which are kept in the main booking office and to which he and all other managers on his particular circuit have access.
Now you are ready to try for something bigger and better, ready for "big time" vaudeville, perhaps in your own act; if not that, then in someone else's act. Your second year's advancement is based on the weekly report that has been sent to headquarters regarding your reception by the public and the way in which your act has got over.
Big time may mean Chicago, Boston, Philadelphia, and any or all the larger cities on the various "circuits." It may include the Keith-Albee Palace Theatre in New York, the Mecca of all vaudeville artists. It is at the Palace that you know you and your act are seen by every revue, musical comedy, or dramatic manager, casting director whose business it is to pick and engage artists.
There is no school like vaudeville for the dancer, singer, actor or actress in any line of musical work. Most of the brightest stars in the theatrical firmament have graduated from vaudeville into greater things, and many of them return to the vaudeville stage for a flier now and then. It is there that you come in contact with different wise audiences in different cities and learn how to handle them. You watch your fellows in their various acts, note the bills as they change every week, or usually twice weekly, and your audience with them. You are in two, three or four shows a day in your short time, and learning how to get over better at every show. The vaudeville audience knows what's what. You can't fool them. You've got to do your best for them all the time--and you will, or you will not remain in vaudeville, where you have to "make good" every performance. It is an invaluable experience, your first stage years, and you will gather lasting benefit from your active vaudeville appearances. You must not complain of the number of shows you are required to give daily--the more you give the more practice you get before a paid audience, and remember you are gaining experience while being paid for it.
You may follow a season of this with a road show over your former territory another year, and you will find your old friends in the audience ready to boost you. You are on the right road to the "making of a name," which after all is what you are after. For although they will not remember your name yet, if you really pleased them they will remember your offering; about your third trip around they will learn your name and never forget it--provided you "make good." If you fail, the audience will forget you; but _not_ the manager. Once you fail in his opinion, he will never forget or forgive it. He will never give anyone who fails a second chance. That is "show business."
Your fourth year should find you in a New York production in some good company. For New York is always the objective point, since the best and most opportunities are always there. There follows naturally a year on the road in the same company, as the show abandons New York for a tour of the larger cities. Always make the road trip in order to create territory for yourself, to establish a following, to make a still bigger name and demand for you, which means a larger salary eventually. You are sufficiently established now, after five successful years, to be able to expect another New York engagement, under the same management in all likelihood but with a new vehicle.
This New York engagement and another year on tour with the same play puts you seven years along the way to a name in the big lights, and your name has been growing day by day, until it is now known in good territory, and consequently, through wise exploitation--publicity--it has become a magnet and attracts patronage.
When the time comes that your name is to go up in front of the theatre, choose to be featured at first rather than starred. If anything must fail, let it be the show, and not you. Don't risk failing to "draw business" to the box office.
There will come a time somewhere along in your progress to fame when you will need a business manager or an agent versed in all matters of a theatrical nature, favorably known to all the large producing managers, and able to advance your fortunes materially by protecting and looking after your interests. He is entitled to receive ten percent of your earnings from whatever source, and the services he can render you are well worth it.
Nearly every successful actor and actress has a manager. Stage celebrities have not the time, let alone the experience and ability, to promote their own business interests, watch for opportunities to secure the choice engagements, and attend to the very necessary publicity and negotiations for contracts for the future. The reputable agent or artist's manager is always on the ground and in touch with the best managements and things theatrical daily. But no such representative worth while will bother with you until you have made good.
The best artist managers or agents know in advance what is being planned for the coming theatrical season. They are in close contact with the very high-ups in the theatrical world, men whose contracts you hope to sign on the dotted line soon. A good agent may save you several years' time in advancing to a stellar position. He knows the value of publicity, which often is half the battle in getting yourself before the public. You must have publicity, whether or not you secure a representative to attend to it for you. Interesting newsy stories about you, with effective art studies of yourself in costume accompanying them, are gladly accepted by many newspapers and magazines. The rotogravure sections of Sunday papers contain many pictures of theatrical folks. A beautiful picture will usually carry a story, and you are wise to get a few good ones rather than many cheap prints. Every first-class theatre has its own press agent, and every production of any size its own press representative. Both are glad to cooperate with you if you have real ability, and help you with the preparation of your stories and photographs and getting them into the daily newspaper. There are also many publicity concerns who make it a business to keep your name and picture in the public eye at a moderate charge. But you must be able to _make good_ first. Neither publicity nor anything else will avail to establish a permanent name for you unless you are prepared to deliver the goods. Duds and dumb ones never make a big noise in the world. There is no star name awaiting the inferior person in this profession. All the front-page publicity in christendom won't do the trick if you haven't back of you real talent and something the public is clamoring for. And you cannot hope to fool the wary producer by any false representation or exaggerated claims.
You are not wasting your time while on the way to the bigger things.
Seven years may seem a long time to wait, but you are not starving on the way, and you are really not "waiting" at all. You start with a reasonable salary that advances from year to year and engagement to engagement, as you deserve it. You must build all the way on solid rock, then the structure that you finally rear, because of its firm foundation will endure forever.
