of reducing with medicine. They took some sort of baths for reducing,
and some kind of medicine to shrink themselves. That is why I became
interested in reducing and began to practice on myself.
Now make up your minds to make this class a success. Don't make it
necessary for your instructor to have to address any one of you
personally. When your instructor gives an order execute it at once.
Always get into your places promptly. Don't forget that you are going
to be lame--but you must work it out.
You will begin with mild calisthenics--then, later on, you will learn
several kinds of kicks--the side kick, the front kick, the hitch kick,
etc. But before you can kick, you must have the strength necessary for
kicking. You must practice the exercises in order to get this
strength.
Now you are organized and you can accomplish real work. If there are
any questions you would like to ask me, come to my private office at
the end of the hall on the second floor--Broadway front. You will
progress according to the way you practice. You must put in hours of
faithful practice. If you take one hour of instruction a day at the
studio, you should practice three hours a day at home. If you can
possibly do so, always go through your Foundation Technique when you
first get up in the morning. The lesson itself is not enough. Faithful
practice means success, and without practice you won't succeed at all,
and you won't get your weight off or you won't build up. Three times
the length of a lesson is my rule for practice. Some practice from
three to eight hours a day so as to gain dancing strength. You must
have a lot of flexibility in order to dance in a professional manner.
Get the habit of deep breathing. Gradually you will increase your
breathing capacity and deep breathing makes good blood. The oxygen you
take into your lungs goes through the blood and takes off the
impurities in the blood, and oxygen is necessary in properly
assimilating your food.
Don't let anybody else advise you about diets. If a doctor has put you
on a diet, let me know about it. My diets won't do you any good unless
you are taking the limbering and stretching work along with them. You
will enjoy them; you do not have to starve yourself.
Another thing let me warn you about! Don't bring or wear valuable
jewelry to the studios. All of our employees are trustworthy, and
besides, we investigate the pupils who come into our studios. We know
all about them. If the wrong kind of person does get in, he or she
doesn't stay more than an hour or two. We also have detectives in the
classes. But don't take any chances. Don't bring valuable things into
the place. Do not leave pocket-books in the dressing rooms; bring them
into the class room.
We keep a strict record of the attendance and the progress of each
individual pupil. We insist that you have the best that money can
provide for you. If anything should happen at any time to which you
could take exception, I hope you will report it to me. Our policy of
giving you the very best to be had has appealed to a world of
ambitious youth.
Be careful about giving advice to other girls. I don't want anybody in
this class to presume to give advice to anybody else in the class.
Many times a girl comes here to the school from clear across the
continent. She comes with great hopes and aspirations, ready to work
hard, and with all the enthusiasm in the world. Then, some girl in her
class may tell her that she doesn't dance well--and her hopes will be
shattered and she will become discouraged. Now none of you has any
business to give advice or criticize other members of the class. If
you can learn stage dancing anywhere, you can learn it in the Ned
Wayburn Studios. Persistent practice will do wonders. Remember all I
have said about this, and keep smiling.
NED WAYBURN'S MUSICAL COMEDY DANCING
[Illustration]
This is one of the most useful as well as attractive types of stage
dancing, and appeals strongly to all aspirants for theatrical honors
and emoluments. I say "useful," for the reason that Musical Comedy
dancing as I teach it supplies dancers with a repertoire of fancy
steps and neat dance routines that should enable them to sell their
services in the best theatrical markets of the world, which seems to
me to be a pretty "useful" sort of a property for one to have in their
permanent possession. If I here repeat that frequent practice on the
part of the student is necessary for the correct acquirement of
Musical Comedy dancing, I am merely stating what is right and
necessary that all should understand who desire to make their services
in this line of endeavor available for public approval and a
corresponding cash return. And this applies to every other kind of
dancing as well.
Now you may think that you know just what Musical Comedy Dancing is,
and perhaps you do, but the name of it hardly defines it so that it
would be recognized for exactly what it is by one not thoroughly
stage-wise. You see a pleasing ensemble or solo dance at some revue
or musical show and, without seeking or desiring to classify this
dance as this, that or the other kind, you are satisfied to realize in
your inner consciousness that it is a pretty movement and well worth
seeing. So exact is the execution that it arouses your wonder how the
dancers ever manage to get so many intricate steps and rapid motions
and pretty flings of their heels into a united and harmonious picture;
all working in perfect unison, to a pleasing tempo, smiling the while
and doing it all as a mere matter of course, with seeming unconcern,
just as though the steps and kicks and posing and grouping were second
nature to them all.
That is a Musical Comedy dance, and instead of growing on bushes to be
gathered by every careless hand, it is actually the result of studious
endeavor and persistent drilling on the part of the participants, and
of careful and conscientious training by competent dancing
instructors. It is well done and gratifying to the spectator because
it is the finished product of qualified teaching, earnest endeavor,
tireless energy, practice, rehearsing. Remember this, the next time
you attend a show where dancing is a feature, and accord the dancers
the credit that is their due.
