Any kind of stage dancing may become a specialty dance. But it really takes a person with good mental capacity as well as expert dancing ability to develop what others may do well, make of it an outstanding and triumphant success, and identify it with one's self before the public as one's very own.
But the rewards are great for those who accomplish this, and I am always glad to see an effort made along these lines, since it means so much in the way of fame and fortune to those who make the grade.
And one may become a specialty dancer in more than one line. Gilda Gray, for instance, in the Follies of 1922 did three separate and distinct specialties in her work at every performance: A musical comedy specialty, an Hawaiian dance, and her "Come Along" character dance, which she built up under my direction into a pronounced hit.
So with these facts before us, that any dance may be made into a specialty, taken out of the ordinary and individualized, and that no dancer is limited to a single line in this work, but can spread out over the entire field if competent to do so, there is surely ample encouragement to the dancing pupil to make an effort to profit by the opportunity my studio instruction affords, and become not only a good dancer but also a good, better, best specialty dancer—something quite worth while on every stage, European as well as American.
Almost any pupil will naturally specialize in some one form of dancing in the learning process. Thus one may show a preference for the musical comedy work, or tap and step, clogging, acrobatic dancing, whatever it may be. It is preferred because one takes to it easiest, or is most proficient in it, or has a personal liking for it. That is the dance for you to specialize in. Perfect yourself in it. Do a little better than anyone else does, and you are on the boulevard headed toward becoming a specialty dancer.
Legmania is a form of specialty dancing. The Charleston, at present so popular with the multitude, is another. The Hula Hula and all other kinds of character dancing are specialties. Clogging, the ballet, interpretive and toe dances—why enumerate them. Let it go at this: Any form of dancing that you like best and are most efficient in can be made your specialty dance if you give it personality, atmosphere,—if you vitalize it so that it stands out alive and distinctive—your very own.
It takes brains as well as legs to become a specialty dancer of real quality, capable of controlling the public's interest. Yes, and it takes competent instruction to guide you right, and it takes practice on your part after you get the instruction, too. But it is quite worth while. The rewards are sure if you merit them.