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The Art of Stage Dancing.
[Illustration: NED WAYBURN]
THE ART OF
STAGE DANCING
_The Story of a Beautiful
and Profitable Profession_
[Illustration]
A MANUAL
OF
STAGE-CRAFT
_by_
NED WAYBURN
Price $5.00
NEW YORK
The Ned Wayburn Studios of Stage Dancing, _Inc._
PUBLISHERS
[Illustration]
Copyright, 1925, by
NED WAYBURN
STUDIOS OF STAGE DANCING, INC.
Made in U.S.A.
GREETINGS!
[Illustration]
Someway I don't care for the word "Preface." As I think the matter
over, I'm not sure that I ever read a preface to any book; and this
fact suggests to me that possibly others would pass by this page in my
book if I dubbed it by that much-worn and very trite word. So I've
hailed you all with a much more cheery and stimulating title for my
opening page; and perhaps, in consequence, some may read it.
[Illustration: NW]
My Greetings are specially extended to certain chosen groups of
people: First, to all students of the past, the present, and those
hoped for in the future; second, to the hundreds of teachers of the
art of dancing who esteem my original methods of instruction
sufficiently to care about what I may print on the subject; and
third, to a public that has sat "in front" at any or many of my
productions, and enjoyed them, and is, in consequence, interested to
know something about the hard work, the thought and the skill,
necessary to bring about such pleasing results.
Lest so narrow a limit to my Greetings may be misunderstood, on second
thought I will extend my Greetings to that world of people who love
life and beauty and happiness; who appreciate honest effort to make
living more enjoyable and brighter; who love laughter and smiles and
the good things that go with them.
And if all that kind of people will read and appreciate my book, I
shall not miss the others.
But still, to them, as well as to you, I extend
Greetings!
NED WAYBURN
[Illustration: NW]
An Apology
[Illustration]
As a writer of books, I confess myself to be a good stage craftsman.
I have never before attempted authorship, and this volume is simply a
spontaneous outpouring of my personal love and knowledge of a great
art that has filled my years with joy and happiness, and some renown
in the theatrical world.
To have been one modest part of an instrument that has piped to
pleasure many millions of my fellows, is surely justification for
personal satisfaction. How this playing has been done, how it is being
done today in greater degree than ever before, is what I have in mind
to tell a curious public.
And so I became an author for this once, and what you may discover
that I lack in literary ability, let me trust you will find
compensated for in the plainness and simplicity of the facts,
incidents and reminiscences that I relate. If not the manner, at least
the matter is worthy of your approval.
My story is presented in the first person, and this is because I find
it easiest to write from a personal viewpoint--not, I hope, as the
result of any special desire to see the letter I in print. A more
experienced author would be able to write this book with less
suggestion of ego in its pages, I have little doubt, and so I have
called this explanatory word An Apology that you may understand why
things are as they are, and not demand of the tyro the same quality of
literary excellence that you would be justified in expecting of the
better qualified writer.
To paraphrase one of my earliest school-boy speeches,--"If this be an
apology, make the most of it."
[Illustration: NW]
CONTENTS
Page
A Bit of Ancient History 19
Modern Stage Dancing 23
Ned Wayburn--An Inspiration 27
The Ned Wayburn Method of Training 42
Ned Wayburn Stage Dances 57
Ned Wayburn's Foundation Technique 62
Mr. Wayburn Addresses the Beginners' Class in Foundation Technique 75
Ned Wayburn's Musical Comedy Dancing 83
Mr. Wayburn Addresses a Class in Musical Comedy Dancing 90
Ned Wayburn's Tap and Step Dancing (Clogging) 97
Mr. Wayburn Addresses a Class in Tap and Step Dancing 103
Ned Wayburn's Acrobatic Dancing 108
Mr. Wayburn Addresses a Class in Acrobatic Dancing 115
Ned Wayburn's Modern Americanized Ballet Technique 121
Terms Used in Ned Wayburn's Modern Americanized Ballet Technique 130
Mr. Wayburn Addresses the Beginners' Class in Ballet Technique 132
Ned Wayburn's Toe Dancing 137
Ned Wayburn's Specialty Dancing 141
Ned Wayburn's Exhibition Dancing 144
Ned Wayburn's Professional Stage Makeup 146
Stage Costumes 165
Dancing Tempos 169
Diet and Dancing 178
Dancing and Good Health 195
Showmanship 198
"Who's Who" in the Show 203
Professional Coaching and Producing for Amateur Entertainments 216
Private Instruction 239
Experience 241
Inspiration 246
Atmosphere 251
Dancing Children 254
Dancing Hands 259
Dancing Feet 262
Dancing Shoes 265
The Quest of Beauty 270
Who's Afraid! (Stage Fright) 273
The Dance and the Drama 278
Personality in the Dance 280
Dancing and Ease of Manner 284
Dancing and Civilization 286
Dancing and Cheerfulness 290
Dancing and Country Life 293
Dancing as a Social Accomplishment 297
Universal Appreciation of the Dance 299
The Melting Pot of the Dance 301
Your Opportunities 303
Stage-craft 307
Making a Name 317
Forms of Stage Contracts 327
LIST OF HALFTONE PLATES
All portraits are of artists whose careers have been directed by Ned
Wayburn.
All stage scenes are of productions staged by Ned Wayburn.
All interior views are of classrooms and other departments of the Ned
Wayburn Studios of Stage Dancing, Inc., 1841 Broadway (at Columbus
Circle), entrance on 60th Street, New York City.
Photographs used by courtesy of Art Studios and Art
Photographers whose names are appended.
* * * * *
Ned Wayburn (White Studio, N.Y.).
Gilda Gray and Ned Wayburn Pupils in "It's Getting Darker on
Broadway," Follies of 1922.
