Legmania is a form of specialty dancing. The Charleston, at present so popular with the multitude, is another. The Hula Hula and all other kinds of character dancing are specialties. Clogging, the ballet, interpretive and toe dances—why enumerate them. Let it go at this: Any form of dancing that you like best and are most efficient in can be made your specialty dance if you give it personality, atmosphere,—if you vitalize it so that it stands out alive and distinctive—your very own.

It takes brains as well as legs to become a specialty dancer of real quality, capable of controlling the public's interest. Yes, and it takes competent instruction to guide you right, and it takes practice on your part after you get the instruction, too. But it is quite worth while. The rewards are sure if you merit them.



NED WAYBURN'S EXHIBITION DANCING



What is technically known as Exhibition Dancing is an exaggerated form of the usual social or ballroom dancing. It is "team" work, performed by two, a man and a woman, and is never given as a solo dance, by a single artist.

There is no end to the styles of dances that may be employed in exhibition work. The public is thoroughly familiar with those most often presented to view in public and private ballroom, at social or other functions, which are either the Exhibition Fox Trot, the Exhibition One Step, the Tango, the Exhibition Waltz or the Whirlwind dance.

This by no means covers the possible field. Its limitations are measured only by the ability of the "team," and the popularity that demands this or that style of dance, as the fickle public fluctuates in its preference.

An exhibition dance of whatever nature must have an element of the spectacular and theatrical in its presentation in order to appeal. The dancers must inject some surprise steps in an effective place, throw in a little "tricky" stuff that is new or startling—do something neat and out of the ordinary to make the dance qualify as "Exhibition" and not just the usual every-day type of some well-known form of the dance.



Among the best-known exponents of exhibition dancing one naturally recalls Vernon and Irene Castle, Maurice and his several partners, Florence Walton, Leonora Hughes and Barbara Bennett, as well as the "teams" of Clifton Webb and Mary Hay, and Basil Durant and Kay Durban. All these and many other professional exhibition dancers have amply succeeded in their efforts to please the public, and have found the financial returns to be most satisfactory. It is a very profitable line of work for dancers of the right qualifications.

Exceptional personality is essential, as well as great skill in the art of dancing, and less than a commanding supremacy will not suffice to carry the work through to a successful issue. Yet there is a large field here, open to many who may not as yet even dream of their adaptability to such a career as this suggests.

It has been my pleasure to assist in the direction of every exhibition dancer whose name I have quoted above. Some of them received their first impetus along this line from me, followed my advice and instruction, and in consequence became internationally famous and successful. I am still taking those well adapted to this line and putting them in the way they should go. I know the type of person best qualified to make a success in exhibition dancing, and if those I select will be guided by my experience and knowledge there is no reason why they should not reap the rewards their merit earns, as well as those I have named have done.

There is a knack in acquiring the necessary ability as a dancer of this type that not every instructor is able to impart. I do not teach exhibition dancing in classes in my studios. Individual private lessons is the only successful way, and that is my way. Most other forms of dancing are learned as well or even better in classwork.

I doubt if exhibition dancing will ever be overdone. It is popular, and good dancers for this line of work are not too numerous. So it seems likely to be in continued demand indefinitely.



NED WAYBURN'S PROFESSIONAL STAGE MAKEUP



The Ned Wayburn Courses teach every form of stage makeup, for men as well as for women, and for every known character part as well as the "straight" makeup for youth. To put all the expert professional makeup knowledge into this book would be to practically crowd out everything else or so enlarge the volume as to make it cumbersome. To avoid this and at the same time meet a strong public demand, I have in contemplation a book devoted exclusively to this important subject, that shall post a world of waiting aspirants for stage honors in every detail of the art of correct makeup. Meanwhile, the subject has an important bearing on the art of stage dancing and so demands a prominent place in this present work.

I have, therefore, chosen for demonstration here the one most popular stage makeup, which is that adapted to the use of the professional stage woman in every modern theatre, opera house and music hall, and am here giving it a complete and thorough exposition. In presenting this form of makeup thus prominently, I do not wish in any degree to convey the idea that men and male youth are ignored in our studio teaching of makeup, and that our sole concern is to make the young woman presentable on the stage. This is not the fact. We teach makeup to men as well as to women, and every correct form of the art.

Do not confuse a stage makeup with the customary society makeup that milady applies in her boudoir. They are two entirely different problems.

To makeup correctly for the modern stage, with its multiple lights of great intensity and all the colors of the rainbow, requires special study of yourself individually and a knowledge of what effects the various lighting schemes will produce on the human countenance.

Three ladies standing side by side on the same stage may require three different makeups, depending upon their types, in order to appear at their best to the audience. The brunette, the blonde, the auburn-haired, each needs a different treatment, and if through ignorance or indifference any omits proper attention to a single item of the very important detail of her facial makeup, the result will be disastrous. All of which emphasizes the need of one's being properly taught on the start just how to makeup in a manner to bring out one's personality, to enhance one's beauty, and create the most pleasing appearance before her audience. We are now speaking, of course, of the woman who is to appear in a youthful part; character makeup is an entirely different proposition, with which we are not concerned here.

It is impossible to go on the stage today without makeup. Should any actress try to do so, the appearance of her features would be almost deathlike. She would be repulsive to the eyes of the audience, a condition that neither she nor the producer of the show would tolerate. The very lights that render superbly beautiful the person with proper makeup cause the bare flesh to lose its natural tints, cast shadows under the brows and above the face, create hollows where they do not exist and are not wanted, and utterly destroy the pleasing picture.

Makeup, then, is one of the first essentials to stage success, and it makes no difference how truly beautiful you may be in features and natural coloring off the stage, the fact persists—you must makeup, and makeup right.

But the uninstructed amateur, whose sole knowledge of makeup is confined to the boudoir, is very prone to overdo in her maiden attempts at stage makeup, and so disastrously decorate her face that under the unaccustomed and little understood lights of the theatre she appears hideous to the folks out in front. And this is especially true of the most beautiful type of women, who think they know, and don't.

Anyone with regular features can learn to apply makeup so that on the stage she will be as prepossessing as her naturally more favored sister-woman. A beauty unadorned by facial makeup, or a beauty not properly made-up, will be far outclassed in apparent beauty on the stage by the plainer woman who has mastered the art of makeup and knows how to apply it judiciously and correctly. It is all in knowing how, and the learning is not difficult. The professional actress will not fail to obtain personal instruction in this art from expert teachers, which is decidedly the best way. Pupils in our studios avail themselves of our classes and private lessons in makeup and in doing this lay a foundation of invaluable knowledge that will continue with them through life. The aspirant or amateur who for personal reasons cannot come to our studios for this instruction will absorb much of value by a perusal and study of this chapter. For, while it is not possible to advise an unseen person, whose type you do not know, with the same exactness as you could if she stood before you, there is much here that is general in its application to all types, and the care we are taking to make our information broad enough to cover all these greatly simplifies matters for the absent students.

There are two steps to a correct knowledge of your personal needs in the makeup art: First, what to use; and second, how to use it.

I am going to start you right on both of these steps.

Any actress of experience will tell you that her most valuable stage possession is her Makeup Box. It contains the necessary tools of her trade, without which she would be helpless to carry on. It is to her what the brush and colors and palette are to the painter; the needle and thread to the seamstress; the hammer and saw and plane to the carpenter. Before you enter upon a stage career supply yourself with a complete makeup box equipped with all the needed tools and ingredients for making up for the part you are to assume. This is a necessary purchase, and will prove one of the best paying investments you ever made.

Ordinarily a makeup box stocked with the best materials will cost about $12.00 and is not extravagantly expensive at that price. So many of our students sought our advice as to their purchases in this line, as they left our studios for the professional stage, that we fitted out a line of makeup boxes, completely stocked, for each complexion type, which we are selling to them over the counter at $9.50. The actual cost to us of each set is about eight cents more than we sell it for; plainly indicating an absence of grasping commercialism in our nature, for which we hope and expect due commendation.



Buying expertly and in quantities has enabled us to get together this Ned Wayburn Professional Makeup Box of the best stuff in the world for its purpose, some of the ingredients being made in America, others in Paris, and still others in Berlin,—all standard goods and used every day in the year in every theatre of the civilized world,—and at the same time keep the cost to our students down below a ten dollar bill. (Applause.) We thank you.

Now we are getting orders for our professional makeup box to be sent by mail and express to professionals and amateurs throughout this continent, and while we are glad to accommodate all who honor our own profession by their presence in it, please do not expect us to do so at cost. It is one thing to hand a box over the counter, and quite another to pack that box for shipment so as to conform to established requirements by the government post office or the express companies, prepay postage, insure it, and deliver it to the New York postal authorities. So we have put a price of $10.95 on this makeup outfit for parties who do not call for it in person at our studio, with postage extra, according to the zone in which you reside, if it goes by mail. We would rather send it by express and let you pay the charges for carriage at your end, if it is all the same to you. The weight of this outfit packed for shipment is about seven pounds. We insure it in transit at $10, which adds a few cents to its cost to you.

It will save correspondence and the disappointment of delay if when you order you tell us your age, sex, color of hair, color of eyes, color of complexion, for what character you wish the makeup (youth, maturity, old age, advanced old age, or any of the possible character parts known to the stage); the nature of the play; whether for a large theatre or the more intimate small theatre or hall; if for moving pictures (which calls for a decidedly different makeup from all other stage work), and everything else bearing on this matter that you can think of. Always bear in mind when you order, that each box is fitted for one type of person only, and cannot be used indiscriminately by a brunette and a blonde and someone else who ranks between the two in coloring and type, and that in consequence each must have a personal makeup box of her own.

