Then I get them to stand in a huge semi-circle before me, as large a semi-circle as the hall will permit, and if I have too many for that one semi-circle, I put the others behind them into other semi-circles. I begin by placing my first semi-circle shoulder to shoulder. I watch their shoulder heights and their head-lines all the way along the semi-circle. The semi-circle will begin at my left, cover the whole side of the hall—whichever is the longest side—and the end of the semi-circle will be at my extreme right. I have my table and chair in the center, but near the wall opposite this semi-circle. The pianist I usually have on my left-hand side, if it is convenient. He must have his piano turned in such a position that by looking slightly over his shoulder he can see me as well as the group.
I number the entire group, beginning with number one and running consecutively from my left as far as they will go. Then they are required to sit down in the same order. Each person must have a seat and they occupy the same seat at each call, after the elimination process. Before I do anything else I have their names taken, with addresses and telephone numbers; the first and last names directly opposite the number that I have given them. Then they stand up and I arrange them in straight lines across. Sometimes I will have eight in a line across, and I may have six lines of eight to begin with; sometimes eight lines of ten, and perhaps as many as twelve in a line, all depending on the shape and size of the hall.
After they have been arranged in perfectly straight lines one directly behind the other, the next thing I do is to teach them the eight different directions, which are so important. Let me recall them to you: (1) left oblique, (2) left, (3) left oblique back, (4) back, (5) right oblique back, (6) right, (7) right oblique, and (8) front. They are taken through these directions until I am sure they understand them thoroughly. Then I divide the foot into four different parts, just as I do in my courses: the toe (the end of the shoe), the ball (the half-sole), the heel, and the flat. I always make them stand with their knees together, their heels together, the left toe pointed to left oblique, the right toe pointed to right oblique, hands down at their sides, the weight equally distributed between the two feet, heads up, and looking straight front on a line with their eyes. I insist upon their standing this way. Every time they come to their places on the floor during rehearsal, I remind them of it.
Now, I begin to show them simple movements in order to get them to shift their weight easily and to give them confidence. First the hopping step. When they do this I can immediately tell just how far they can go in my dancing—by giving them what I call the hopping test. They hop on the ball of the left foot eight times and they repeat that eight more times, on the ball of the right foot to a 4/4 tempo. Then they hop on the ball of the left foot for eight counts, and alternately for eight on the right foot, through a number of refrains or popular choruses. I caution them to be careful about bending the knee when they land the weight of the body on the floor, because many of them have never danced before in their lives. They know nothing about it, but by bending their knee they make a cushion for their weight, and they must land on the ball of the foot, not on the heels.
After I try them out doing that, I put them in a circular formation, where everybody can see me, for I stand in the middle of the ring. I turn them toward the left hand, and I start them around in a circle on the hopping steps; left hop, right hop, left, 2, 3, 4; right hop, left hop, right 2, 3, 4; alternately through, in time with the music of a popular 4/4 tune. This test has never failed with me. I can immediately find the clumsy, awkward ones and select the apt ones. This, of course, I do in my mind, making mental notes of their numbers. After I get them back in a straight line at the end of the hall I call out the numbers of those who have qualified, but I do not hurry to do this because many times they are nervous at a first tryout. So I encourage them as much as I dare to. One has to be tactful at such times. But right away you can find your awkward people and also those who have a natural grace. I can pick them out immediately.
They move around in a circle. Many times I will stop them and divide them into smaller groups, all the time noting the ones that get it and the ones that don't. I will get to know number 1. I will watch her or him, and I will say to myself, 1, 3, 5, 8, 9, 14, 16 and 18 have it; the rest haven't. Then I ask them to sit down. I can find out just about the way they are going to do my work from this little tryout. I never individualize my criticism.
The main idea is to find out the ones who are interested. There are always some people who come to these calls who are out for a lark, and they must be eliminated at the first call. After the hopping test I am able to pretty well decide just which ones are going to get the ensemble work—and very often you will find some splendid natural dancer in a group like this.
Then I have another little test that I use in a 2-4 movement. Two hops on the left, two hops on the right, two on the left and two on the right. Get them to do that to a 2-4 tempo.
After I determine in my own mind those who are most apt, I ask the members present if they have ever done anything in the way of any individual stunt, either a dance or a song, or if they ever played a part in amateur theatricals. Usually a few will stand up, and I bring them around my table one at a time to get an idea of what they have done. I get them to write down their names and addresses and exactly what they have done or what they think they can do, gradually getting the whole thing on paper. In this way I am getting all of the available talent organized.
In the meantime I am watching the members of the ensemble. I am trying them out in some of the simple routines. I gradually work them into it before they realize it. I get them all enthused about it, and through long experience I am able to tell which group is going to be what 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.