One View of Grand Ball Room in Ned Wayburn Studios.
Lace Ballet, Follies of 1922.
The Fairbanks Twins, in the "Follies," and Stars of "Two Little Girls
in Blue" (White Studio, N.Y.).
Oscar Shaw, Featured with "Good Morning, Dearie," "The Music Box
Revue," "Two Little Girls in Blue," etc. (White Studio, N.Y.).
Dolly Sisters, Internationally Famous Musical Comedy Stars (Alfred
Cheney Johnston, N.Y.).
One of over Twenty Daily Dancing Classes at the Ned Wayburn Studios.
Vivienne Segal, Prima Donna of the "Follies" and many other Musical
Comedies, Featured in Light Opera (White Studio, N.Y.).
Paulette Duval and Ned Wayburn Pupils, Follies of 1923.
Class in Dancing Foundation Technique at the Ned Wayburn Studios.
Louise Groody, Featured with "Good Morning, Dearie," "No, No,
Nanette," etc. (White Studio, N.Y.).
Partial View of Demi-Tasse Theatre, Ned Wayburn Studios.
Conditioning Class in the Ned Wayburn Studios.
The Astaires, Fred and Adele, Featured in "Lady, Be Good!" in America,
and in "Stop Flirting," London (White Studio, N.Y.).
Cecil Lean, Featured in "No, No, Nanette," "The Time, the Place and
the Girl," "The Blue Paradise," etc. (Apeda, N.Y.).
Scene from "Ned Wayburn's Symphonic Jazz Revue."
Ann Pennington, Star Dancer with the "Follies" (Alfred Cheney
Johnston, N.Y.).
Private Lockers in Dressing Rooms.
The Three Reillys, Alice, Gracie and Johnny, Remarkable Tap Dancers
(White Studio, N.Y.).
Acrobatic Dancing Practice at the Ned Wayburn Studios.
Evelyn Law, Principal Dancer in the "Follies," and "Louie the
Fourteenth" (White Studio, N.Y.).
Lina Basquette, Premiere Dancer in the "Follies," and other Musical
Productions (White Studio, N.Y.).
Marion Chambers, Premiere Dancer in "Poppy," and in Ned Wayburn
Productions (White Studio, N.Y.).
"The Birth of Venus." A Ned Wayburn Pantomime Presented in Leading
Motion Picture and Vaudeville Theatres.
Virginia Bacon, Vaudeville Dancing Star, and with Ned Wayburn
Productions (Young and Carl, Cincinnati).
Gilda Gray, Dancing Star, Who Made Her Biggest Success with the
"Follies." (Alfred Cheney Johnston, N.Y.).
Maurice, Internationally Known Exhibition Dancer (Ira L. Hill, N.Y.).
The Ned Wayburn Professional Stage Makeup Box and Outfit.
Mary Eaton, Premiere Dancer with the "Follies," and co-starred in "Kid
Boots" (White Studio, N.Y.).
Class in Stage Makeup at the Ned Wayburn Studios.
One Hundred Thousand Dollars' Worth of Dancing Costumes are
Immediately Available.
Corner of the Wardrobe Department.
Mildred Leisy, recently with Geraldine Farrar's Operatic Fantasie,
"Carmen"; wearing type of costume favored for Ballet practice.
Polly Archer, late with the "Follies," wearing type of costume
(bathing suit) preferred for Limbering and Stretching and Acrobatic
Dancing.
Olive Brady, with "Ned Wayburn's Honeymoon Cruise," dressed in special
practice romper, designed by Ned Wayburn, recommended for use in all
dancing classes except the Ballet.
Scene from "Ned Wayburn's Honeymoon Cruise."
Frances White, Featured with the "Follies," "Midnight Frolics,"
Vaudeville, etc. (White Studio, N.Y.).
Group of Ned Wayburn Show Girls, Follies of 1922.
Ann Constance, with "Greenwich Village Follies," and Famous Players
Pictures (Showing Her Physical Condition Before and After She Entered
the Ned Wayburn Studios) (Edward Thayer Monroe, N.Y.)
Helen Fables, Vaudeville Dancing Star, and with Ned Wayburn
Productions (White Studio, N.Y.).
W.C. Fields, Featured with the "Follies," "The Ham Tree," etc. (White
Studio, N.Y.).
Ray Dooley, Featured with the "Follies," "Hitchy Koo," etc. (White
Studio, N.Y.).
Moonlight Ballet, Follies of 1923.
Will Rogers, Celebrated American Cowboy Humorist and "Roper," Featured
in the "Follies" (White Studio, N.Y.).
Dorothy Dickson, Starred in London Productions of "Sally" and "The
Cabaret Girl," shown with Her Dancing Partner, Carl Hyson (White
Studio, N.Y.).
Corner in One of the Ladies' Dressing Rooms, Showing Shower Baths.
Private Dancing Lesson at the Ned Wayburn Studios.
Marion Davies, in the "Follies," and Famous Movie Star (Alfred Cheney
Johnston, N.Y.).
Charlotte Greenwood, Star of "So Long Letty," Featured with the "Music
Box Revue," "Ritz Revue," Winter Garden Productions, etc. (White
Studio, N.Y.).
Children's Saturday Hour at the Ned Wayburn Studios.
Ned Wayburn and Two Tiny Pupils, Herbert Colton, 6, and Patty Coakley,
5.
Gertrude Lawrence, English Star, Featured in Andre Charlot's Revue
(Hugh Cecil, London).
Types of Dancing Shoes.
Janet Stone and Nick Long, Jr., Formerly with the Musical Comedy,
"Lady Butterfly," etc. (White Studio, N.Y.).