The Ned Wayburn Professional Makeup Box for a "straight" stage makeup for a blonde youth, suited to the use of a young woman with light hair, blue eyes and light complexion, in musical comedy, light opera or any dancing or speaking part in the usual stage performance, for presentation in a hall or theatre, with modern stage lighting facilities, is as follows:

The Box. Art steel, about 6-3/8 in. wide by 9-1/2 in. long, 5 in. high, with handle and lock and key. Strongly made on purpose to stand the wear and tear of travel and dressing room handling, and should last a lifetime. Have your name painted on it as soon as you get it, to make it your very own. It may be your frequent companion for many years.

One-half Pound Tin of Cold Cream. Usually Stein's, to which we give the preference, since it is slightly less hard and contains a little more oil than most of the others. This cold cream is the same for all types, blonde, brunette and the others.

One-half Pound Tin of Face Powder. Stein's No. 2. (Brunettes would use Stein's No. 2-1/2 face powder.)

One Glass Jar Moist Rouge. Stein's medium. This medium lip rouge is suitable for blonde and brunette types. It is standard, can be bought anywhere, is always uniform and the colors run true. If you are ever in Chicago, visit Warnesson's. He specializes in lip rouge and makes a very good kind.

One Stick Foundation Grease Paint, Flesh. Stein's No. 2. (For brunettes, Stein's No. 3.) This is the large stick.

One Stick Grease Paint, Special Blue Lining Color. Stein's No. 11. For lining the eyes.

One Stick Grease Paint, Carmine. Stein's No. 18. Red foundation, for both blondes and brunettes.

One Box Mascaro, Black. Leichner's No. 60. For darkening the eyebrows.

One Package Cosmetique, Black. Roger and Gallet. For beading the eyelashes.

One Box Dry Rouge. Dorin, No. 18.

One Pink Velour Powder Pad. Gainsborough No. 350. This is about the finest procurable; is of large size, so it will not fall in the powder box and scatter the contents.

One Black Crayon Pencil. 6B Venus, American Pencil Co. For putting shadows under the eyes.

One Dark Blue Pencil. Faber No. 6625. For shading around the eyes.

One Orange Wood Stick. For applying beading to the eyelashes.

One Rabbit's Foot. Also called rouge paw.

One Baby Brush, with handle. For blending. Very necessary tool.

Paper Felt Liners, one package. To outline lips and to place red dots in corners of the eyes.

Cosmetic Stove, Lockwood's. For heating cosmetique to bead the eyelashes. This stove is approved by Fire Insurance Underwriters. It encloses a candle in a safe way and avoids the use of dangerous fuels in the dressing rooms.

One Mirror. 6x8 inches, in wood frame, with metal support. Will stand alone or serve as hand mirror. Strong, clear glass. The best to be had for its purpose.



This completes the list of contents in the Ned Wayburn Professional Makeup Box, for a "straight" stage makeup, for young ladies. For other types and different characterizations the ingredients are changed to suit each case, while the price remains uniform.

There is but one necessity for completing the makeup that is not included in the outfit as given, and that is Liquid White, which comes in white or flesh. This is to be applied as a wash to exposed flesh not otherwise made up. It comes in liquid form only, and can be purchased locally in any first-class drug store. We know Suratt's make of liquid white to be good, and there may be others.

A towel, a cake of soap, a basin of water and a few yards of cheese cloth should be assembled before commencing makeup operations.

A makeup is easiest applied while seated at a table with your materials spread out conveniently before you. If possible, elevate your mirror so that you can see the reflection of your features without the necessity of bending over. Always make up in incandescent light, never in daylight.

When making-up is a matter of daily routine the clothing will become badly soiled in a short time if worn during the process. To save your costume, either wear a washable kimono over it, or better, don the kimono over undergarments and put on the costume after the makeup is applied.

In private lessons at our studios we teach all the required forms of stage makeup, taking every type of person that comes to us and developing each individually along such lines as the character or part demands. Men, women, and youth come to us here for development of their correct makeup in private lessons.

In our class instruction in this line of work only the "straight" makeup for youth is presented, that being the one our young lady pupils find especially adapted to their stage needs. These special classes are held as occasion requires to meet the students' demands, and are given in our own Demi-Tasse Theatre, connected with the studios. Usually a demonstration is made with a blonde, a brunette and a red-head, to show the class the different requirements of the different types. Following this demonstration, each member of the class puts on a makeup under the advice and constructive criticism of the teachers, until thoroughly versed in the art, as it applies to his or her own individual type.

Since the reader of this may not be coming to us for either private or class lessons, we will describe the correct manner of applying makeup in simple language that will enable the distant aspirant to learn all that may be learned by reading without the presence of a personal teacher.

You are now seated at your dressing table, your mirror at a convenient elevation in front of you and between two good lights, your lay-out of tools and materials spread on a towel on the table top, a kimono or other garment spread over your person. Now take a strip of cheesecloth three or four inches wide and tie around the forehead, back of the ears, and behind the neck; or one may use a close-fitting skull cap. Tuck in all straying locks. The idea is, of course, to keep powder, grease paint and cold cream from getting into and soiling the hair. Now you are going to apply makeup.

First stage. Cold cream. Apply this liberally all over the face from the hair line to the upper part of the throat, but not on the neck. Rub it in thoroughly to fill all the pores of the skin. Be careful to cover all the space around the eyes, also rub in on the eyelashes, using care to keep it out of the eyes, for it will cause stinging. Greasing the eyelashes this way makes the removal of the makeup much easier. Now rub your face with a piece of cheesecloth until all the superfluous cold cream has disappeared. If the face shines too much, you have not removed enough of the cream. The surface should give the appearance of being well oiled, but not have a sticky, pasty or greasy surface.

Second stage. Foundation Grease Paint. The quality of your makeup depends upon this. It will be smooth or rough according to the way you develop it. Rub the end of the grease paint stick several times on each cheek, once across the chin, once or twice on the forehead and once down the nose. Use the ends of the fingers and pat this into place rather than rub it, till it is thoroughly worked into all the surface you have just covered with the cold cream. Every pore must be filled with the grease paint. Do not apply it too thick, which would give the face a pasty, unnatural look. Do not forget underneath the chin. Do not apply it to the ears or behind them. Leave no streaks or neglected spots. Have it uniform all over. Blend the paint till the face has an even tone. Watch your mirror carefully. It is better to have the grease paint a little too thin on the face than too thick, but you will soon learn to get it just right, which is what you are aiming at.

Third stage. Under rouge; foundation red; Stein's No. 18 carmine. Make a few dots with the carmine grease paint stick on each cheek and on the end of the chin. Use but little, and blend it by patting with the first and second fingers of both hands, rather than by rubbing. Begin well up against the nose, go under and around the eyes, and toward the temples, working it down below the ear and off the jaw in case there is a hollow in the lower part of the cheek. The color should extend down on the cheek, over on the temple and well up to the eye, patted and blended till no one can see where the red fades into the foundation. The chin is then blended in the same way, to leave no line between foundation color and under rouge. If your chin is pointed, blend in front, not below, or it draws the chin way down. Put on a lighter makeup for a small, intimate theatre, and a heavier one for the large auditorium.

Fourth stage. Enlarging and beautifying the eyes. This is a very important detail of correct makeup, and is indispensable on every well-lighted stage, where even the most soulful orbs with long, thick lashes will dwindle to half their size and have a faded, dull appearance if not properly made up. It is essential that the two eyes match in every detail, and to secure this result will require the taking of considerable pains and close study of your mirror. Stein's No. 11 blue lining stick is for use by the blue-eyed, regardless of the color of the hair or complexion. Stein's No. 17, for the dark-eyed. Titian-haired folks use Stein's No. 21 purple for the same purpose. With this grease paint stick of the color suited to you, draw a line across the upper eyelid between the eyebrow and the eyelashes, as close as possible to the lashes. With the fingers blend this line into a shadow, making it dark close to the upper lashes. Either pencil can be used for this purpose also. Do not get the shadow up to the eyebrows, but cover all the upper eyelid, and a little beyond the eye at the outer corner. Use the Faber No. 6625 blue pencil or Venus 6B black for shading under the eye. Draw a line with it directly under the eyelashes, and with the fingers blend this into a shadow. Carried too far down this blue suggests illness, so be careful. The shadows thus placed above and below the eyes serve to outline them to the spectators in the theatre, where otherwise the eyes would practically disappear and not be seen at all owing to the strong footlights.

Fifth stage. "Fixing" the makeup. Powder No. 2 for blondes; No. 2-1/2 for brunettes. The creamy tints are for the dark skins, the flesh and delicate pinks for the fair ones. Press the powder first on the chin. It is feminine instinct to start on the nose, but let your start in this case begin with the jaw or chin. Don't rub it in. Pat it on thick till the underlying paint is fully covered up. The powder absorbs the grease. From the chin work upward, reaching the nose after the pad has lost some of its original load, and the nose will not stare out so white on your face as it would if you began there first. Raise the eye and powder underneath; look down, and powder the space beneath eyebrow and eyelid.

Sixth stage. Smoothing off and blending. Use the baby brush for this; there is nothing else so good. It is surprising in its results. Do not press the brush too hard on the face; dust the surplus powder off carefully with a light touch, to leave no streaks or patches anywhere. If now the face has a greasy look, you have not used sufficient powder.