Build up a public interest in yourself if you expect any producing manager to pay you what you are worth. Perhaps he will never pay you what you think you are worth, but if you bring money into the house he knows he must pay you well in his own interest. And believe me, he knows whether you are an asset or a liability to his show. You have simply got to prove to the box office that you are producing--not stage money--but the real stuff.
There is such a thing in stage lingo as an "overnight hit." Someone suddenly "stops the show" in a town; that is, gets an unusual number of recalls. But wait a while before you decide that you are ready to star on the strength of that. Your next audience or the audience in the next town may not be so enthusiastic over your act. An "overnight hit" is seldom continued beyond the single performance. It is pleasant while it lasts, but it doesn't last long. You must perform consistently and "make a hit" at every performance, with every audience.
Be patient, you who would star and see your name go up in the bright lights on the Great White Way. Do not get discouraged. You will meet with obstacles on the route to fame undoubtedly, as others have done, and, like the others who have finally arrived, you must overcome them one at a time as they appear, by sheer force of willpower, determination, pluck or whatever you desire to call it. If you are a weakling and lack strength of character do not ever take up a stage career, for you will get many a bump; so be prepared to stand it. For only those who are determined to succeed will ever reach the top, where there is plenty of room always.
[Illustration: NW]
[Illustration: MARILYN]
[Illustration: RITA HOWARD]
FORMS OF STAGE CONTRACTS
[Illustration]
I offer no apology for posting the inexperienced ones about to enter upon a stage career as to how best to make the start.
The signing of a mutual contract, entering into a legal engagement on the part of manager and dancer to perform certain duties and pay certain salaries for a stated period of time, is of sufficient importance to have serious consideration.
I want my pupils to know in advance just what a proper stage contract looks like, how it reads, and what they will be called upon to sign as "party of the second part" when the hoped for time comes that their dances are to have public presentation on the professional stage.
To this end, I reproduce here the wording of various forms of approved contracts now in general use by American Theatrical managers, and commend their reading to all who are interested in the intimate side of stage affairs.
The theatrical law requires that a chorus girl or boy be paid not less than $30.00 per week in New York City and $35.00 outside of New York, besides their transportation. This is the lowest salary. All first class managers pay choristers not less than $40.00 per week in New York and $50.00 on the road. The salary always includes transportation, but _not_ living expenses, which you are required to pay.
Some chorus girls receive as much as $75.00 or $100.00 weekly, depending upon what they can do, their appearance, personality, etc.
About the smallest salary ever offered a solo dancer with a vaudeville act would be $50.00 in New York and $60.00 on tour, while the majority of solo dancers without name or reputation would receive $75.00, $85.00 or $100.00 per week, to start, provided they really can do a real dance in a professional manner and "put it over" with some personality. One who receives $100.00 per week in New York should receive $125.00 on tour. After one's salary reaches $125.00 per week it can be increased on a sliding scale to $150.00 and $175.00 on tour, then $200.00 in New York and $250.00 on tour. From $250.00 to $300.00.
After reaching $300.00 it generally jumps to $400.00, from $400.00 to $500.00, after that to $750.00, then $1000.00 to $1250.00, thence to $1500.00 a week, and then to ten percent of the gross receipts, usually a star's contract, though contracts and terms vary. A salary is fixed for one theatrical year and usually increased each year as indicated, but is never increased at all unless there is a demand for your services by reason of the fact that you have made a "hit" and registered genuine success.
[Illustration: CINDERELLA
Your Name]
[Transcriber's Note: In the following contract forms, the original has rows of dots representing the blanks to be filled in. In this e-book, each set of dots has been replaced with a long dash (----).]
FORM--IND: E.M. NO. 3
THIS CONTRACT MUST NOT BE ISSUED TO THE CHORUS
EQUITY MINIMUM CONTRACT
Standard Form issued by the
_Actors' Equity Association_
(Affiliated with the American Federation of Labor)
45 West 47th Street, New York City
LOS ANGELES OFFICE 6412 Hollywood Blvd.
SAN FRANCISCO OFFICE Theodore Hale, 369 Pine St.
CHICAGO OFFICE 1032 Capitol Bldg.
KANSAS CITY OFFICE Gayety Theatre Bldg.
_To be used by "Independent" New York Managers and others playing same class of attractions._
AGREEMENT made this ---- day of ----, 19--, between ---- ("MANAGER") and ---- (hereinafter called "ACTOR").
_Regulations and Rules Over Leaf_
Regulations covering rehearsals, notice of termination before and during rehearsals, lost rehearsals, individual termination, closing of play and season, clothes, number of performances, lost performances, transportation, lay-off, method of giving notice and other matters are set forth in the "Regulations" on the reverse side of this page and in "Rules Governing Minimum Standard Contract," on the pages following, and except as hereinafter provided, are a part hereof.
_Agreement of Employment_
1. The Manager engages the Actor to render service in part of ---- (Here insert name of part; also if Actor is required to understudy.) in the play now called ---- (Here insert present title of play) and the Actor hereby accepts such employment upon the terms herein set forth.
_Opening Date_