Cleo Mayfield, Featured in "No, No, Nanette," "The Blue Paradise,"
etc. (White Studio, N.Y.).
Al Jolson, Famous New York Winter Garden Star, Who Popularized "Mammy"
Songs (White Studio, N.Y.).
Mr. Wayburn's Private Office.
"Little Old New York," Follies of 1923.
Rita Owen, with the "Follies" (White Studio, N.Y.).
Ada May (Weeks), Star of "Lollipop" (White Studio, N.Y.).
Grand Ball Room in Ned Wayburn Studios.
Marilyn Miller, Musical Comedy Star, in the "Follies," "Sally" and
"Sunny" (Alfred Cheney Johnston, N.Y.).
Scene from "Ned Wayburn's Demi-Tasse Revue."
Rita Howard, Vaudeville Dancing Star, and with Ned Wayburn Productions
(White Studio, N.Y.).
Corridor on Third Floor of Ned Wayburn Studios.
"By the South Sea Moon," Follies of 1922, with Gilda Gray.
Belle Baker, Vaudeville Star (Lowell, Chicago).
Business Office of the Ned Wayburn Studios.
Pearl Regay, Dancing Star in "Rose-Marie" (White Studio, N.Y.).
Eddie Cantor, Star of "Kid Boots," "Follies," etc. (White Studio,
N.Y.).
Fifteen Thousand Square Feet of Floor Space, Two Floors, Comprised in
Ned Wayburn's Studios of Stage Dancing, at Columbus Circle and
Broadway, New York.
_The
ART
of
STAGE
DANCING_
[Illustration]
_NED WAYBURN_
[Illustration: GILDA GRAY AND NED WAYBURN PUPILS IN "IT'S GETTING
DARKER ON BROADWAY," FOLLIES OF 1922]
THE ART OF STAGE DANCING
[Illustration: Overture]
A BIT OF ANCIENT HISTORY
Every age has had its ways of dancing; every people has expressed
itself in some form of rhythmic motion.
The dance originally was the natural expression of the simple emotions
of a primitive people. Triumph, defeat, war, love, hate, desire,
propitiation of the gods of nature, all were danced by the hero or the
tribe to the rhythm of beaten drums.
Over six thousand years ago Egypt made use of the dance in its
religious ritual. At a very early period the Hebrews gave dancing a
high place in their ceremony of worship. Moses bade the children of
Israel dance after the crossing of the Red Sea. David danced before
the Ark of the Covenant. The Bible is replete with instances showing
the place of the dance in the lives of the people of that time.
Greece in its palmy days was the greatest dancing nation the world has
ever known. Here it was protected by priesthood and state, practiced
by rich and poor, high and lowly born. One of the nine muses was
devoted to the fostering of this particular art. Great ballets
memorialized great events; simple rustic dances celebrated the coming
of the flowers and the gathering of the crops. Priestesses performed
the sacred numbers; eccentric comedy teams enlivened the streets of
Athens. Philosophers taught it to pupils for its salutary effect on
body and mind; it was employed to give soldiers poise, agility and
health.
The dance was undoubtedly among the causes of Greek vigor of mind and
body. Physicians prescribed its rhythmic exercise for many ailments.
Plato specifies dancing among the necessities for the ideal republic,
and Socrates urged it upon his pupils. The beauty of harmonized
movements of healthy bodies, engendered by dancing, had its effect on
the art of Greece.
Since the days of classic Greece, scenery, music and costume have
created effects then undreamed of, but notwithstanding the lack of
incidental factors, the greatness and frequency of municipal ballets,
the variety of motives that dancing was made to express, combine to
give Greece a rank never surpassed as a dancing nation.
The Greek stage of this age was rich in scope, and for its effects
drew upon poetry, music, dancing, grouping and posing.
Then came the Dark Ages of history, and in a degraded world dancing
was saved and taken under the protection of the Christian church,
where it remained for the greater part of a thousand years. The
vehicle that carried the ballet through this period was known as the
"spectacle." These sacred spectacles, in grouping, evolution,
decoration and music, possessed qualities that entitle them to a
respectable place in the annals of opera ballet. The steps were
primitive, but they sufficed for the times.
However, the organization of the first real opera ballet conforming to
standards of modern excellence did not come till the latter part of
the fifteenth century, when Cardinal Riario, a nephew of Pope Sixtus
IV, composed and staged a number of important ballet productions.
But the greatest development of the modern type of ballet received its
impetus under the reign of Louis XIV of France, who founded the
national ballet academy at Paris in 1661, and often played prominent
parts himself. Under this influence great performers began to appear,
artists whose work, by grace of beauty alone, attested that perfection
in ballet technique was approaching.
The growth of the ballet since the time of Louis XIV has been the
contribution of individual artists, who by giving expression to their
own original ideas have thus advanced the art to the pinnacle attained
by the modern Russian ballet of today.
The above outline of the history of the dance is made brief
intentionally, with no attempt to touch upon the various forms of
dancing as practiced by the many nations and tribes. Numerous books
have been written covering all aspects of this subject, and giving in
detail the steps and rhythms of the people of every age, and of every
continent and the isles of the sea; and as matters of interest,
education and research they are competent and complete, and especially
edifying to the student of Terpsichore.
But the subject that interests us is not concerned with ancient lore
nor with historical data, however delightful they may be. I am writing
for the American of today about present-day matters in the American
theatrical world, and to that end choose to ignore all other phases of
the subject.
In our day the development of the dance has reached its greatest
heights, in both the social circle and the stage picture.
The advance made in stage dancing within the last generation has been
very pronounced, yet so gradual has been this growth and improvement,
that only the elders of the present time can visualize its progress,
and that only by a backward look to the period of paucity and monotony
that ruled in their junior years, and contrast the dearth of then with
the abundance of now.