Seventh stage. High lighting. Take some of your No. 18 Dorin's dry rouge on the rabbit's foot and dust a very little on your cheeks. Do not press it down, just tickle about the edges of the rouge to be sure it blends perfectly with the foundation. If there is too much white about the nose, dust it lightly with the rabbit's foot. You can turn the paw around and blend with the end that is free of paint. Never show a white ear to the audience. If ears come into style again, as they will, the lobe and rim should be made a healthy pink, but not a strong red, with the rabbit's foot.

Eighth stage. Darkening the eyelashes and eyebrows. Use Leichner's No. 60 black mascaro; dark brown for light blondes. The lower lashes are better left without the treatment, since they are almost certain to smear the face if treated, and the shadow you have already placed there takes care of the lower lashes all that is necessary. Apply the mascaro to the upper lashes with the brush that comes with the mascaro, or any fine brush will do. Start a delicate line on the edge of the eyelid at the outer corner of the eye, let it curve slightly downward at the start. This line should not exceed half an inch in length and is never carried beyond the eye socket. Do not make the line heavy nor longer. A very little mascaro must be brushed lightly on to the eyebrows, following the curve of the upper eyelid. Fix the eyebrows carefully about three-quarters the size of the mouth, using black or brown mascaro according to whether your type is dark or light.

In this place we are going to tell you how to bead the eyelashes, but unless you are a professional actress and your part will be decidedly enhanced by having the eyes very much in evidence, we advise against your undertaking it. It is not a necessary stage in the makeup process, but it comes into the story of makeup naturally and we give it here for the benefit of those who may wish to make use of it. Beading the lashes consists in placing a small bead of cosmetique on the extreme tip of each lash. This is best done on the upper lashes only, leaving the lower ones free. The Lockwood Cosmetic Stove is a small affair that holds a piece of candle and a baby-size frying-pan, or skillet, and is one device for its purpose that has the approval of fire insurance companies and so will not be objected to by the theatre fireman. There are some heating devices that you are not permitted to use in any theatre, and persistence in their use after being once cautioned has caused arrest more than once.



In this connection many interesting true tales might be told of principal actors being taken bodily from the stage in the midst of a play and landed in the local jail, causing the curtain to be lowered and the audience dismissed. The stage fireman, assigned to every first class theatre during a performance, has authority to enforce all ordinances intended to prevent fire and eliminate fire risk in playhouses, even to go to the extremity of arresting offenders against the public's safety. So be careful to use only a Lockwood Cosmetic Stove or some equally safe affair in your dressing room.

You light the candle, place a small amount of Roger and Gallet black cosmetique in the little pan and heat it over the candle flame till melted. Take up some of this molten cosmetique on the flat end of your orange wood stick and apply it with a deft quick stroke to the upper lashes, painting each one separately and without clotting, so that a little bead hangs to the tip of each upper lash. Use care not to drop any of the black on your makeup. The effect of this beading is to beautify the appearance of the actress by bringing out her eyes in a wonderful manner under the strongest of spot lights.

Ninth stage. Red dots in the inner corners of the eye. Dip the paper felt liner in the moist lip rouge and with it make a tiny red dot in the extreme inner corner of each eye, but on the lid—not in the eye—to space the eyes and make them look to be the distance of one eye apart. Keep these dots well away from the nose, or they will tend to make you look crosseyed from the front.

Tenth stage. Rouging the lips. Stein's moist lip rouge, medium. If the lips are left their natural color the footlights bleach them white and colorless. Shape the upper lip into a cupid's bow and round out the lower lip. Dip the little finger into the rouge and press it tightly against the lips, being careful not to smear it; open the mouth and draw the upper lip tight over the teeth. When necessary the upper lip can be shortened in appearance by blending and putting the cupid's bow a little higher. Do not put color on the lips beyond the angle of the nose, otherwise it will make your mouth appear very large. A blonde should not apply the rouge full strength, as it is too dark for her. The lips should not be heavily painted, and the line about the edges should be soft and smooth.

Eleventh stage. Finish with a little powder, dusting the face very gently, using a swan's-down puff. Put a very little powder on the lines about the eyes, but not enough to dull them.

Now look in your mirror with critical eyes. Your handiwork should have resulted in a velvety, soft yet rich complexion that will stand the strong lights of the modern theatre.

What you have just put on is known as a grease-paint makeup. There is also a cream makeup, so called, but it is less desirable for the modern professional stage. It fails to give the right effect for a real musical show with powerful lights. I have used both and do not hesitate to give this opinion based on my own experience.

There is also a dry makeup, with powder, known in theatrical parlance as a "lazy" makeup, suitable only for a "dumb" chorus girl who has no interest in her work, who comes in late and does not care whether she appears to advantage or not.

To complete any makeup, apply liquid white with a soft sponge to the neck, chest, arms and other exposed flesh that is not already made up. If, as in some of the modern revues, the legs are not covered with stockings or tights, they too must have an application of liquid white. To look right, any flesh that is exposed must be made up, because the lights bleach the exposed flesh, making it appear bloodless and giving one a gruesome, corpse-like color.

You are wise if in the matter of makeup you study your own face. Experiment, and note the results. When you are certain you have acquired the best for your own purposes, practice it often, till you can put it on properly and always with the same result. Don't seek to look made-up, ever, but to look your best for the part you are playing, always. If the makeup ingredients are in evidence to the audience you have not created the proper illusion and must practice making up until you acquire skill. It usually takes about one-half hour to put a good makeup on after you have perfected the process with your own features.

Removing Makeup. First remove the beads of cosmetic from the lashes. Then get rid of the little red spot in the inner corner of the eye. Work this toward the nose with cold cream. Then take plenty of cold cream on the fingers of both hands and massage the face thoroughly, to soften the makeup all over. Wipe it off with cheesecloth or an old towel, that you can throw away. Now wash the face with warm water and soap, dry thoroughly, apply a bit of powder, and you are all ready to dress.

SOME MAKEUP NOTES

You makeup for the lights of the theatre, which nowadays are very strong, and may come from many directions and in various colors. The switchboard controlling all the lights is in the first entrance of the stage, and the electrician in charge has his plots and cues all carefully planned for each act. He does not throw lights on or off for the fun of it or at his pleasure, but exactly as carefully designed and mapped by the show's producing director.

The front lights are those in the body of the house as distinguished from the stage. On the stage we have the footlights in red, white and blue, a row of each, and overhead are the border lights in the same three colors. There is the first border, second, third—sometimes even seven border lights, according to the size of the theatre stage. The spotlight is an arc light. It has usually a color wheel that revolves so that either red, blue, straw, light straw, or pink or any other color may be projected onto the "spot" on the stage that it is to illuminate and emphasize. There are dimmers for the footlights and the border lights. With these you can go from daylight effects to sunset, to moonlight, dawn, etc., with gentle gradation. There are two kinds of moonlights on the stage. Number 29 blue in the spotlight gives a summer moonlight; number 35 is best for a winter moonlight scene. Good gelatines, or "mediums" as they are called, are made by the Gelatine Products Company, in Brooklyn, or may be had from Kliegl Bros., the New York Calcium Light Co., the Display Stage Lighting Co., all first-class concerns in New York City.

Under strong blue lights the under-rouge in the makeup will come to the surface, which is not desirable, so get to your dressing room and powder your makeup down if you are going to be under a blue light. The makeup will stand a white spotlight or a pale yellow, but will not look well under too much blue and never well under green.

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Put liquid white on with a soft sponge. Put this on only exposed flesh that is not otherwise made up, as the arms. Never put powder on the arms. It comes off on everything it touches. Liquid white is far preferable in every way.

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The baby brush for blending facial makeup is one of the most important tools in the makeup box. If you try to buy one in a small town they will insist upon your buying a tray and comb, and everything else that goes with the baby set—everything, practically, but the baby. Better buy the outfit than try to go without the brush, but it is still wiser to supply yourself with the brush in time. You can buy it separately in the large cities.

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Never put your mirror in your makeup box, for powder and grease will ruin the best mirror made. The mirror furnished with the Ned Wayburn professional makeup box is almost non-breakable; it is clear as well as strong, and in every way one of the best for its purpose. It will stand up where you want it.

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Never makeup while in your street clothes or in stage costume. A drop of cosmetique on satin slippers or silk stockings will never come out. A washable kimono or bath-robe is the best garment to wear. Long fingernails will cut and ruin thin stockings. Don't ever wear the fingernails pointed.

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In using the 6B Venus pencil to darken the upper eyelid, use the side and not the point of the pencil. Do not use a pencil sharpener, for it leaves too sharp a point. Keep your pencil free from grease. Wipe it often.

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Rouge will fade under bright lights. Much depends upon the condition of one's health as to how long rouge will keep its color on the face. There will be certain times when rouge will disappear rapidly and you will have to renew the outer rouge, perhaps before the act is over.

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Do not throw powder at your face, nor rub it in or smear it. Pat it on gently with the pad and use the blending brush.

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The tiny dot of rouge placed in the inner corner of each eye is to fix the distance of the eyes apart. When the eyes are finished they should appear to be about the distance of one eye apart.

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Rarely is makeup used in the nostrils. A big nose will look very wide if made up, but a small and very straight nose can stand a very little number 18 rouge in the nostril—not lip rouge, which would be too dark. But it is very seldom that the nostrils are made up.

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Unless very careful in removing makeup, your face will feel raw and chafed when you go out in the wind. Take time and plenty of cold cream in the removal of makeup, and dry and powder your face before exposing it to outdoor weather.

* * * * *

If you wish to you can leave the mascaro on the eyelids, working over and under it in removing the rest of the makeup, and so use the mascaro on the street. On matinee days you will see shadowy eyes on Broadway, as some of the ladies of the cast keep the mascaro on till the evening performance.



