“That is good,” he said.  “If she’ll do that all through, I think it will take.”

Going over to Carrie, he said: 

“Suppose you try frowning all through.  Do it hard.  Look mad.  It’ll make the part really funny.”

On the opening night it looked to Carrie as if there were nothing to her part, after all.  The happy, sweltering audience did not seem to see her in the first act.  She frowned and frowned, but to no effect.  Eyes were riveted upon the more elaborate efforts of the stars.

In the second act, the crowd, wearied by a dull conversation, roved with its eyes about the stage and sighted her.  There she was, suited-suited, sweet-faced, demure, but scowling.  At first the general idea was that she was temporarily irritated, that the look was genuine and not fun at all.  As she went on frowning, looking now at one principal and now at the other, the audience began to smile.  The portly gentlemen in the front rows began to feel that she was a delicious little morsel.  It was the kind of frown they would have loved to force away with kisses.  All the gentlemen yearned toward her.  She was capital.

At last, the chief comedian, singing in the center of the stage, noticed a giggle where it was not expected.  Then another and another.  When the place came for loud applause it was only moderate.  What could be the trouble?  He realized that something was up.

All at once, after an exit, he caught sight of Carrie.  She was frowning alone on the stage and the audience was giggling and laughing.

“By George, I won’t stand that!” thought the thespian.  “I’m not going to have my work cut up by some one else.  Either she quits that when I do my turn or I quit.”

“Why, that’s all right,” said the manager, when the kick came.  “That’s what she’s supposed to do.  You needn’t pay any attention to that.”

“But she ruins my work.”

“No, she don’t,” returned the former, soothingly.  “It’s only a little fun on the side.”

“It is, eh?” exclaimed the big comedian.  “She killed my hand all right.  I’m not going to stand that.”

“Well, wait until after the show.  Wait until to-morrow.  We’ll see what we can do.”

The next act, however, settled what was to be done.  Carrie was the chief feature of the play.  The audience, the more it studied her, the more it indicated its delight.  Every other feature paled beside the quaint, teasing, delightful atmosphere which Carrie contributed while on the stage.  Manager and company realized she had made a hit.

The critics of the daily papers completed her triumph.  There were long notices in praise of the quality of the burlesque, touched with recurrent references to Carrie.  The contagious mirth of the thing was repeatedly emphasized.