For really, whether in our multitude of revues or in our many musical
shows, the dance, the pose, the rhythm and the melody that enhance our
delight are all parts of the modern art of stage dancing. And it is of
this art that the writer seeks to tell the story in the present
volume.
Both the theatre and the dance have had their abundant historians. The
dance is ages older than the theatre. The time of the coming of the
dance to the theatre and their fitting union ever after has been
recorded. They have advanced together hand in hand through the years
since their first meeting and are closer companions at this hour than
ever before.
Stage dancing is no longer the haphazard stepping of feet to music
that it was in the beginning. From its earlier crude efforts it has
developed into a modern art, a profession of the first class, calling
for brain and ability at their very best, its devotees giving years of
labor to perfecting themselves in their chosen art.
[Illustration]
[Illustration: ONE VIEW OF GRAND BALL ROOM]
[Illustration: NED WAYBURN REVUE]
MODERN STAGE DANCING
Modern stage dancing differs from social or ballroom dancing in that
it is the kind of dancing that one can commercialize.
Most of the artistic and financial successes of the stage today are
built upon music and dancing. We find these two essential elements in
opera, revue, musical comedy, pantomime and vaudeville, while the
place of the dance in moving pictures may well be recognized. Should
the old-time minstrel show come back, as it is certain to do, there
will be added another name to the list of active entertainments that
call for a union of music and dancing to insure their prosperity.
The Follies, the Frolics, the Scandals, the Music Box, the Vanities,
the Passing Shows--by whatever name the modern revue is spread before
an eager public, the basis of its appeal is always the same. And when
the Junior Leagues--the various charity organizations and the social
and college clubs of our cities stage a performance that shall appeal
to the interest of their public, and consequently gather in the
shekels to their coffers, these amateur organizations turn naturally
to music and dance and spectacle as the mediums with the widest
appeal; an appeal to both the performer and the spectator.
Incidentally, let me say that the appeal of music and the dance to the
performer, whether on the professional or the amateur stage, is not
given the consideration to which it is entitled. Perhaps nobody in the
audience cares whether or not the dancer is enjoying the dance. But
let me tell you, the dancer is having just as good a time up there on
the stage as you are down in front; and probably you never gave the
matter a thought!
The dancers' enjoyment of the art is an essential factor in the causes
that lead to the popularity of our modern type of stage entertainment.
To have acquired proficiency in their chosen profession the dancers
have labored strenuously and long, and now the reward of years of
effort is theirs. They love their art as well as its emoluments. By
industry and perhaps frugality they have acquired an independent
career for life. They have made much of their opportunities. They have
a right to be happy. And they are.
Probably no man ever lived who knows personally so many dancing folks
as I do, and among all my stage acquaintances and friends I can count
on a very few fingers the number that I would not class as supremely
happy in their profession, and those few who might be considered as
unhappy are made so by circumstances entirely apart from the stage,
or, in a few instances, because of their own folly and indiscretions.
The stage world is a happy world in the main. Its rewards are abundant
in friendships as well as in cash, and the happiness radiated to you
from behind the footlights is the direct result of the happiness that
permeates the very being of the smiling favorite of the gods whose
efforts to please you have met with your approbation. So the pleasure
of dancer and spectator are in a degree mutual, which in great measure
explains the fascination that the dancing show has for the public.
In nearly every amateur stage performance in my long experience there
have been present some few who exhibited natural ability as dancers,
and possessed foundation requirements for professional stage work. In
cases where these favored ones have placed themselves under my
instruction their improvement has been rapid and sure.
There is no such thing as an untrained successful dancer; there never
has been; there never will be. Given that one has the ability
requisite to a knowledge of the dance, the rest comes from active
training, and nothing else. And by "ability" I do not mean experience,
but rather that natural talent to step to music and observe tempo and
rhythm that every dancer must possess. It is a talent inborn in the
dancer, and needs only proper development under competent instruction
to bring out all the possibilities that are in one. Beyond that, and
after the days of instruction are over, the only limit is the
personality, the mental ability and the originality of the dancer
himself, and these we encourage in every possible manner, for that way
lies the electric sign in front of a Broadway Theatre, and all that
goes with it in glory and gold.
It is to the amateur dancer of today that the professional stage looks
for its recruits. There never before has been so great a demand for
stage dancers as exists now, and the supply for both solo and ensemble
work barely suffices. Talent naturally is encouraged by this
condition of the market for its wares, and all who take advantage of
this popularity and qualify for the better grade positions will find
little difficulty in securing what they are entitled to.
I am anxious to get over with one part of this book that seems
necessary to its complete understanding by a reading public, and that
is the very personal subject of myself, its author. I am going to
permit entrance into these pages of a brief biography of Ned Wayburn
for two distinct reasons: First, to establish by what route I came to
be an authority on stage-craft and stage dancing; and second, by a
recital of my personal struggle and effort and final success, to
encourage all young men and young women of ambition to themselves
enter upon the stage of our great calling, with every hope of future
success.
To that end, I am permitting a friend to come on the stage with his
story of my stage career and experience.
As I look back upon my own history, it seems like a romance. And it
is; a romance in real life; every word of it true, and the entire
scenario as wonderful as anything in the movies.
[Illustration: NW]
[Illustration: LACE BALLET, FOLLIES OF 1922]
NED WAYBURN--AN INSPIRATION
By CARLETON B. CASE
Every line of endeavor has its outstanding leaders. The men and women
who do great things in a grand way ever command our admiration. We
like to hear about their public careers and the intimate side of their
exceptional lives is of decided interest to us. This I think is
especially true where the noted ones are among our public
entertainers, the player-folk, who bring so much joy and happiness
into the world out of nothing--creators of innocent pleasure.
