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 galler