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people with a distinct way of speaking to read the news over the wires.
From there he went to join his half-brother’s touring tent-show troupe and from there back to finish high school. And then on to Broadway.
Ed Pawley made the rounds of producers and casting directors during the New York theatre’s most exciting era. Theatres crowded each other along the famous street and clustered on every side street.
The young man walked in circles around the city with ever-increasing discouragement. He was 19 and at times, he says, “I wondered how I ever thought that I could break into the theatre business.”
One gloomy day Pawley visited an office in the Hudson Theatre, one that he’d visited before. The casting director had been helpful but had said, in effect, “Don’t call me - I’ll calf you.” “Something drew me to this office,” Pawley said. “He handed me a minor .ppjrtrrth**■„ ««, ~ Chinaman—and said to read it and to read the understudy for the leading man. As you
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