Long years before this was penned, and while yet my locks were
innocent of the whiteness that now typifies my years, I was closely
associated with the family of Wayburn. I was a man in Chicago when Ned
Wayburn was a boy in the same city, starting on what was destined to
become a truly remarkable career.
I know Ned Wayburn well. He is a king and a thoroughbred, as man or as
manager, and to know him is to esteem him.
[Illustration: CINDERELLA]
His fame is peculiar in that it is based so largely on the success of
other people--the actors and dancers whom he has discovered or
directed and so helped to become stars of the first magnitude. To name
them by hundreds is easy; to number all who are approaching stardom or
who, now well placed on the professional stage, have materially
profited by his aid and instruction, will go into the thousands.
Surely such a record of achievement is ample cause for pride.
Ned Wayburn possesses an almost uncanny faculty of discerning latent
talent in the line of his profession. You may not know one dance step
from another, yet his discerning eye will detect a possibility for you
in some branch of the dancing art that results will later prove as
correct as they are surprising to yourself.
I have heard him tell of Evelyn Law, that when she first came to the
studio she exhibited a tap and step dance as her specialty.
"This type of dancing was totally unsuited to her," said Ned, "and I
told her so. And I also told her what her 'line' was. She took my
advice, and today she leads the world in that type of dancing, and her
salary has four figures in it every week."
The man who can do that is a genius, and Ned Wayburn has done it many,
many times.
There is one outstanding fact in his entire career as producer of
shows and director of the education of his pupils in his dancing
studios: He insists that everything and everybody about him shall be
"the best." His studios are fitted up "the best," regardless of cost.
Sixty thousand dollars he paid for the fittings and furnishings of the
two floors contained in his perfect establishment for teaching dancing
at Columbus Circle, Broadway and Sixtieth Street, New York. His
instructing staff must be "the best." His pupils must be "the best." I
mean by that, not that the pupils are so qualified when they enter,
but that when they are ready to graduate from his institution into the
professional life of the stage, then they must be "the best"; nothing
else will do.
So, too, in his own stage productions, and he has several, and more
are in prospect. They are nowhere slighted. The best cast, music,
dancing, costumes, scenery--everything--always. Ned never was a piker.
He wasn't born that way. Lavish some consider him, but he finds his
luxuriant presentations are appreciated by the line in front of the
box office. He couldn't put on a "cheap" show if he wanted to. One
goes to a Ned Wayburn show with the assurance of getting his money's
worth in beauty and pleasurable entertainment. It pays; and the
financial test is after all the one criterion by which to form a final
judgment in things theatrical.
Now I am going to give some details of the inspiring career that began
with an ambitious boy possessed of an artistic temperament, a love of
music and of the beautiful, and who was at the same time a "hustler"
and a born executive--a career developed by experience, still in
progress and not yet at its culmination. As you read, it will seem
almost incredible that one man, still comparatively young, could in so
brief a period have accomplished so much that calls for great mental
stress and extraordinary physical activity.
* * * * *
Ned Wayburn was born in Pittsburgh, Pennsylvania, where his parents
were socially prominent. Later the Wayburn family moved to Atlanta,
Georgia, and thence to Chicago. During his school days he first
attracted attention as an amateur athlete, winning recognition as a
fast runner, trick skater, tennis player, center rush on various
football teams, and finally as a semi-professional baseball pitcher
and home-run hitter. While employed in his father's manufacturing
plant in Chicago, he took part in many amateur theatricals, and became
noted as a dramatic coach for charity entertainments and clubs,
leading cotillions and taking part in many society and club
entertainments.
It was at that time that his success in directing and writing dialogue
for amateur theatricals attracted the attention of Hart Conway, of the
Chicago School of Acting, who promptly engaged him as assistant. At
the same time, he had the privilege of seeing and studying the
greatest stars and the best attractions at the Chicago Grand Opera
House, where he began at the very bottom of the ladder as an usher in
the gallery, balcony and main floor. Finally he became chief
usher--then sold tickets for the gallery--took tickets at the main
door. The late Aaron Hoffman, famous playwright, was opera glass boy
at that time with him, and the well-known star, Taylor Holmes, was one
of his ushers! Eventually he became Assistant Superintendent of that
theatre.
To gain additional experience, Ned worked as a "super" with many
different attractions, including the companies of Olga Nethersole,
Otis Skinner, Walker Whiteside, Julia Stuart, etc., finally playing
small parts in the legitimate and Shakespearian drama.
Having displayed a natural aptitude as a director while holding
"prompt books" at rehearsals, he became a dramatic director and actor
of eccentric comedy and character parts. Then his natural instinct for
dancing asserted itself, and he became a specialty dancer, practicing
from three to eight hours a day to perfect his dancing, incidentally
developing his talent as a musician.
The late Col. John Hopkins saw Ned Wayburn at a society benefit
performance in Chicago, and induced him to play one week's
engagement. Thus Ned Wayburn made his first professional appearance at
Hopkins' Theatre, State Street, Chicago, being billed as "Chicago's
Leading Amateur"--a singing and dancing "black-faced" comedian, doing
a "ragtime piano" specialty, and dancing act. This led to other
engagements. The "piano specialty," which he originated, started the
"ragtime" craze. He played in and around Chicago and the middle west.
He came East to New York, and was booked by the late Phil Nash, on the
Keith Circuit, billed as "The Man Who Invented Ragtime." In his piano
specialty he created the idea of playing the classics in "Ragtime,"
being the first person on the stage to play "Mendelssohn's Wedding
March," "Oh Promise Me," "Star-Spangled Banner," etc., in syncopated
rhythm or "Ragtime." He was also the first on the stage to do
imitations of the harp, bagpipe, mandolin, banjo, etc., on the piano.
