ancing, 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