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.
* * * * *
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.
* * * * *
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.
* * * * *
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.
* * * * *
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.
* * * * *
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.
* * * * *
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.
* * * * *
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.
* * * * *
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.
* * * * *
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.
* * * * *
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.
[Illustration: NW]
[Illustration: $100,000.00 WORTH OF DANCING COSTUMES IMMEDIATELY
AVAILABLE.]
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.
[Illustration]
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.
[Illustration: A CORNER OF WARDROBE ROOM]
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.
[Illustration: NW]
[Illustration: MILDRED LEISY WEARING TYPE OF PRACTICE COSTUME WORN FOR
BALLET DANCING.]
[Illustration: POLLY ARCHER WEARING COSTUME (BATHING SUIT) FOR
LIMBERING AND STRETCHING, AND ACROBATIC DANCING.]
[Illustration: OLIVE BRADY WEARING PRACTICE ROMPER SUGGESTED FOR USE
IN ALL CLASSES EXCEPT THOSE IN BALLET DANCING.]
DANCING TEMPOS
[Illustration]
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.
[Illustration]
DIET AND DANCING
[Illustration]
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.
[Illustration: SCENE FROM NED WAYBURN'S "HONEYMOON CRUISE"]
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.