His act was much imitated all over the world.
Upon reaching New York he met with misfortune. There was no piano for
him at his opening performance and his original act had been stolen
and performed in New York ahead of his appearance. This culminated in
a period without work. Finally he found himself walking Broadway from
one Thursday morning until late Saturday night, with neither food nor
money!
Having looked forward so much to New York and what he expected it to
bring him, he was at first discouraged and inclined to give up and go
back home with each succeeding rebuff, but he made up his mind to
stick it out, no matter what he had to do until he got on in a first
class company. After months of patient canvassing of all managers' and
agents' offices where he was denied recognition, he was finally given
an opportunity, through an acquaintance who heard him play in a 26th
St. theatrical boarding house, to demonstrate his ability in a tryout
for the most popular star on Broadway at the time, May Irwin. She
immediately recognized his ability and gave him an engagement at
$25.00 per week, to introduce ragtime to Broadway. (He was receiving
$125.00 per week when he first came to New York.) He wrote for Miss
Irwin the first ragtime song, "Syncopated Sandy." He was so hard up at
the time that he sold a one-half interest in this song to a man named
Stanley Whiting for $25.00, so this man could have his name on the
song as co-author. For an entire season she sang it and he played it
in the performances of "The Swell Miss Fitzwell" at the old Bijou
Theatre, New York City (Broadway between 30th and 31st Sts.).
"Syncopated Sandy" sold over 1,000,000 copies. It was used to teach
people to play ragtime. All Mr. Wayburn ever received out of its
publication was a $15.00 advance royalty, which he was glad to get. He
also helped write the third act of "The Swell Miss Fitzwell," and
re-wrote the second act, including some of the musical numbers, for
which he received no royalty. Incidentally, he was promoted to the
position of stage director by Miss Irwin, and wrote some of her most
successful songs, receiving a salary of $30.00 per week. He taught
society to play ragtime and to cakewalk. However, he had confidence in
his ability and worked hard to gain experience. He canvassed the music
stores while en route with the company and sold sheet music which
helped defray his expenses, and he saved his spare pennies. Finally,
he signed up with Mathews and Bulger, a very popular team of stars.
From that moment the star of success glowed brightly for Ned Wayburn.
For two years following he toured the United States and Canada with
Dunne and Ryley's musical comedy success, "By the Sad Sea Waves,"
which he helped write and stage, introducing "ragtime," now known
as "Jazz," to America in nearly every city of over 5,000 population.
Gertrude Hoffmann was one of his dancing girls in the chorus of this
show.
[Illustration: FAIRBANKS TWINS]
Being a born musician he turned his talents, in his spare time, to
writing songs, many of which became quite popular, and from which he
derived considerable revenue. "He Ain't No Relation of Mine," "Spend
Your Money While You Live 'Cause You're Gonna Be a Long Time Dead,"
"Ragtime Jimmie's Jamboree," etc., etc.
Mr. Wayburn then staged George M. Cohan's first musical play, "The
Governor's Son," and George Ade's first musical play, "The Night of
the 4th," the latter at Hammerstein's Victoria Theatre, New York, with
Joseph Coyne and Harry Bulger as the featured comedians. Thus began an
unending succession of triumphs as a theatrical producer and stage
director.
Mr. Wayburn was engaged by Oscar Hammerstein as producing stage
director for Hammerstein's Victoria Theatre Paradise Roof Gardens, at
42nd Street and 7th Avenue, where the Rialto Theatre now stands, where
he had charge three summers and staged the very first "girl" acts,
including Ned Wayburn's "Jockey Club" with the Countess Von Hatzfeldt,
which toured to the Pacific Coast and back to New York, booked by
Martin Beck.
He was then engaged by Sire Bros. as producing stage director for
their New York Theatre and Roof Gardens where he, a mere boy, staged
and directed the greatest company of stars ever assembled under one
roof, including Jessie Bartlett Davis, Mabelle Gilman, Virginia Earle,
Marie Dressler, Nina Farrington, Thomas Q. Seabrooke, Dan McAvoy,
Junie McCree, Louis Harrison, Marion Winchester, Emma Carus, etc.,
etc. "The Hall of Fame" was one of many productions staged for them.
He then became producing stage director for Klaw and Erlanger. During
the next four years produced and helped to create:
"The Billionaire" with Jerome Sykes, "Bluebeard" with Eddie Foy, "The
Rogers Brothers in London," "The Rogers Brothers in Paris," "The
Rogers Brothers in Ireland," "The Rogers Brothers in Panama," "The Ham
Tree" with McIntyre and Heath, "Mother Goose" with Joseph Cawthorne,
"Humpty-Dumpty," "The White Cat," "The Pearl and the Pumpkin," "Little
of Everything" with Fay Templeton and Pete Dailey, and many other
productions for the New Amsterdam Theatre and Roof, also for the New
York Theatre Roof, acting as general stage director of both. He leased
and managed the New York Theatre Roof Gardens, where he conceived and
produced some very successful headline vaudeville acts, among them,
"Ned Wayburn's Minstrel Misses," and "Ned Wayburn's Rain-dears," which
afterward played the Keith circuit and other vaudeville theatres to
previously unequaled success.
Left Klaw and Erlanger to engage in the vaudeville producing field for
himself through the encouragement of B.F. Keith, E.F. Albee, Percy G.
Williams, William Hammerstein, F.F. Proctor and Martin Beck. Owned and
produced the following headline acts: "The Futurity Winner," "The Star
Bout," "The Rain-dears," with Neva Aymar; "The Dancing Daisies," with
Dorothy Jardon; "The Phantastic Phantoms," with Larry and Rosie
Ceballos; "The Side Show," with Harry Pilcer, and about 100 other big
acts. Produced his own musical comedy attraction, "A One Horse Town."