STAGE COSTUMES

On the stage, as on the street, effective costuming is a matter of good taste. The dancer must be particular always to appear in a costume in keeping with the idea and character of the dance. The producer will be certain to adhere to this rule in all cases where the company supplies the stage costumes, as is customary. In vaudeville, or in a home-talent show, where the dancer furnishes the outfit, the same rule of fitness and appropriateness must be observed, or the resulting incongruity will greatly mar the presentation. Have your stage costumes prepared with the idea of creating proper atmosphere for the dance you are giving or the scene in which the dance appears.

There are special designers of stage costumes in all the large cities, here and abroad. Bakst, the Russian artist, is a name all have come to know because of the bizarre effects he creates for the stage. In London, Comelli was an outstanding name as costume designer for the Drury Lane productions; Erte, in Paris, and there are many others abroad. New York has several concerns of the first grade whose work along these lines is in evidence in the best theatres throughout the country and overseas.



The first step in costume making for the stage is made when the costume designer and the scenic artist are brought together under the producing director to arrange and settle upon a definite color scheme for each act and scene, so that colors of costumes and stage settings shall be in full harmony throughout. This is most important for the pictorial effects and is given careful study. With the color schemes effectively planned, there follows a further conference between producer and costume designer, in which plot, locale, atmosphere, characters, lyrics, music, and everything else with a bearing on the dance or play in contemplation is fully gone over and considered. The personality of the principals is given attention, and the various possible effects of the ensemble or chorus groupings, evolution and pictures are carefully planned, with regard to lights and color effects.

The designer thus consulted submits pencil sketches of his ideas. The next step is a water color design in the actual colors to be employed. The accepted costume plate in color becomes now the working basis for the actual process of manufacturing the garments. The cost of these color plates for each design is at least five dollars, but usually more, as high as $25.00 sometimes, before a garment is cut or a stitch taken, the price for a costume plate or design depending a good deal upon the standing or reputation of the designers.

Materials as well as colors are given careful thought. Sometimes the artist's design is made around a sample of the actual materials, though usually the color idea is developed first and the goods to be used in the garments considered later. The quality of the material for stage costumes should be the very best to be had regardless of cost. It is unquestionably true that the best is the cheapest in every way. Not only do costumes of cheap fabrics not hold together, and the colors fade out when exposed to the strong modern stage lights, and repairs and renewals become a frequent necessity, but the very people on the stage who are compelled to wear the inferior costumes are literally let down to a lower level in morale as a consequence.



It is human nature for a well-groomed man or woman, on the stage or off, to be in better spirits and a better mental attitude for the very reason that they are correctly attired. Cheap garments and inferior costumes detract from the dancer's ability to do the best work, however unconscious of this fact the dancer may be. So I contend that it pays to use the best material and employ the best workmanship, if only to keep the performers up to pitch and put the show over in a way that spells success.

Then, too, there is the audience to be considered. They know the difference between silk and cotton, and are quick to judge the show by the appearance of the costumes that greet them on the stage. It is little less than an insult to modern American audiences to expect them to pay modern prices for seats in the theatre and then parade a lot of second-rate costumes before them as your idea of something that will "get by" without detection or adverse comment.

The cost of costumes varies, of course, and the range is wide. Professional costumes worn in Broadway productions under my direction have been made for as little as $23.00 and as high as $1500.00 for an individual costume. Chorus costumes have been shown on Broadway costing $50.00 to $400.00 for each girl in the ensemble. However, a satisfactory chorus costume can be produced today for around $75.00 and that for a principal about $100.00.

There are large and satisfactory rental establishments in New York, Chicago, Philadelphia, Boston, and others of our prominent cities where costumes can be rented for almost any character of show, in single garments or for a complete production. In the east, among the best are Brooks or Eaves, of New York, and Van Horn of Philadelphia.

In the wardrobe department of the Ned Wayburn Studios there is carried a varied line of up-to-date costumes well over a hundred thousand dollars in actual cash value. There is one set of twelve dancing costumes there alone worth $4800.00, or approximately $400.00 per costume. Any of my stock of costumes is available on a rental basis for amateur shows when my organization is employed to stage the productions, and an expert wardrobe mistress goes along with the outfit to insure proper adjustment and fitting of all the costumes to their wearers.

The complete costume when rented from any concern includes headdress, bloomers and parasols (if the character calls for them), besides the gown or costume proper, but never includes wigs, shoes, stockings or tights, which must be purchased outright.

In our studio work and during the rehearsal period on the stage we recommend the Ned Wayburn rompers as a form of practice dress best suited for ladies' use, except in our foundation technique and acrobatic dancing classes, in both of which the bathing suit is given the preference.



DANCING TEMPOS



One must possess an inherent sense of rhythm in order to become a successful stage dancer. To be able to walk or dance to music in perfect time, and find enjoyment in doing it, is one of the first essentials. I can tell by the way a person walks across the floor when an orchestra or any musical instrument is rendering a sprightly bit of dance music, whether or not the walker has the dancing sense that is so necessary to perfection in the art.

In dancing, the term "rhythm" refers to the coincidence of movement and music, and is the symmetrical regulation of time and the periodical repetition of the same arrangement. The measure of speed in music and dancing is designated as "tempo." It is the "time" in which a musical composition is written, and is shown upon the "staff" by figures. Of the many kinds of dance measures, the most common are what are known as 2-4, 3-4, 4-4, and 6-8.

[Music: March, Stars and Stripes Forever

John Philip Sousa

Used by Permission of The John Church Company, Owner of the Copyright]

[Music: March, Over There

GEO. M. COHAN.

Copyright by Leo Feist, Inc., Used by Special Permission]

Among the 2-4 rhythms, the principal ones are the March, which is indicated either in "Alla Breve" (C), as "The Stars and Stripes Forever," or in 2-4, as the more rollicking "Over There," or the well known Cake Walk, "Georgia Camp Meeting." By increasing the tempo of the 2-4 March it becomes the One Step dance.

[Music: Cake Walk, Georgia Camp Meeting

Mills

Copyright by MILLS.]

Marches are also written in 6-8. Then they are called Two Steps, as "The Handicap March," and Sousa's "Washington Post" March.

[Music: Pizzicato Polka by Leo Delibes]

Among the other 2-4 rhythms are the Polka, suitable for Ballet work. The "Pizzicato Polka" is a very good example of this type. The Gallop and Can Can are in a very fast 2-4 tempo.

[Music: Can-Can from "Orpheus"

Offenbach]

Waltzes are in 3-4, played sometimes in a lively tempo, one in a bar, or slow, 3 in a bar. "Three o'Clock in the Morning," a ballroom waltz is in the slow tempo, while "In the Good Old Summertime" is more rapid, adapted for fast movements and waltz clogs. "Valse Coppelia," played one in a bar, is the type for dainty Ballet work. The stately Minuet is in 3-4 time.

[Music: Waltz, Three o'clock in the Morning

by Julian Robledo

Copyright by West's LTD. London Eng.

Leo Feist Sole Agt.]

[Music: Waltz, In the good old Summertime

GEO. EVANS

Copyright by HAVILAND.]

[Music: Waltz from Ballet Coppelia

LEO DELIBES.]

[Music: Minuet by Mozart]

The Gavotte, played 4 in a bar, is principally suitable for Ballet, while the Song and Dance ("Narcissus"), on account of its rhythm, is mainly adapted for the soft shoe and its kindred dances. It is also in 4-4. The Fox Trot is written "Alla Breve," 2 in a bar in moderate tempo. It has a somewhat strict rhythm, while the "Charleston," played usually in the same tempo, is rhythmically different. As one can notice, it has an anticipated second beat.

Perhaps the most popular music for the Charleston dance is the Charleston number from "Runnin' Wild."

[Music: Song and Dance Rhythm

"Narcissus"

Nevin]

[Music: FOX TROT. I LOVE YOU

by HARRY ARCHER

Copyright by Leo Feist, Inc., Used by Special Permission]

[Music: "Charleston" Cecil Mack & Jimmy Johnson

Copyright MCMXXIII by Harms, Inc., N.Y.]

There are a great many varieties of national dances, all having a peculiar rhythm of their own, portraying the character of their people. Among these are the "American" characteristic dances, as "The Rube Dance" and the peculiar rhythm of the Stop Buck, the "Essence" played in moderate 6-8 tempo, as in "Comin' Through the Rye."

[Music: Essence, Coming Thru' the Rye.]

Among the Irish Dances, the most popular are the Jig, a fast 2-4; and the Reel, a fast 6-8. The Scotch have their "Highland Fling," a fast 4-4, and there is the Hornpipe.

[Music: Irish Jig]

[Music: Irish Reel (Rory O'More)]

[Music: Highland Fling.]

[Music: Scotch Hornpipe]

The Spanish dancers are particularly fond of the Waltz, played lively, and when still more increased in tempo it becomes the "Fandango," a wild and merry dance. The Tango is in 2-4, played in moderately slow tempo; its rhythm is also adapted for the Habanera.

[Music: Valse Espana

(Fandango) Waldteufel]

[Music: Tango (Habanera)—Paul Dupont

Copyright Sam Fox Cleveland O.

("Rosita" Tango Fox Trot)]

The Italians have their "Tarantella." It is played very fast. It is supposed to cure the bite of the tarantula, hence the furious tempo. The Egyptian (Oriental) Dance is of a more sensuous type, either moderately fast in 2-4 or slow (in 6-8).

The Soft Shoe Dance is played 4 in a bar in Schottisch tempo.