True Musical Comedy dancing is in reality an exaggerated form of what
was formerly styled "fancy dancing." It is a cross between the ballet
and the Ned Wayburn type of tap and step or American specialty
dancing. It combines pretty attitudes, poses, pirouettes and the
several different types of kicking steps that are now so popular.
Soft-shoe steps break into it here and there in unexpected ways and
places, adding a pleasing variety to the menu. The tempo enhances and
harmonizes the scene and the action. There is no monotony, no tiresome
sameness; yet the varying forms of action blend into a perfect
continuity. The dance is full of happy surprise steps, perhaps, or
unexpected climaxes and variations that arouse the interest as they
quickly flash by.
Often there is featured in Musical Comedy dancing a bit of so called
"character" work, which may be anything--Bowery, Spanish, Dutch,
eccentric, Hawaiian, or any of the countless other characteristic
types. Also there are touches of dainty ballet work interspersed among
the other features, at times. Yet to accomplish the ballet effects or
the character representations exacts of the dancer no special
development along strictly ballet or classical lines, when she obtains
her Musical Comedy training here, for these features are given the
required attention as part of the regular course in fitting the
student for this branch of the stage dancing art, and thus our Musical
Comedy graduates are qualified for all the variations of effort that
naturally come under that head.
My foundation technique is a prime factor in the successful
accomplishment of any type of dancing, and the scientific limbering
and stretching exercises that constitute that work are indispensable
in perfecting the pupil to handle every phase of the varied demands in
Musical Comedy dancing. Hence my insistence that our foundation
technique precede the entrance of the pupil into the classes of this
or any of the other various types of stage dancing that we teach.
[Illustration: FRED AND ADELE ASTAIRE]
Two of my most famous pupils in Musical Comedy dancing are Fred and
Adele Astaire, brother and sister. They came to me to study from
Omaha, Nebraska, as little tots of about six and seven years of age.
Adele was always fond of coming to her classes; but Fred says that he
just "followed on" through brotherly association rather than from any
preconceived ambition to become a professional dancer. Then, through
reverses of family fortunes, the time came when they felt that they
should be supporting themselves. They continued to study under me, and
I was very happy to be able to place them in vaudeville in a singing
and dancing act, which I had prepared for them. This started them on
their career, which has led them to Europe and back again. They have
appeared in "Over the Top," "The Passing Show of 1918," "Apple
Blossoms," and in "The Love Letter." They then scored a sensational
success in London in "Stop Flirting" (575 performances). Now they are
starring in "Lady, Be Good," on tour after a long run in New York.
In this chapter I shall now describe in detail 32 bars of a simple
musical comedy dance, a "soft shoe" routine, as we call it, to give
you some understanding of how modern stage dances are developed at the
Ned Wayburn Studios.
[Illustration: NW]
MUSICAL COMEDY ROUTINE--4/4 TEMPO
Tune: "Way Down Upon the Swanee River."
The dancer enters from stage left.
Step right foot to right oblique on count of "one." Step left foot
behind to right oblique back on count of "two"; step right foot around
behind the left on count of "and"; step left foot to right oblique on
count of "three"; repeat same for "four," "five," "and," "six." Step
right foot to right oblique, count of "seven"; drag left foot in air
behind to right oblique and slap left heel with right hand on count of
"eight."
Step left foot to left on count of "one"; drag right foot in air
behind to left oblique and slap right heel with left hand on count of
"two"; step right foot to right on count of "three" and drag left foot
across in front in air on count of "four"; step left foot to left
facing left, count of "five"; right foot front small step on count
"and;" step left foot back facing back, count of "six;" right foot to
left, small step on "and." Left foot to right facing right, count of
"seven"; right foot to back, small step on "and." Left foot to front
facing front, count of "eight." Now repeat entire movement.
These two movements should take the dancer to the centre of the stage;
done in eight measures of 4/4 time.
Step right foot to right oblique count of "one"; hop on it in same
place with left foot in air behind to left oblique back, count "two";
step down to left oblique back with left foot on count of "three"; hop
on left foot, extend right foot in air right oblique on count "four";
step right foot back behind left foot on count "five"; step left foot
to left oblique back, count "six"; step right foot across to left
oblique, count "seven"; hop on right foot, extend left foot in air
right oblique back, count of "eight." Now reverse this entire movement
to other side. These two steps are done in four measures of 4/4 tempo
in the centre of the stage.
Step right foot to right, count "one"; step left foot behind to right
oblique back, count "and"; step right foot down in same place, count
"two." Reverse to left for count of "three," "and," "four"; then step
right foot to right, count "five"; step left foot in front to right,
turning and facing up stage, count "six"; step right foot around stage
front to right, turning front again, count "seven"; drag left foot
across in front of right to right, count of "eight." Reverse this
entire step to other side. These two steps are done in four measures
of 4/4 tempo in centre of the stage.