For Mortimer H. Singer at the La Salle Theatre, Chicago, produced the
following Musical Comedies: "The Time, the Place and the Girl,"
starring Cecil Lean--and which ran 464 consecutive performances to
"standing room only"; "The Girl Question," "The Golden Girl," "The
Goddess of Liberty," "Honeymoon Trail," "The Girl at the Helm," "The
Heart Breakers," etc.
Founded "Ned Wayburn's Training School for the Stage," which first
occupied the American Savings Bank Building, 115 West 42nd Street,
between Broadway and 6th Avenue, New York City, and then expanded to
the entire five-story building at 143 West 44th Street, next to the
Hudson Theatre and opposite the Lambs Club. John Emerson, President of
the Actor's Equity Association, and Zelda Sears, author of "The
Lollypop," and many other successes, were then members of his faculty.
For the Shuberts and Lew Fields staged "The Mimic World," at the
Casino Theatre, New York. For Lew Fields (of Weber and Fields), at the
Broadway Theatre and Herald Square Theatre staged: "The Midnight
Sons," "The Jolly Bachelors," "The Hen Pecks," "The Summer Widowers,"
"The Never Homes," "The Wife Hunters," "Tillie's Nightmare," starring
Marie Dressler; Lew Fields in "Old Dutch," Victor Herbert's "The Rose
of Algeria," etc.
For the Messrs. Shubert at the Casino Theatre, N.Y., the following
musical comedies: "The Girl and the Wizard," starring Sam Bernard;
"Havana," with James T. Powers (made the American version of this
libretto); "The Prince of Bohemia," with Andrew Mack, and "Mlle.
Mischief," starring Lulu Glaser.
Staged and appeared in "The Producer," written by William Lebaron, a
headline vaudeville production (fifty people) which opened at
Hammerstein's Victoria Theatre, New York City, and played for months
in vaudeville, headlining in all principal eastern cities.
Staged "The Military Girl," starring Cecil Lean and Cleo Mayfield, at
the Ziegfeld Theatre in Chicago. Engaged by Lee and J.J. Shubert as
producer for New York Winter Garden, created a policy for that theatre
and a formula for musical productions still used there; staged "The
Passing Show of 1912," "The Honeymoon Express," with Al Jolson and
Gaby Deslys, "Broadway to Paris," "The Passing Show of 1913," etc.
For the English manager, Albert de Courville, at the Hippodrome,
London, England, at the highest terms ever paid a stage director, he
directed George Robey, Ethel Levey, Harry Tate, Billy Merson, Shirley
Kellogg, and other famous continental stars.
He staged "Hullo Tango" (ran over one year), "Zig-Zag" (ran one and
one-half years), "Box of Tricks," "Joybells," etc.
Opened offices in London, producing "The Honeymoon Express," which ran
five years in London and the provinces; produced "Dora's Doze," at
Palladium Music Hall, and leased Middlesex Music Hall, London, to
stage his own musical productions with American, French and English
stars, in association with Oswald Stoll, but was obliged to stop
productions there when war was declared.
* * * * *
Next he staged and presented his own production of a farce, "She's In
Again," at Gaiety Theatre, New York City; also put on his own $150,000
production of "Town Topics," with Will Rogers, at the Century Theatre,
New York, for which playhouse he created a Continental Music Hall
policy.
It was soon after this that he accepted an engagement as producer and
general stage director for Florenz Ziegfeld and staged the "Follies of
1916," "Follies of 1917," "Follies of 1918," and "Follies of 1919."
[Illustration: OSCAR SHAW]
In addition to the above, Mr. Wayburn devised and staged for Mr.
Ziegfeld nine successful Midnight Frolics and two Nine O'Clock Revues
atop the New Amsterdam Theatre, New York, during this time.
For Mesmore Kendall, devised and staged the opening presentation for
the Capitol Theatre, New York City, September, 1919, including an
elaborate and very successful revue.
For Dillingham and Ziegfeld, at Century Theatre, New York, he devised
and staged the sensationally successful second act finale to "The
Century Girl" (1916), where the 50-foot circular revolving stage was
employed so ingeniously in the "Uncle Sam" finale.
Staged "Miss 1917" at the Century Theatre, New York, with Irene
Castle, Elsie Janis and 40 other stars.
For Lew Fields: "The Poor Little Ritz Girl."
For A.L. Erlanger and B.C. Whitney: "The Ed Wynn Carnival," at the New
Amsterdam Theatre, N.Y.
For A.L. Erlanger: "Two Little Girls in Blue" (with the Fairbanks
Twins, Oscar Shaw and Evelyn Law), at the George M. Cohan Theatre,
N.Y.
Founded Ned Wayburn Studios of Stage Dancing and Ned Wayburn Booking
Offices.
Staged F. Ziegfeld's production, starring Will Rogers, also "Follies
of 1922," which ran 67 consecutive weeks in New York City and about 40
weeks on tour. No other "Follies" up to this time ever ran over 16
weeks in New York. Produced many vaudeville acts, among them, "Ned
Wayburn's Dancing Dozen." Arranged motion-picture presentations for
the Famous Players-Lasky Theatres. In association with Ben Ali Haggin
produced several tableaux, including "Simonetta," "Dubarry," and "The
Green Gong," which were presented in many of the principal cities.
Staged the musical comedy "Lady Butterfly," at Globe Theatre, New
York.