[Music: TARANTELLA—BURCHENAL]

[Music: Egyptian Ballet

(fast movement)

A. LUIGINI]

Most any 2-4 March movement is suitable for "buck" dances, but they must be in syncopated rhythm with characteristic melodies and accompaniments and not what is called straight marches, but must have the right atmosphere musically in order to inspire the dancer.

[Music: Egyptian Ballet (slow movement)—A. LUIGINI]

There are a number of very good dance albums published annually with popular dance melodies and piano arrangements. Among the best are those published by Leo Feist, Inc., Jerome H. Remick & Company, Shapiro, Bernstein & Company, Harms, Inc., and M. Witmark & Sons, all of New York.



DIET AND DANCING



There are three kinds of people who should use care in all that they put into their bodies in the way of food and drink: The thin, the just right, and the stouts. That seems to cover about everybody on earth, doesn't it?

Well, that is just the idea. It is my way of saying that everyone, everywhere—you and I and the other folks, will be better looking and in better health and better spirits, more capable every way, if we pay attention to our diet.

This treatise is intended for men as well as for women and is equally applicable to both. It is addressed to the ladies, for reasons that surely are obvious, but the rebuilding of the figure is accomplished by the same methods in both sexes. Remember this, and substitute "man" for "woman" in your reading and application of this chapter if you are a male.

Incidentally, it is not stage dancers alone who need to be told what is best for them, but as our professional dealings here in the studios are with dancers, we are directing our advice to them. For really the need is greater in the case of the lady whose "job" and salary depend upon her bodily appearance and health and mental condition, than it is in the case of any other of her sex. The lady of society wishes to look at her best, and usually succeeds in doing so, but her "job" doesn't depend upon it, as yours does.



So believe me when I say that what I am about to put down here in black and white is not said for the fun of it nor for any other purpose but to enable every woman to increase her capital stock and secure the largest possible dividends in the beauty market.

The thin, slight, under-nourished woman will heed my words on this subject with satisfaction. Her procedure is pleasant and easy, comparatively. She can and will improve rapidly if she is determined to do so and will stick to what I tell her.

The "just right" woman wants to remain in her perfect form, and the words here printed will serve as a sign-post to direct her in the way that is best for the accomplishment of that desirable end. Her task is easiest of all.

The stout woman who would regain the more pleasing figure that nature intended she should have can do so if she will, but her inclination to indolence and indulgence must be overcome—by herself, not by anything anyone else can do for her—and she must make up her mind that she has a real task before her, and one that calls for all her will power and stern determination. And she must be patient, for in her case results are apt to be slow. But let her be encouraged: Some of the most admired women of the stage have experienced her same difficulty with too abundant flesh and have perfected themselves by this identical plan set forth here. So it has been done, and can be done in your case; but it all depends upon you, your zeal and your stick-to-it-iveness.

To see how your present weight conforms to the proper standard, I present here a table of average weights based on heights and age. In this table the weights are taken in scant costume, a single garment and no shoes. Any table of this kind can be only approximate, however, for the frame and general build vary in different people and the bone structure must be considered in fixing the weight.

STANDARD TABLE OF AVERAGE HEIGHTS AND WEIGHTS OF MEN AND WOMEN OF VARIOUS AGES

WOMEN

Heights Weights

15-19 20-24 25-29 30-34 35-39 40-44 45-49 50-54 55-59 Ft. In. yrs. yrs. yrs. yrs. yrs. yrs. yrs. yrs. yrs. 4 11 110 113 116 119 122 126 129 131 132 5 0 112 115 118 121 124 128 131 133 134 5 1 114 117 120 123 126 130 133 135 137 5 2 117 120 122 125 129 133 136 138 140 5 3 120 123 125 128 132 136 139 141 143 5 4 123 126 129 132 136 139 142 144 146 5 5 126 129 132 136 140 143 146 148 150 5 6 130 133 136 140 144 147 151 152 153 5 7 134 137 140 144 148 151 155 157 158 5 8 138 141 144 148 152 155 159 162 163 5 9 141 145 148 152 156 159 163 166 167 5 10 145 149 152 155 159 162 166 170 173 5 11 150 153 155 158 162 166 170 174 177 6 0 155 157 159 162 165 169 173 177 182

MEN

Heights Weights

15-19 20-24 25-29 30-34 35-39 40-44 45-49 50-54 55-59 Ft. In. yrs. yrs. yrs. yrs. yrs. yrs. yrs. yrs. yrs. 4 11 111 117 122 125 127 130 132 133 134 5 0 113 119 124 127 129 132 134 135 136 5 1 115 121 126 129 131 134 136 137 138 5 2 118 124 128 131 133 136 138 139 140 5 3 121 127 131 134 136 139 141 142 143 5 4 124 131 134 137 140 142 144 145 146 5 5 128 135 138 141 144 146 148 149 150 5 6 132 139 142 145 148 150 152 153 154 5 7 136 142 146 149 152 154 156 157 158 5 8 140 146 150 154 157 159 161 162 163 5 9 144 150 154 158 162 164 166 167 168 5 10 148 154 158 163 167 169 171 172 173 5 11 153 158 163 168 172 175 177 178 179 6 0 158 163 169 174 178 181 183 184 185 6 1 163 168 175 180 184 187 190 191 192 6 2 168 173 181 186 191 194 197 198 199 6 3 173 178 187 192 197 201 204 205 206



Now first of all, weigh yourself and see how near you come to the standard, and take note how many pounds you have to add or subtract to reach the perfect mark. Weigh yourself at regular intervals, every Sunday or Monday, but weekly, if possible, and keep a record of your weights and the dates they are taken.

First I am going to direct the too thin as to the best method for them to put on flesh, fill out hollows, become symmetrical and graceful and pleasing to the eye.

HOW TO GAIN WEIGHT

1. If you are thin, have an examination by a competent physician to be sure you have no organic trouble, before you try to put on flesh.

2. Calm yourself. "Learn to accept the trivial annoyances and the small misfits of life as a matter of course. To give them attention beyond their deserts is to wear the web of your life to the warp."—Hubbard.

3. Exercise and air. Take at least 10 minutes of Ned Wayburn exercises every morning as soon as you get up. Begin with a small number of movements and increase gradually. Be in the open air as much as possible.

4. Sleep. Resistance is markedly lowered by a lack of sufficient sleep. Have a rest period during the day if possible. Do not sleep longer than eight hours. For every hour you are in bed over that time the fat piles on or else you are losing flesh.

5. Avoid unnecessary exertion. Don't talk too much. Delete the details. Never talk about your ailments except to your physician. You pay him to listen (or should).

6. Avoid tea, coffee and nicotine and other stimulants.

7. Masticate your food thoroughly and leave your troubles behind when you go to the table.

8. EAT. Stretch your stomach and train it to take care of more food. You must eat three meals each day at regular intervals. They must consist of what your system requires and not just what tastes good on your palate. Never eat between meals. Give your digestive apparatus a chance to function as it should, three times daily, at the same time each day, always giving it an opportunity to rest as well.

9. EAT. Eat whether you enjoy it or not. You will enjoy it later. Don't heed the advice that you should not eat as a matter of duty. You should.

10. EAT. But no second helpings.

I have seen printed advice never to eat unless you enjoy your food and to avoid eating as a mere duty. I tell you to discard that advice. Do eat whether you enjoy it or not, and do eat as a matter of duty.

Once the food is in your system, whether you like it or not, a large part of it will be assimilated. Perhaps not so well nor so readily, for we know that the enjoyment of food adds to the efficiency of the digestive juices.

There is a small bird called the ortolan, which is highly esteemed by the Italian gourmands. When it is fat it is very delicious, but as it feeds normally only once a day, when the sun rises, it naturally has no fat on it. So the Italians confine these birds in a darkened room and succeed in getting them to eat four or five times a day in the following manner:

They put a lantern at a little window in the room. The ortolans, thinking the sun has risen, hop around and eat. The lantern is withdrawn and they are left in darkness four or five hours. Now the lantern is again put in place. The ortolans, evidently an unsuspicious, guileless type of bird, thinking the sun has risen again to perform its duty by telling them it is time to eat, hop down from their perches and busy themselves very seriously and dutifully with their breakfast.

Apparently they do not keep track of time and do not suspect that only four hours of the 24 have elapsed. This same sun rises for them four or five times during the day and each time they obey its summons and gallantly eat. The result is that they are converted into little balls of delicious fat.

You can get a lesson from these birds.

DIET TO INCREASE WEIGHT

Thick soups. Thick gravies. Plenty of butter and sugar.

Fruits. The best fruit to fatten is bananas, eaten slowly with cream and sugar. Any kind of stewed fruits, cooked with sugar. Orange juice, with plenty of sugar. Grapefruit, with plenty of sugar. Any kinds of berries, with plenty of cream and sugar.

Cereals. Oatmeal, Cream of Wheat, Corn Flakes. Avoid bran foods.

Meats. Anything fried is good. Roast beef, roast veal, roast pork, roast ham, veal chops, pork chops. No lamb. Must have steaks rare. Ham and eggs.

Vegetables. White potatoes, creamed, hashed, any kind of fried potatoes, sweet potatoes fried, mashed potatoes with butter. Beets are fattening boiled—not pickled. Spaghetti, macaroni, boiled onions, spinach, creamed, creamed carrots, lima beans, peas.

Bread. White bread, fresh bread, hot tea biscuits, plenty of butter.

Pastries. Pies, cakes, puddings, bread puddings, any sort of French pastry, and candy (in moderation).

Beverages. Sweet milk, cocoa, chocolate, malted milk. Perhaps one cup of coffee a day, not too strong, with plenty of cream. Weak tea with cream and sugar.

