dry by your bows. Never do that. Get general applause,
but don't work up a lot of bows. Come right back, bow modestly and do
a short dance, to acknowledge the applause. Such good work as that
will stand the inspection and secure the approval of every theatrical
manager whose approbation you value. An audience does not want to see
you take bows. Bows simply gratify the vanity of the artist.

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

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

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

"WHO'S WHO" IN THE SHOW

[Illustration]

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