“So many heartbroken girls have asked my advice on how to achieve an artistic destiny on the stage, that a frank word or two, on such a theme, may not be amiss. To begin with, girls should remember that the wishes and tastes of their audience have to be considered—before everything. An artistic standard that does not meet with popular approval must, of necessity, be a false standard to work by. Take my little bit, for instance, in the third act of ‘Houp-La.’ I tried to interest my audience in my wonderful imitations of the Allied statesmen. But, try as I would, I left them cold. Then, my manager, one of the best dramatic critics I have ever met, drew my attention to what he deemed a radical defect in my performance. The subjects of my imitations, he said, were all too restful! Not one of them was associated, in the public mind, with movement—especially with the movement which we know as Kicking. So I changed my repertoire to include impersonations of Nijinski, and Miassine, with the result that my act has been a veritable riot.
“So, remember, girls, consider your audience.”
CONSIDER YOUR AUDIENCE
“So many heartbroken girls have asked my advice on how to achieve an artistic destiny on the stage, that a frank word or two, on such a theme, may not be amiss. To begin with, girls should remember that the wishes and tastes of their audience have to be considered—before everything. An artistic standard that does not meet with popular approval must, of necessity, be a false standard to work by. Take my little bit, for instance, in the third act of ‘Houp-La.’ I tried to interest my audience in my wonderful imitations of the Allied statesmen. But, try as I would, I left them cold. Then, my manager, one of the best dramatic critics I have ever met, drew my attention to what he deemed a radical defect in my performance. The subjects of my imitations, he said, were all too restful! Not one of them was associated, in the public mind, with movement—especially with the movement which we know as Kicking. So I changed my repertoire to include impersonations of Nijinski, and Miassine, with the result that my act has been a veritable riot.
“So, remember, girls, consider your audience.”
REMEMBER YOUR MOTHER
“I want to insist upon the importance—in an artiste—of listening to the counsel of a good manager. Only last night, for instance, after the ring-down in my triumphal screen scene in ‘A Woman at Bay,’ (the one in which the screen, behind which I am dressing, is knocked over by the maid), my manager joined me, in the Ritz grill, and gave me the most wonderful advice in the world. He showed me how I could kill the star’s act by laughing in the middle of it; how I could steal the leading man’s entrance; how I could get the spot for a whole act—by giving the spotlight operator a Tecla pearl pin; how I could centre the publicity man’s interest in little me (merely by kindness) and how I could get my name up, in gas, merely by asking a dear friend of mine—(who is the President of a steel company) to invest some money in a musical comedy which my manager is going to put on. He has also given me advice about my dear mother. He thinks that the city air is disagreeing with her, and he suggests that, in the country, he could engage a single room for her—with the use of a bath—where she could pass the winter very comfortably. So there is another thing to remember, girls: ‘Always be good to your mother!’”