Keep your system well flushed. Drink plenty of water, about 45 ounces a day, say nine tumblerfuls. A glass of water before and after each meal, one in the middle of the morning, one in the afternoon, and another just before going to bed, are essential. This induces perspiration, which opens the pores and lets out the impurities, the worn out tissues, and keeps the system healthy, incidentally relieving the kidneys. Never take any liquids during a meal. This interferes with the work of the digestive juices and prevents the proper assimilation of the food.

There is no hardship involved in selecting one's meals from this extensive and comprehensive menu, and if proper eating were all that is necessary to perfect your figure the process would be a joy indeed. But we are seeking to make you not only pleasant to look upon, but also physically adapted to a stage career, which means that vigor, strength, endurance, "wind" and flexibility are demanded as well, so, in order to accomplish both, we unite exercise to diet, and the combination of the right food and habits and the Ned Wayburn Foundation Technique brings about the direct result; you become shapely, graceful, strong, and accomplished in a great art, all as the result of the same instruction, and simultaneously.

* * * * *

NED WAYBURN'S DAILY MENUS FOR THE UNDERWEIGHT

MONDAY

BREAKFAST

Shredded wheat with sliced banana, 1/2 cup thin cream or top milk and 1 rounding teaspoon sugar; poached egg; 2 slices toast, 2 squares butter; coffee with 1/2 cup hot milk or cream and sugar as desired.

LUNCHEON

Cream of tomato soup; 3 saltines; Swiss cheese and rye bread sandwich; 1 square butter; prune whip, soft custard sauce; 1 glass milk.

DINNER

Vegetable soup; roast beef with gravy; baked potato; lima beans; French roll; 2 squares butter; hearts of lettuce, French dressing; ice cream, chocolate sauce; coffee if desired.

TUESDAY

BREAKFAST

Baked apple (large) with 1 tablespoon cream; scrambled eggs with 2 slices bacon; 1 cornmeal or graham muffin; 1 square butter; coffee as above.

LUNCHEON

Club sandwich with mayonnaise; lemon meringue pie; coffee with half cup hot milk.

DINNER

Fillet of sole, Tartar sauce; boiled potato; lettuce and tomato salad, French dressing; 2 slices bread; 2 squares butter; ice cream; glass of milk.

WEDNESDAY

BREAKFAST

Grapefruit with sugar; 1/2 cup oatmeal with 1/4 cup cream and 1 rounding teaspoon sugar; 2 boiled eggs; 1 slice toast; 1 square butter; cocoa.

LUNCHEON

Lamb chops (2); creamed asparagus on toast; tomato and lettuce salad, mayonnaise; 2 rolls; 2 squares butter; 1/2 cantaloupe.

DINNER

Broiled steak with gravy; scalloped or mashed potatoes; buttered beets; 2 slices whole wheat bread; 2 squares butter; ice cream; glass of milk.

THURSDAY

BREAKFAST

1 orange; 3 griddle cakes with 2 squares butter and 3 tablespoons syrup; coffee as in breakfast (1).

LUNCHEON

Fruit salad, mayonnaise; raisin bread and cream cheese sandwich; doughnut; glass of milk.

DINNER

Substantial soup such as minestrone, chowder, petite marmite or pot au feu; roast chicken or duck with stuffing and gravy; candied sweet potatoes; green peas; 2 rolls or bread; 1 square butter; raw fruit, honey-dew melon or 1/2 cantaloupe; coffee.

FRIDAY

BREAKFAST

6 stewed prunes and juice; cornflakes with 1/2 cup top milk or cream and 1 teaspoon sugar; 2 slices hot buttered toast and marmalade or jam; 1 glass milk.

LUNCHEON

Cream of pea soup; ham omelette; French fried potatoes; 2 slices buttered toast or bread; strawberry ice cream; tea as desired.

DINNER

Breaded veal cutlet or roast leg of veal; spaghetti with tomato sauce; string beans; celery; French roll; 1 square butter; apple brown Betty, hard sauce; glass milk or coffee with hot milk.

SATURDAY

BREAKFAST

1 serving strawberries, raspberries or sliced peaches with 2 tablespoons cream and 1 teaspoon sugar; 1/2 cup wheatena with 4 tablespoons cream and 1 teaspoon sugar; 3 slices bacon; 1 French roll; 1 square butter; cocoa.

LUNCHEON

Chicken or egg salad with mayonnaise; 2 rolls; 2 squares butter; baked apple with cream; glass of milk.

DINNER

Cream of asparagus soup; baked ham; potato salad; mayonnaise; fresh green or red cabbage, cooked; 2 slices rye bread; 1 square butter; raspberry sherbet or peach ice cream. Coffee.

SUNDAY

BREAKFAST

1 glass orange juice; 3 tablespoons grapenuts with 4 tablespoons cream; cocoa; creamed eggs on toast.



LUNCHEON

Macaroni and cheese; spinach with oil and vinegar; 2 slices whole wheat bread; 2 squares butter; chocolate cornstarch pudding with cream.

DINNER

Beef stew with vegetables; red beet or cabbage salad, French dressing; 2 rolls; 2 squares butter; strawberry short cake; glass of milk or coffee with hot milk.

Note: If underweight is marked, it may be advantageous to take additional nourishment at 10 A.M. and 4 P.M., such as a glass of milk or cocoa with 2 graham crackers and a glass of hot milk and crackers at bedtime. This will add 750 to 1000 calories to the day's total.

Any one of the above breakfasts contains 800 calories. Any one of the above luncheons contains 1000 calories. Any one of the above dinners contains 1200 calories. This gives a day's total of approximately 3000 calories of heat or energy.

* * * * *

HOW TO LOSE WEIGHT

To get rid of superfluous avoirdupois is one of the necessary steps to beauty. A ponderous actress has a limited field. Certain character parts, a few vaudeville acts, a singing turn, or a burlesquing of her own abnormality (if she has the personality to carry it off with), and there her availability for stage purposes ends. But you cannot dance and waddle at the same time. "It isn't done." If you aspire to be the kind of stage dancer that the public demands and that we produce in our courses, you will have to submit to diet and exercise, the only coin of the realm that will buy physical beauty and perfect development. There is no other way. Medicines for this purpose are dangerous, because they contain poisons, like arsenic and mercury. Make up your mind to either abandon all hope of a dancing career, or to faithfully follow the prescribed routine of proper exercise and non-fattening foods. If you continue to take into your body the foods that build fatty tissue, no exercise alone will dispose of the excess fat that is sure to result. While our exercises in the studio do help greatly, they cannot entirely correct a basically wrong condition unless supplemented by proper diet. And diet alone is not sufficient, either; you must have the exercises along with it.

DIET TO DECREASE WEIGHT

You must partake of no soups, nothing that is fried, no gravies. The only meats that you will be permitted to eat are roast lamb, lamb chops, broiled or boiled white fish, or white meat of chicken or turkey; no other meats of any kind, no other fish of any kind.

Vegetables. You may have any green vegetables, especially plain spinach, carrots, string beans, lettuce, celery, onions, sliced tomatoes, never any stewed tomatoes or beets. But you can have beet tops. Radishes are hard to digest.

You are not permitted to have any pastry, and by that is meant pie, cakes or cookies; no candies of any kind; no ice cream or ice cream sodas, no sarsaparilla or ginger ale, no liquor, no smoking, no cigarettes. You are not to take any liquids while having your meals.

You are not to partake of whole milk, cream, or white bread. Use little or no sugar or butter. The only kind of bread that you are permitted to eat is the whole-wheat bread, gluten bread, or whole rye bread. You may take stale bread toasted. Gluten bread is good when toasted.

You are prohibited from taking coffee. You may take very weak tea—very weak—but there should be no sugar in the tea, nor should there be any cream in it. You may have a slice of lemon in your tea. Lemon juice can be squeezed on the lettuce instead of using sugar or rich dressing. Vinegar on the lettuce or spinach, and plenty of it, is permissible.

Buttermilk is excellent, and so is postum, but the postum should be taken without sugar and used with hot skimmed milk, not cream.

For fruits: take baked apple, applesauce, grapefruit, orange juice, raspberries, blueberries, huckleberries, a few strawberries—not many—occasionally.

About potatoes: no potatoes except a baked white potato, occasionally—no sweet potatoes, no French fried, home fried, hashed or creamed potatoes—no mashed potatoes; the only kind you are permitted to partake of being the well-baked white potato, and you may eat the skins if you like, but do not butter the potato.

For cereals: take bran, bran flakes or hominy—but the hominy must be cooked for one hour and a half. That is the best cereal for your diet. The hominy should be flavored with about one-half teaspoonful of currant jelly, put into the hominy and stirred up, just to give it a little taste. Do not use any cream, milk or sugar on your hominy, which is really the most nutritious cereal when cooked this length of time.

I am reproducing here the Ned Wayburn daily menu for a reducing diet. It is one I have worked out carefully and studiously and used successfully on many of my pupils and myself. By means of this diet and my studio exercise I reduced myself from 262 pounds to 207 pounds in twelve weeks—a loss of 55 pounds, and felt better when I got through than I did when I began, but, I do not advise anyone taking off weight too fast. With my method of reducing all of the unhealthy fatty tissue will be gotten rid of before the remaining firm muscular tissue will be distributed about the body. You may get thinner in the face first, and about the thighs last. Be patient; it may take you six months or longer. Unless you have gland trouble or some other serious disorder it will go in time, provided you will work to get rid of it and stick to the diet for not less than three months. Those taking the conditioning work lose an average of about one pound per week, while those who are trying to build up gain about one-half pound each week after they have gotten rid of all the unhealthy unnecessary tissue, those underweight frequently losing five pounds before they begin to show any gain. It will surely bring back youthful buoyancy and insure your health and figure for the future. After you have succeeded in getting down to the right poundage you can go on my balanced diet for those who have reduced, but you will still have to do about ten minutes of my exercises every morning, and you must never over-eat again.

