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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
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