This finishes the first half of the chorus, or 16 measures.
Facing left oblique, drag right foot from left oblique to right
oblique back, count of "and"; hop on left foot in same place, count of
"one"; drag right foot from right oblique back to left oblique, count
"and"; hop on left foot same place, count of "two"; drag right foot
from left oblique to right oblique back, count "and"; hop left foot
same place, count of "three"; displace left foot with right foot from
right oblique back, left foot extending to left oblique, all on count
of "four." Hop on right foot same place, count "and;" step left foot
to left oblique, count "five"; step right foot across in front to left
oblique, count "six"; hop on right foot same place, count of "and";
step left foot to left oblique, count of "seven"; hop on left foot
same place, and turn, kick right foot to right oblique, count "eight."
Going up stage right oblique back facing right oblique, step right
foot back to right oblique back, count "one"; step left foot to right
foot, count of "and"; step right foot to right oblique back, count
"two"; step left foot to right foot, count of "and"; step right foot
to back, facing back, count "three"; hop on right foot turning right
to face front on count "four." Step left foot to left oblique on
"five"; step right foot to left foot on "and"; step left foot to left
oblique on "six"; step right foot to left foot on "and"; step left
foot to left oblique on "seven"; hop on left foot and kick right foot
to right oblique on "eight." Reverse all of these steps. These are
done in eight measures of 4/4 tempo in the centre of the stage.
Step left foot to left oblique, count "one"; step right foot behind to
left, bend left knee, count "two"; hop on right foot and kick left to
left oblique, count "three"; swing left foot back to right oblique
back on "four"; bring right foot around behind left on count "and";
step left foot to front, count "five"; step right foot back to left
on "six"; bring left foot around behind right on count "and"; step
right foot to front on count of "seven"; step left foot to left
oblique on count "eight."
[Illustration: CECIL LEAN]
Step right foot to right on count "one"; swing left foot up stage and
step to back on "and"; right foot straight in place, facing up stage,
count "two"; step left foot to stage right on count "three"; facing
right swing right foot to right, count "and"; step left foot straight
in place, count "four"; now facing front, having made complete left
back turn. Now step right foot to right oblique back, count "five";
step left foot to right oblique back behind right foot, count "and";
straight with right foot in place, count "six"; step left to left
oblique back, count "seven"; step right foot to left oblique back
behind left foot, count "and"; straight with left foot in place, count
"eight." Reverse these steps.
These steps are done in eight measures of 4/4 tempo, in the center of
the stage.
This completes the first chorus, or 32 measures.
[Illustration: NW]
MR. WAYBURN ADDRESSES A CLASS IN MUSICAL COMEDY DANCING
[Illustration: NW]
In Musical Comedy dancing it is necessary that you should have control
of every muscle in the body in order to do the work effectively. If
you have not that control you are going to fail to get the steps. That
is the reason for the limbering and stretching work of our foundation
technique, a necessary preliminary for all who enter this class. Our
foundation process will give you the mastery of the muscles of the
feet, the upper leg, the lower leg and your whole body, without which
you will never be able to learn this type of dancing. It requires
concentration, patience, incessant practice, on your part, but you
soon see the good results of your efforts in the strengthening and
flexibility of all your muscles.
This class is organized for a period of not less than twenty lessons,
during which time you will have the satisfaction of acquiring four
complete routines. Each routine consists of not less than ten steps.
Some have more, but the average routine consists of ten steps, one to
bring you onto the stage, which is called a travelling step, eight
steps in the dance proper, usually set to about 64 bars of music, or
the length of two (2) choruses of a popular song, and an exit step,
which is a special step designed to form a climax to the dance and
provoke applause as you go off stage. Now, there may be two travelling
steps to bring you onto the stage instead of one, depending upon the
arrangement of the routine, but you will be taught about two steps
every lesson, in the beginners' courses, so that at the end of each
week, or five lessons, you will have learned one complete routine.
You must learn to throw your personality into the dances. And when you
get further along in the dances you can begin to work your facial
expressions into your dancing. There are many things to learn about
dancing besides the steps, and you will do well to improve your
opportunities in every way you can while you are preparing for a stage
career. Go to see as many expert professional dancers as you
can--study them--and absorb all you can about stage dancing from the
"Ned Wayburn News" and other dance magazines.
This course teaches complete professional routines such as you would
do on the stage, and may be used as solo dances. "Routine" is a
professional term for musical comedy or any kind of a stage dance. It
is a sequence of steps. Routines are arranged so that they will
provoke applause. Maybe the fourth or the eighth step will be
"climactic" steps, especially arranged to make a climax in the dance
and win applause. In different routines, the climax you will find
comes on different steps, depending upon the arrangement of the
routine. In order to put over a climax you must throw your personality
into it.