* * * * *

NED WAYBURN'S DAILY REDUCING MENUS

MONDAY

BREAKFAST

Orange (without sugar) 1 medium; 1 poached egg on thin slice toast; 1 small pat butter; coffee with 1 teaspoon sugar and 1/2 tablespoon cream or coffee with 1/4 cup hot skimmed milk.

LUNCHEON

Lettuce, tomato and cream cheese salad, with 1/2 tablespoon French dressing; 2 thin slices whole wheat bread; 1 small pat butter; 1 glass skimmed milk.

DINNER

Bouillon, clear; lean roast beef; 1 medium baked potato; spinach; 1 small pat butter; pear or apple.

TUESDAY

BREAKFAST

1/2 grapefruit (without sugar); 1 egg and 1 thin slice crisp bacon; 1 thin slice toast; 1 small pat butter; coffee with hot skimmed milk.

LUNCHEON

Cheese sandwich; asparagus salad with 1/2 tablespoon mayonnaise; tea with lemon.

DINNER

Roast or broiled chicken (no stuffing or gravy); green peas; lettuce and cucumber salad with 1/2 tablespoon French dressing; baked apple (no cream).

WEDNESDAY

BREAKFAST

3/4 cup strawberries with rounding teaspoon powdered sugar; 1/2 cup oatmeal with 1/4 cup skimmed milk and 1 level teaspoon sugar; glass of skimmed milk.

LUNCHEON

Cream of tomato soup; medium serving cold meat; 2 thin slices rye bread; 1 small pat butter; 1/2 small cantaloupe.

DINNER

Broiled sirloin steak, moderate serving; 1 ear corn on cob; tomato and lettuce salad, with 1/2 tablespoon French dressing; 1 small pat butter; cup custard (small).

THURSDAY

BREAKFAST

1 apple; 1 egg omelet; 1 bran muffin; small pat butter; coffee with hot skimmed milk.

LUNCHEON

Macaroni and cheese; lettuce with French dressing; fruit gelatine pudding (clear).

DINNER

Beef or lamb stew with vegetables; 2 thin slices whole wheat bread; small pat butter; tapioca cream pudding; black coffee.

FRIDAY

BREAKFAST

1 peach, with 1 rounding teaspoon powdered sugar; shredded wheat with 1/2 cup milk; 2 thin crisp slices bacon; thin slice dry toast.

LUNCHEON

1 French lamb chop; 1 medium baked potato; lettuce with 1/2 tablespoon French dressing; lemon ice.

DINNER

Vegetable soup; broiled halibut or other white fish with lemon; 1 medium baked potato; 1 slice bread; 1 small pat butter; French ice cream (small serving).

SATURDAY

BREAKFAST

1/2 orange; 1 French roll; small pat butter; glass of skimmed milk.

LUNCHEON

Clam or corn chowder; 3 saltines; moderate serving peach or strawberry ice cream, or apple, cream, or custard pie.

DINNER

2 small lamb chops or 1 large one; tomato salad with French dressing; mashed turnips; 1 thin slice whole wheat bread; 1 small pat butter; raw peach.

SUNDAY

BREAKFAST

1 banana; 3/4 cup cornflakes; 1/2 cup skimmed milk; 1 slice toast; 1 small pat butter.

LUNCHEON

Egg or chicken salad; 1 slice bread; 1 small pat butter; 1 small piece loaf cake, or 2 plain cookies; tea with lemon, no sugar.

DINNER

Hamburger steak with tomato sauce (2 cakes); string beans or asparagus; 1 thin slice rye bread; 1 small pat butter; glass of skimmed milk or coffee with skimmed milk; raw apple, orange or pear.

Note: If overweight is excessive omit all desserts given in menus except raw unsweetened fruits.

Any one of the above breakfasts contains 350 calories of heat or energy. Any one of the above luncheons contains 500 calories. Any one of the above dinners contains 650 calories. The day's total will be 1500 calories.

* * * * *

You will no doubt be interested in hearing the story of a young lady, Miss Ann Constance, who came to me a little over a year ago to be reduced. She was sixteen years old, was five feet five inches in height and weighed one hundred and seventy-nine pounds. At the end of nine months, under the treatment I am recommending for those who are overweight, she tipped the scales at one hundred and nineteen pounds. Her photographs, in this book, taken "before and after," will tell the story better than I can in words. Miss Constance is in better health today than she has ever been before in her life; and she has become an exceedingly good dancer—recently with the Greenwich Village Follies and at this writing just beginning a career in the movies with the Famous Players at their Long Island Studios. She is, however, only one of many girls whom my diets and exercises have helped.



We have never failed in reducing any of our pupils who came to us for that purpose, but we have to have their cooperation, of course. Quite recently we had a very puzzling case that challenged the Sherlock Holmes in us, and I think it will interest you to know how we solved it.

A young lady of really huge proportions, resident of another city, called on me at the studio accompanied by her mother, and placed herself in my charge for reducing. I studied her, arranged a special diet for her and she entered the class in limbering and stretching. I watch the progress of all my pupils, and expect them to record the change in their weights every week. I watched this young lady with especial care, and was dumbfounded to notice that she was steadily gaining in weight. She never lost a pound but kept on adding fat to more fat all the time, notwithstanding that she was working her head off in the classroom—when she came to class. She skipped seven lessons of the twenty in the first month's course, reporting for only thirteen, finally insisting that the lessons were not doing her any good.

I felt that there must be something wrong and wrote the mother of the girl about it, as she had requested me to do. She told me that the girl had a charge account at a certain hotel where she took her meals. I asked the mother if it would be possible for me to get the meal checks signed by her daughter, which would show just what she had eaten. The meal checks were turned over to me. I found that the girl had been eating the prohibited things; that about once in two weeks she had followed my diet, and at every other time she had eaten everything she liked—enormous meals, consisting of starchy foods and all sorts of desserts—mostly sweets. I also found out that she had been taking some of the other girls at the studio along with her, fattening them up. The mother was inclined to be easy with the girl. I called her father's attention to the matter, because the girl paid no attention at all to me, and as far as I could see was hurting the school. Of course she was only fooling herself.

I insisted that we were not going to fail with her, and her father came to New York to see me. About this time the girl was taken ill, suffering with acute indigestion and finally the mumps. On my advice her father took her home. Lately I have heard from the young lady, and she wants to re-enter the school. If I decide to take her back, she will have to keep strictly to her diet and attend regularly, which I believe she is now ready to do, as she has gained much weight since leaving here.

Lillian Russell was a beautiful woman, with a personality and a stage presence. She was fond of the good things in life, and was obliged to watch carefully a tendency to embonpoint. She has gone on record as saying that lots of walking, lots of dancing, and two meals a day was all the reducing exercise she ever employed. She advised a light breakfast, no luncheon, and a good dinner, with no between-meals, no "piecing," no candy. The chief trouble with this plan is, that one is apt to become ravenous by dinnertime and over eat at that meal, and thus undo what you are attempting. The best way is to follow the Ned Wayburn diet faithfully, and take three meals each day, just as I have suggested.



DANCING AND GOOD HEALTH



The dance is its own justification. It needs no excuse, nor do the many millions who share its delights need to be told how beneficial it is to them. They know that they are healthier and happier men and women, and therefore get more out of life and give more to others, because they dance. If the purpose of life is, in the words of an immortal document, the pursuit of happiness, surely those who train their bodies to move in harmony with natural laws are fitting themselves for capacity to enjoy all that life brings. To live well requires good physical health, for which a prime requisite is an abundance of pleasant exercise. Not alone to those who are free from the necessity of the various forms of exertion that are termed "work," but to every human being, exercise is as necessary as food. To those whose daily callings involve substantial physical labor, the need for exercise is just as great as for those of lighter employments. And nowhere can there be found so satisfactory a bodily exercise as in the dance. Sports, outdoor games, horseback riding, etc., have their place, but are available to a comparatively small percentage of all the people. Now that the introduction of the automobile has turned America into a nation of riders on soft cushions, the need for proper exercise has become more important than ever.

To live well, breathe well, sleep well, the body demands activities that will develop and strengthen it. The most delightful form in which this want can be supplied is in the dance.

The universal desire of mankind is for enjoyment; the qualification of physical, mental and aesthetic needs. To enjoy requires the possession of the Roman prime essential; a sound mind in a sound body. So closely are physical and mental health related, so complex the reactions of a disordered nervous system on bodily health, or the effect on the mind of physical weakness, that the wisest doctors do not pretend to say this illness is either wholly mental or physical. They do know that some violation of the laws of right living, some neglect to follow natural impulses, is chiefly responsible for the long list of ills that afflict mankind. And they are unanimously agreed that proper diets and an abundance of exercise are far better than cures; they prevent disease.

It is not necessary to go into physiological details to explain why the well-nourished body demands suitable exercise. That it does is an admitted fact. The question that confronts the millions who know that their bodily condition is not what it should be is: "What must I do to make myself stronger, and capable of enjoying life better?" The obvious answer is: "Dance."

