This applies not alone in the signs over the door, but also in all the theatre's publicity. Pick up today's newspaper, and look at the stage announcements. "Mary Pickford in—" you don't care what the play is when you see the star's name. The star carries the play, in such a case. "Rose-Marie, with Mary Ellis and William Kent." You are glad to go and see the featured pair, but in this case the play is given the star position, it having registered success, the profits from this musical play having been as high as $18,000.00 per week during its run in one New York theatre.
Now the point of all this, that has to do with the stage dancer, is, "How did Marilyn Miller get a name that entitled her to this conspicuous exploitation, and how can I go about it to become equally well-known and famous, myself?"
You are wise to ask this question seriously early in your stage career, and if you have or develop the quality that makes for stardom you can read this chapter with confidence that it is an accurate and correct account of how many a stage celebrity has progressed from an unknown and unheralded place in the theatrical world, to one where Broadway producing managers have solicited the privilege of elevating her or his name over the doors of their playhouses.
Bear in mind that your name is to you what a trademark is to a manufacturer. And, to continue the analogy, you cannot establish a name in a day or two, any more than the manufacturer can make his trademarked goods universally known in a short period.
You are starting out now with the laudable ambition to make a name for yourself, and have still to seek your first engagement. You know your dances, are continuing your practice, and have confidence in your ability to make good.
Don't hurry to get yourself before any producing manager until you have had a little experience in some hideaway place, like at a church or charity benefit performance, some local entertainment, or club affair, anything of this nature, that will enable you to try yourself out before a small or friendly audience, test your ability to overcome stage fright, and get hold of yourself before a crowd. Having done this away from Broadway and gained assurance, then an appearance in some regular theatre, preferably at some benefit performance, usually given Sundays, should come next, where the dancer is sure to be seen by someone who has the authority and position to offer an engagement. Any sort of an engagement with a reputable management is a good beginning and should be accepted without expectation of a fancy salary, an opportunity being what one always needs in order to prove one's ability.
If you do not succeed in creating a demand for your services at appearances like this, do not become discouraged; make up your mind to keep on trying until you do attract the attention of the right manager. Always be willing to make any sacrifice as far as remuneration is concerned for an opportunity to appear to advantage, and be everlastingly grateful to whoever gives you your first opportunity, or foothold which enables you to establish yourself.
Send a brief letter to the offices of various managers announcing your forthcoming appearance. Enclose a good full-length photograph, preferably in stage costume, the best you can afford, i.e., taken by the best photographer you can get. Some of these managers or their representatives will be there and see your performance. Be sure you are "making good" before you try to interest any of the big managers. It is better for you to be seen by the manager before an audience than in an empty theatre.
Be satisfied to make a small beginning for the experience, provided you get a chance to do your best dance. This will help you establish yourself, but it is going to take a long time to prove your ability. Travel, and make territory for yourself. Go in a vaudeville act, if offered such an engagement. Keep on "small time" for a year, if necessary, and get your name known in a certain territory for a pleasing entertainer. Get on with some act, big or little, as a solo dancer, at a reasonable salary, and expect the first two weeks to be at half salary, as is usual. Do not demand a large salary until managers are clamoring for your services—make it an inducement for someone to employ you in the beginning.
When you start on a road tour your first inquiry of your company manager will be for a "copy of the route." You want to know where you are going, what towns your itinerary takes you to, so that friends can be advised in advance of your location day by day, and letters and communications reach you with certainty.