The wise showman always plans his play to have the very widest possible appeal, for the public is many sided, and a single narrow idea will fail to touch it at all points, as it must do if it is to have a popular acceptance. He knows, being a wise showman, that people come to his playhouse for entertainment, pleasure, laughter and relaxation, and not for a learned discourse on some abstract or wearisome theme. There are proper places for the lecture and the "big wind," but that place is not in the theatre of the wise showman. It is his business to create his proffered entertainment into a valuable piece of property that shall declare actual cash dividends at the box office. That is being a successful showman, and he who does this exhibits real showmanship.
The successful stage dancer must possess showmanship. That is why the subject is brought into this book on stage dancing—that dancers may be made to realize a need of which they may be wholly uninformed.
It takes showmanship on the part of the dancer to get fully in touch with the audience, get down to their level, if you like to say it that way, and never go over their heads. Successful dancers always use good judgment in their offerings. The same kind of dance does not do for vaudeville, musical comedy, revue and opera. Each requires its own kind of dance. The revue has its own audience, the musical comedy one of another character, vaudeville still a third kind, and opera still another. Here is where the dancer's showmanship comes in—to recognize this difference and adapt the offering to the audience before whom he or she appears.
Dancers who would profit to the fullest extent in their profession must learn how to absorb this essential element known as showmanship, in the various ways in which it may be done.
Reading along right lines is very important. Read the dramatic reviews and criticisms in the daily press, and read regularly the leading theatrical weeklies. Identify yourself with your profession in this way; read "shop" and talk "shop." Make it a point to see and study other dancers, in vaudeville, musical comedy, opera and revue. Meet your fellow dancers in their own habitat, behind the scenes. The actual experiences that you are recommended to undertake in your own behalf in the chapter I have called "Making a Name" will be invaluable aids to you in harvesting a lot of the best grade of showmanship.
Travel will help you learn a lot. The traveled and successful theatrical person is always alert, quick, bright, posted in all important matters that concern the profession and all who are connected with it.
Those who take my courses as students of dancing are given a wide mental as well as physical training, to prepare them to cultivate showmanship that shall complement their skill as dancers when they become professionals. I call my lectures "inspirational talks," for I do want what I say about their future careers to be inspiring to them, and encouraging and beneficial. I speak to my pupils from many years of stage experience, and I know if what I say is heeded and given full consideration they will be better dancers and secure better engagements, and do so in less time, as a result.
HELEN FABLES