her reputation there and that audiences would not be interested in seeing her in straight drama. There are always the wise ones who know the best about everything, and while Pauline felt certain that she had made the right move, the opening night at the Garrick in New York brought considerable anxiety, because should she fail to please or the play lack in appeal, then there would be still greater obstacles to overcome. It would not be the first time, by a long shot, that an actress had made a change such as this and had found her career all but ruined. Still Pauline never failed in courage, and at twenty-three, one can afford to take chances.
" The Little Gray Lady " was called " a play without a hero " and was based upon the life of that day in Washington — not the fashionable, political Washington, but concerning a group of government clerks mixed up in a scandal regarding a forged $100 bill. In addition to playing the lead, Edward Eisner was also the stage manager. Like Herbert Tree, he delighted in the unexpected and was always changing things so as to put the members of the cast on their mettle. He believed that too often a cast, and particularly during a long run, became automatons, coming in at a given moment, accustoming themselves to finding everybody and everything in the same place, saying their little piece and then going off at a given spot. Should something unexpected happen, they are lost. To guard against this, many good directors change things about so that the players may have to move more than so many steps here and so many there, or may find the person to whom they speak sitting instead of standing. While this may, in some respects, be disconcerting, it nevertheless makes players more natural and breaks up that stereotyped movement that is so detrimental to a play. Edward loved to place