I
call my dancing girls or boys. They will be the smallest ones, five
foot one, five foot two, three and four. Then I pick out those who are
a little slow in picking up the steps, and they will be the "mediums,"
the sort of "in between" ones. Then I pick out the very best type of
show girl, usually the taller girls, who can't move as fast as the
smaller girls, but who have grace and good figures, and who are good
looking. Until I have the three final groups, of course, I make all
the members of the ensemble dance. The show-girl will be more
dignified perhaps, with a stately bearing. Naturally I pick out the
girls who have natural aptitude to do my work properly and make them
the real dancers. I have eight, twelve or sixteen of these in a set,
never any more. Then the others who don't dance quite so well will be
the mediums, and then the show-girls who can stand in the back of the
stage, or at the corners, and dress the stage or do "parade numbers,"
or walking numbers. After I get these sets worked out I give them
their next call and take the principals in hand.

Then I have copies of the manuscript, and usually carry along three
sets of the parts. If it is a play, I have the play completely read.
If it is a revue, I have all of the skits and numbers with me.

I have the principals come in and sit down in a semi-circle before me
while I seat myself behind the table on which I keep my papers and the
brief case in which I carry the "scripts," parts, etc., and we have a
meeting similar to the meeting that was held with the ensemble. The
pianist is there, and they bring along their songs. Whoever is going
to be the stage manager of the company is also there. He is usually
one of my coaches that I carry with me. The local casting director and
usually the president or chairman, also sit at the table at the left
side of me, with my own assistant (the "coach") at my right.

Now, those who want to read parts for me are put at one side into one
group; that is, those who wish to try to handle important parts in the
dialogue. Then I place another group together which expects to do solo
dancing--at the other side. They are called principal dancers. Then I
make a separate group of those who expect to sing, or to do any sort
of a musical specialty, or any kind of a "stunt" that might be
included in the show. I have had the greatest variety of specialties
in a show. I have had them do magic, burlesque magic, play ukuleles,
and all s