Staged the Anatol Friedland headline girl act for the Keith-Albee and
Orpheum vaudeville circuits, and "The Birth of Venus," a series of
beautiful tableaux which were shown in many principal motion picture
and vaudeville theatres. Staged for Florenz Ziegfeld "Follies of
1923," at New Amsterdam Theatre, New York, which attraction played to
the largest week's receipts of any Follies ever produced at New
Amsterdam Theatre.
Staged the following headline vaudeville productions:
"NED WAYBURN'S HONEYMOON CRUISE"
--an elaborate junior musical comedy, adapted for vaudeville, with a
cast of dancers, principals and ensemble, composed entirely of pupils
of the Ned Wayburn Studios. This act, the highest priced in
vaudeville, started on tour in January, 1924, and broke all box-office
records of the Poli Theatres in New England, as well as those of many
other theatres on the Keith-Albee Circuit, including the premiere
vaudeville theatre of the world, Keith-Albee Palace Theatre, New York,
and the new $7,000,000 Earle Theatre in Philadelphia. It is still
breaking records, and is one of the most sought-after acts in
vaudeville.
"NED WAYBURN'S DEMI-TASSE REVUE"
--another headline act, composed entirely of pupils of the Ned Wayburn
Studios. Now on the Keith-Albee and Orpheum Circuits.
The opening engagement at Bridgeport broke the attendance record of
the Palace Theatre there and the same results followed at New Haven,
Hartford and Worcester, when the audiences and newspaper critics
alike declared the Revue even better than Ned Wayburn's "Honeymoon
Cruise," which had previously held the attendance records in those
cities.
"NED WAYBURN'S SYMPHONIC JAZZ REVUE"
Another new production, also composed of pupils of the Ned Wayburn
Studios--touring the principal motion picture theatres in the Middle
West and also Keith-Albee and Orpheum Circuits.
Staged the dances for Geraldine Farrar in an Operatic
Fantasie--"Carmen" (all the dancers in this production being pupils of
the Ned Wayburn Studios).
SOCIETY, UNIVERSITY AND PRIVATE ENTERTAINMENTS
For Mrs. William K. Vanderbilt, 2nd, devised and staged her "Mah Jong
Fete" at the Hotel Plaza, New York, for the Big Sisters charity,
December, 1923, and her "Persian Jazz Fete," December, 1924.
The Princeton Triangle Club's Musical Comedy, "Drake's Drum" last year
and "The Scarlet Coat" this year.
The Filene Store's musical comedy, "The Caddie Girl," Colonial
Theatre, Boston, in April, 1924, and "Barbara Lee," in April, 1925,
presented at the Tremont Theatre, Boston, for one week, with Leah
Ainsworth, a Ned Wayburn pupil, in the title role.
Penn. State College Thespian Club's Show, "The Magazine Cover Girl"
last year, and "Wooden Shoes" this year.
The Third Annual Masonic Fashion and Home Exposition at Madison Square
Garden, New York, May, 1924.
Elaborate entertainments for the Willys-Overland Company, at the Hotel
Biltmore, New York (three years).
Jewelers' 24-Karat Club Annual Entertainment at the Waldorf-Astoria
Hotel, New York (three successive years).
"Own Your Own Home Exposition," at Trenton, New Jersey.
Shriner's Frolic, at Washington, D.C.
Kansas City "Junior League Follies" (December, 1924).
Atlanta "Junior League Follies" (February, 1925).
A Musical Revue for the New York Edison Co., 1925 (so successful it
had to be repeated).
The Providence Junior League Show, 1925.
The New Haven "Junior League Nautical Bal Cabaret," 1925.
The Vincent Club Musical Comedy, "Fez," in Boston (April, 1925).
"The Chatterbox Revue" in Rochester (April, 1925).
The Massachusetts "Tech" Show, "The Duchess of Broadway" (1925),--and
a great many other society, charity, masonic and church
entertainments.
It is out of this amazingly wide and varied experience that Ned
Wayburn evolved the courses in stage dancing, stage-craft and
showmanship which are being taught with such great success today at
the Ned Wayburn Studios.
Ned Wayburn is known to thousands as the genius who staged the very
best editions of "The Follies" and "Midnight Frolics" at the New
Amsterdam Theatre, N.Y. But in the world of the theatre--among those
who _know_--he is recognized as America's foremost creator, producer
and director of musical comedies, revues, headline vaudeville
productions, motion picture presentations, fetes and every other form
of entertainment that features beautiful, original or spectacular
dancing.
[Illustration: DOLLY SISTERS]
His versatility knows almost no limit. His wealth of theatrical
experience runs the gamut from his own first appearance as an amateur
actor and coach to a succession of triumphs as producing director of
the most gorgeous theatrical presentations both here and abroad.
Added to his practical stage-craft there is the vital flame of
imaginative genius, a creative faculty that clearly stamps all his
work. It is this, as well as his extraordinary executive ability and
his all-embracing knowledge of stage technique, that makes him the
most sought-after of all directors. It also explains the distinct
advantage which pupils of the Ned Wayburn Studios have over all
others, in that they are being constantly sought for desirable
engagements because of the thorough way in which they are trained,
both physically and mentally, in dancing.
[Illustration: NW]
THE NED WAYBURN METHOD OF TRAINING
[Illustration]
There are five basic types of stage dancing that I teach, covering the
modern field in full, and supplying the pupil with a complete
knowledge of all the steps needed for a successful stage career.
These five types consist of:
Musical Comedy Dancing,
Tap and Step Dancing (Clogging),
Acrobatic Dancing,
Exhibition Dancing (Ball-room),
Modern Americanized Ballet Dancing.
The last named includes all the best variety of ballet dances, such as
toe, classical, character, interpretive, oriental, folk, national,
covering Spanish, Russian, Greek, Javanese, etc.