In dancing there is found a form of exercise that stimulates circulation of the blood to the remotest finger tip; that develops, under proper training, every muscle; that aids digestion to perform its functions of supplying nourishment to every tissue of the body, and brings to the dancers the glow of vigor and animation. These effects of the dance have long been proved by the experience of millions of men and women. Other millions who have not yet tried it will sooner or later make the experiment. They will find that life takes on a new outlook, that instead of listless indifference they are actively interested in many things that they formerly ignored; that with restored bodily vigor they have quickened minds and better appreciation of all their daily contacts with their fellows, and that they are enjoying each day's existence with a zest never known before.

The dance is a physical, mental and moral upbuilding. It brings a greater capacity for success in the daily tasks and duties. It stimulates and restores. It shows the door to the glooms and welcomes gladness. It brings self-confidence in undertaking new enterprises, and banishes the mental depressions that result from bodily ills. It forms new circles of agreeable companions, and affords opportunities for congenial friendships. It avoids wasted expenditures for nauseous drugs and doctor's bills. It puts humanity in harmony with fundamental natural laws, and makes of all who resort to it healthier, happier and better men and women.



SHOWMANSHIP



Do you know what "repeaters" are in the language of the stage?

They are people who like a show well enough to patronize it more than once—well enough to spend their money to see it a second or a third time, perhaps many times, and bring their friends to enjoy it with them. There are many more "repeaters" on occasions when attractions have real merit of one kind or another than the casual public dreams of. The show manager watches for them and spots them, and rejoices greatly when he finds them abundantly in evidence, night after night, for he knows then that he has displayed real showmanship in his selection of a cast, a play, and in its rendition. The frequent return of a pleased patron accompanied by his companions attests the success of a show in stronger terms than any other one thing could possibly do. I go on record as saying that no show was ever a real financial success without it produced "repeaters." It is a real test of genuine showmanship, recognized as such the world over by every shrewd theatrical manager.

Good showmanship consists of the ability to anticipate the verdict of the playgoing public. The successful showman must have his fingers on the public pulse in matters that concern entertainment. He cannot afford to guess. It is too expensive. He must correctly diagnose the case in advance of prescribing for its needs if he expects to be successful.

The wise showman always plans his play to have the very widest possible appeal, for the public is many sided, and a single narrow idea will fail to touch it at all points, as it must do if it is to have a popular acceptance. He knows, being a wise showman, that people come to his playhouse for entertainment, pleasure, laughter and relaxation, and not for a learned discourse on some abstract or wearisome theme. There are proper places for the lecture and the "big wind," but that place is not in the theatre of the wise showman. It is his business to create his proffered entertainment into a valuable piece of property that shall declare actual cash dividends at the box office. That is being a successful showman, and he who does this exhibits real showmanship.

The successful stage dancer must possess showmanship. That is why the subject is brought into this book on stage dancing—that dancers may be made to realize a need of which they may be wholly uninformed.

It takes showmanship on the part of the dancer to get fully in touch with the audience, get down to their level, if you like to say it that way, and never go over their heads. Successful dancers always use good judgment in their offerings. The same kind of dance does not do for vaudeville, musical comedy, revue and opera. Each requires its own kind of dance. The revue has its own audience, the musical comedy one of another character, vaudeville still a third kind, and opera still another. Here is where the dancer's showmanship comes in—to recognize this difference and adapt the offering to the audience before whom he or she appears.

Dancers who would profit to the fullest extent in their profession must learn how to absorb this essential element known as showmanship, in the various ways in which it may be done.

Reading along right lines is very important. Read the dramatic reviews and criticisms in the daily press, and read regularly the leading theatrical weeklies. Identify yourself with your profession in this way; read "shop" and talk "shop." Make it a point to see and study other dancers, in vaudeville, musical comedy, opera and revue. Meet your fellow dancers in their own habitat, behind the scenes. The actual experiences that you are recommended to undertake in your own behalf in the chapter I have called "Making a Name" will be invaluable aids to you in harvesting a lot of the best grade of showmanship.

Travel will help you learn a lot. The traveled and successful theatrical person is always alert, quick, bright, posted in all important matters that concern the profession and all who are connected with it.

Those who take my courses as students of dancing are given a wide mental as well as physical training, to prepare them to cultivate showmanship that shall complement their skill as dancers when they become professionals. I call my lectures "inspirational talks," for I do want what I say about their future careers to be inspiring to them, and encouraging and beneficial. I speak to my pupils from many years of stage experience, and I know if what I say is heeded and given full consideration they will be better dancers and secure better engagements, and do so in less time, as a result.



Good showmanship in dancing consists also in being able to "sell" one's own personality in a dance. Select your offerings to suit your public. Put in the effective "tricks" in your exits that are so important in inviting applause. And learn to leave your audience "hungry" for more of you. Let them go away with a wish that they might see more of your dancing. That is your cue in successful showmanship, my dancers. Let the audience come back to see the same show again in order to once more enjoy your pretty work. That means "repeaters," and repeaters, as I told you, mean successful showmanship, and both artistic and financial success.

It is never good showmanship on the part of the dancer, or of an actor or actress in any part, to let the audience know that you know they are out there. The way you handle an audience will have much to do with the opinion of your work that will be held by the big men in the theatrical world, who may be among those present at any performance, you never can tell when—and they, remember, are hiring good dancers now and then. Their judgment of how you handle an audience is worth consideration.

And bear in mind, too, that the most important part of your dance is the very end of it, the finish, upon which always depends the applause and the recall. You like to earn your bow, and that is right. Take your bow in front of the audience gracefully and quickly. Don't milk the audience dry by your bows. Never do that. Get general applause, but don't work up a lot of bows. Come right back, bow modestly and do a short dance, to acknowledge the applause. Such good work as that will stand the inspection and secure the approval of every theatrical manager whose approbation you value. An audience does not want to see you take bows. Bows simply gratify the vanity of the artist.

So, you see, there is quite a bit of showmanship for the dancer to study and acquire, and it is very much worth while for all stage dancers to put it into practice, early in their career.

There are entertainment values that the showman himself must be able to create from his available material, which he will find and develop in dialogue, lyrics, tuneful music, voice, singing, dancing, characterization, costumes, settings, scenery, properties, lighting, and everything else connected in any way with the stage picture or the presentation of his offering. The publicity and exploitation of the show will tax his showmanship from another angle and is of great importance to the success of the play or the artist. The selection of proper music also has much to do with the appeal to the auditors. No musical show can ever be made a success without beautiful, appealing melodies, or "song hits," as we call them.

And now one final word of advice to my dancers: Three minutes is long enough for your solo dance. Concentrate your efforts. Do not present a long-drawn-out and padded dance that will weary everyone. Brevity is the soul of good dancing as well as of wit, and you will be wise to heed this from the very start of your professional stage career. Never show a dance to any prospective employer unless your dance has been thoroughly set and properly rehearsed with whoever is to play the music, pianist or orchestra. Never offer any excuses at such a time. Be sure of yourself, and only do one dance, your very best one.



"WHO'S WHO" IN THE SHOW



To the members of an audience attending a theatrical performance it may appear as though the actors were the entire show and the only principals concerned with the carrying on of the affair. Of course the man in the box office, the ticket taker, and the ushers have been in evidence, and there is the orchestra and its leader. Others than these have not been seen or heard, and so perhaps are given no consideration. Who the "others" may be, or if there are any others, and of what their services to and interests in the show may consist, would puzzle many theatre-goers to determine with any degree of accuracy.

Let me take you "behind the scenes," as you may call it, but "back-stage," as we say in the theatre-world, in this matter and disclose the forces that move the puppets on the stage; the powerhouse that generates the current that moves the whole machinery of production. The intricacies of theatre management may come as a surprise to you.

Chief of all comes the owner, the promoter, known to the profession as the Theatrical Manager. He it is who selects the author of his contemplated production, and also the writer of the lyrics and the composer of the musical score. He engages the producer, the creative genius who realizes the possibilities of the production and directs and rehearses it, and the principal actors and singers, and some of the members of the chorus as well, but the producing director usually recruits his own chorus and dancers. A most important step is the choice the manager is to make of a producer, or production director, on whom is to devolve the entire handling of all matters back of the curtain line from the day of his selection to the rising of the curtain on the initial public performance. He is well aware of the importance of this choice, and places his reliance only on a man known to be thoroughly experienced and competent in this line of work. Having selected him, the theatrical manager steps out of the picture and the producing director assumes control. And this control is absolute in his domain. Not even the power behind the throne, the man who placed him in his position, is allowed to interfere in any way whatsoever with his orders or plans. The wise theatrical manager possesses full knowledge of this and keeps hands off. Should he venture to countermand a single order of his producer, the latter would be certain to say "Take your show and direct it yourself," and walk out.

And the reason why no producer of the first magnitude will brook interference, opposition or disobedience from any source is, that he is held strictly responsible to the owner for the form that the show takes and for the manner in which it is performed. His own reputation is always at stake in every production of which he accepts control. He makes the show a success, if he is that kind of a producer, and is entitled to the credit of successful accomplishment. If, on the other hand, he gains a reputation of "breaking" rather than of "making" the show, his career is abbreviated in short order. His job depends upon making good; he is the "realizer," the dominating and master-mind of the show.

Let us name some of the duties that devolve upon the ubiquitous producer:

He must know by heart the book, lyrics and music of the entire play, and bring out to the full, in all of the actors, principals and chorus, every possibility that their parts, acts, songs, dances and groupings permit or demand. All the comedy must be developed and emphasized, and the personality of the cast studied and properly brought to the fore. The principal artists engaged for the production are under his sole direction. He creates all solo and ensemble dances; gives all readings of the dialogue, sets the dialogue syllable by syllable, devises nearly all the entrances and exits for everyone on the stage, indicates the tempo for all songs and dances.