f a
popular 4/4 tune. This test has never failed with me. I can
immediately find the clumsy, awkward ones and select the apt ones.
This, of course, I do in my mind, making mental notes of their
numbers. After I get them back in a straight line at the end of the
hall I call out the numbers of those who have qualified, but I do not
hurry to do this because many times they are nervous at a first
tryout. So I encourage them as much as I dare to. One has to be
tactful at such times. But right away you can find your awkward people
and also those who have a natural grace. I can pick them out
immediately.

They move around in a circle. Many times I will stop them and divide
them into smaller groups, all the time noting the ones that get it and
the ones that don't. I will get to know number 1. I will watch her or
him, and I will say to myself, 1, 3, 5, 8, 9, 14, 16 and 18 have it;
the rest haven't. Then I ask them to sit down. I can find out just
about the way they are going to do my work from this little tryout. I
never individualize my criticism.

The main idea is to find out the ones who are interested. There are
always some people who come to these calls who are out for a lark, and
they must be eliminated at the first call. After the hopping test I am
able to pretty well decide just which ones are going to get the
ensemble work--and very often you will find some splendid natural
dancer in a group like this.

Then I have another little test that I use in a 2-4 movement. Two hops
on the left, two hops on the right, two on the left and two on the
right. Get them to do that to a 2-4 tempo.

After I determine in my own mind those who are most apt, I ask the
members present if they have ever done anything in the way of any
individual stunt, either a dance or a song, or if they ever played a
part in amateur theatricals. Usually a few will stand up, and I bring
them around my table one at a time to get an idea of what they have
done. I get them to write down their names and addresses and exactly
what they have done or what they think they can do, gradually getting
the whole thing on paper. In this way I am getting all of the
available talent organized.

In the meantime I am watching the members of the ensemble. I am trying
them out in some of the simple routines. I gradually work them into it
before they realize it. I get them all enthused about it, and through
long experience I am able to tell which group is going to be what