Exits as well as entrances are difficult of successful accomplishment.
It takes a great artist to make an effective exit. The exit should
always be made with the face toward the audience (unless there is some
special reason why the back is turned), so that the audience gets the
full effect of your facial expression.
All the dances in my courses are taught in a professional way. That
does not mean, of course, that you have to go on the professional
stage. Many girls and boys study with me who have no intention of
ever going on the stage. They do so because they know that my
limbering and stretching work and my type of dancing will make them
healthy, flexible and graceful, but nevertheless they are all taught
in a professional stage way, which is the only successful method.
My stage dancing is the type of dancing that gets over with an
audience. The old folk dances and the old-fashioned fancy dances no
longer appeal to the interest. But I teach the kind of dancing that is
in demand. If you should appear in any kind of entertainment for
charity or any private theatrical performances, you can make use of my
really professional stage dances; and since you are properly taught,
you will make a success, providing you profit by expert advice and
devote ample time to practice every day.
One reason that we get such good results in our school is on account
of the way in which we organize and conduct our classes. Everybody
must conform to discipline. You certainly will get discipline if you
go on the stage.
Everybody should get a copy of our booklet, "Your Career", if you
haven't already done so, and read it through from cover to cover. (A
copy will be sent free on request.) Read the call-board outside in the
office. In the professional theatre the call-board is usually placed
near the stage door. Anything of interest to the company is posted on
the call-board. Pupils in my courses are required to read the
call-board because in reading the call-board, the booklet and the
other literature that we get out, you will absorb a lot in the way of
showmanship and stage-craft. Any one of you, after taking my course,
should make a success on the stage because you will know how to dance
in a professional way. You will know how to sell your dancing.
Specialized training is very necessary in order to get a foothold,
and the rewards are enormous for those pupils who do get over. Make an
effort to acquire an easy presence. This you must get by appearing
before an audience. Now, I represent your audience. I come in to visit
your class in order to make constructive criticism, and to watch your
physical progress. Whenever any of our pupils are appearing in the
city theatres you should go and see them, because from their work you
will get inspiration, and you _must_ have inspiration. Without it you
can't do anything; you won't get any benefit out of the work at all.
You must concentrate on the work and enjoy it. Only through patient
practice will you ever make a success of it. Some girls come into the
musical comedy work and are inclined to take it lightly. They don't
practice enough. Or perhaps they get discouraged if they miss one step
and can't seem to get it at first. You must be enthusiastic about your
work if you are going to succeed.
[Illustration: SCENE FROM "NED WAYBURN'S SYMPHONIC JAZZ REVUE"]
I want to tell you about a group of my girls who recently started out
on their professional work. They were in the Ned Wayburn "Symphonic
Jazz Revue," which was arranged by my producing department for the
Middle Western Moving Picture Theatres. These girls had all been
around the Studios for about six months, practicing and working hard,
and this was the first experience for most of them. They were a
wonderful bunch of girls, mentally and morally. Four of the girls had
their mothers with them as chaperones. One of them saved $275.00 in 24
weeks out of a salary of $50.00 per week.
Ned Wayburn's "Honeymoon Cruise" is made up of pupils from the Studio,
also, and has made a great success. They are girls and boys of good
breeding, personality and good minds.
I want you to come to me and advise with me about what you are going
to do with yourself. Let me be the one to guide you, please. Don't
listen to any girl you may meet in classes. You will learn to like
some girl in the class very much and you will become great friends.
All of a sudden she gets an idea about a professional engagement and
she drags you along with her, and you both think you are ready to
start in and do something big. But there is a right way and a wrong
way to go about getting started, and you must start with the right
manager for the sake of your whole future success. Remember that I am
always glad to talk with you and to help you about engagements when
you are ready, but you must prove your ability first.
No girl or boy can get an endorsement from me who misses a lesson
without offering a plausible excuse. You must be regular in attendance
and you must be punctual. If you miss a class you are obliged to
telephone in before the class starts. If you are ill you must bring a
doctor's certificate the next time you come to class. Your excuses
must be sent to me personally. If you telephone in, be sure that it is
sent through to me. I keep track of all the past pupils, and I do not
recommend pupils who have not worked faithfully or who have been
irregular in attendance.
There is a great incentive in class work, since you can get
encouragement and inspiration from the other girls. Some girls in the
class will take to the work more easily than others because they are
in better physical condition, but if a girl gets along faster and
better than you do, don't be discouraged by it. Just let it make you
more ambitious to do as well. Your time will come if you keep at it.
Do not try to practice in this room. This is a place to learn.
Practice your lesson, go over the exercises, at home, several hours a
day or use the practice rooms we provide. Don't be satisfied to come
into class and try to perfect your routines there. It isn't possible.