Stage Costumes

ON THE stage, as on the street, effective costuming is a matter of good taste. The dancer must be particular always to appear in a costume in keeping with the idea and character of the dance. The producer will be certain to adhere to this rule in all cases where the company supplies the stage costumes, as is customary. In vaudeville, or in a home-talent show, where the dancer furnishes the outfit, the same rule of fitness and appropriateness must be observed, or the resulting incongruity will greatly mar the presentation. Have your stage costumes prepared with the idea of creating proper atmosphere for the dance you are giving or the scene in which the dance appears.

There are special designers of stage costumes in all the large cities, here and abroad. Bakst, the Russian artist, is a name all have come to know because of the bizarre effects he creates for the stage. In London, Comelli was an outstanding name as costume designer for the Drury Lane productions; Erte, in Paris, and there are many others abroad. New York has several concerns of the first grade whose work along these lines is in evidence in the best theatres throughout the country and overseas.

The first step in costume making for the stage is made when the costume designer and the scenic artist are brought together under the producing director to arrange and settle upon a definite color scheme for each act and scene, so that colors of costumes and stage settings shall be in full harmony throughout. This is most important for the pictorial effects and is given careful study. With the color schemes effectively planned, there follows a further conference between producer and costume designer, in which plot, locale, atmosphere, characters, lyrics, music, and everything else with a bearing on the dance or play in contemplation is fully gone over and considered. The personality of the principals is given attention, and the various possible effects of the ensemble or chorus groupings, evolution and pictures are carefully planned, with regard to lights and color effects.

The designer thus consulted submits pencil sketches of his ideas. The next step is a water color design in the actual colors to be employed. The accepted costume plate in color becomes now the working basis for the actual process of manufacturing the garments. The cost of these color plates for each design is at least five dollars, but usually more, as high as $25.00 sometimes, before a garment is cut or a stitch taken, the price for a costume plate or design depending a good deal upon the standing or reputation of the designers.

Materials as well as colors are given careful thought. Sometimes the artist's design is made around a sample of the actual materials, though usually the color idea is developed first and the goods to be used in the garments considered later. The quality of the material for stage costumes should be the very best to be had regardless of cost. It is unquestionably true that the best is the cheapest in every way. Not only do costumes of cheap fabrics not hold together, and the colors fade out when exposed to the strong modern stage lights, and repairs and renewals become a frequent necessity, but the very people on the stage who are compelled to wear the inferior costumes are literally let down to a lower level in morale as a consequence.

It is human nature for a well-groomed man or woman, on the stage or off, to be in better spirits and a better mental attitude for the very reason that they are correctly attired. Cheap garments and inferior costumes detract from the dancer's ability to do the best work, however unconscious of this fact the dancer may be. So I contend that it pays to use the best material and employ the best workmanship, if only to keep the performers up to pitch and put the show over in a way that spells success.

Then, too, there is the audience to be considered. They know the difference between silk and cotton, and are quick to judge the show by the appearance of the costumes that greet them on the stage. It is little less than an insult to modern American audiences to expect them to pay modern prices for seats in the theatre and then parade a lot of second-rate costumes before them as your idea of something that will "get by" without detection or adverse comment.

The cost of costumes varies, of course, and the range is wide. Professional costumes worn in Broadway productions under my direction have been made for as little as $23.00 and as high as $1500.00 for an individual costume. Chorus costumes have been shown on Broadway costing $50.00 to $400.00 for each girl in the ensemble. However, a satisfactory chorus costume can be produced today for around $75.00 and that for a principal about $100.00.

There are large and satisfactory rental establishments in New York, Chicago, Philadelphia, Boston, and others of our prominent cities where costumes can be rented for almost any character of show, in single garments or for a complete production. In the east, among the best are Brooks or Eaves, of New York, and Van Horn of Philadelphia.

In the wardrobe department of the Ned Wayburn Studios there is carried a varied line of up-to-date costumes well over a hundred thousand dollars in actual cash value. There is one set of twelve dancing costumes there alone worth $4800.00, or approximately $400.00 per costume. Any of my stock of costumes is available on a rental basis for amateur shows when my organization is employed to stage the productions, and an expert wardrobe mistress goes along with the outfit to insure proper adjustment and fitting of all the costumes to their wearers.

The complete costume when rented from any concern includes headdress, bloomers and parasols (if the character calls for them), besides the gown or costume proper, but never includes wigs, shoes, stockings or tights, which must be purchased outright.

In our studio work and during the rehearsal period on the stage we recommend the Ned Wayburn rompers as a form of practice dress best suited for ladies' use, except in our foundation technique and acrobatic dancing classes, in both of which the bathing suit is given the preference.

ONE must possess an inherent sense of rhythm in order to become a successful stage dancer. To be able to walk or dance to music in perfect time, and find enjoyment in doing it, is one of the first essentials. I can tell by the way a person walks across the floor when an orchestra or any musical instrument is rendering a sprightly bit of dance music, whether or not the walker has the dancing sense that is so necessary to perfection in the art.

In dancing, the term "rhythm" refers to the coincidence of movement and music, and is the symmetrical regulation of time and the periodical repetition of the same arrangement. The measure of speed in music and dancing is designated as "tempo." It is the "time" in which a musical composition is written, and is shown upon the "staff" by figures. Of the many kinds of dance measures, the most common are what are known as 2-4, 3-4, 4-4, and 6-8.

Used by Permission of The John Church Company, Owner of the Copyright

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Among the 2-4 rhythms, the principal ones are the March, which is indicated either in "Alla Breve" (C), as "The Stars and Stripes Forever," or in 2-4, as the more rollicking "Over There," or the well known Cake Walk, "Georgia Camp Meeting." By increasing the tempo of the 2-4 March it becomes the One Step dance.

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Marches are also written in 6-8. Then they are called Two Steps, as "The Handicap March," and Sousa's "Washington Post" March.

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Among the other 2-4 rhythms are the Polka, suitable for Ballet work. The "Pizzicato Polka" is a very good example of this type. The Gallop and Can Can are in a very fast 2-4 tempo.

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Waltzes are in 3-4, played sometimes in a lively tempo, one in a bar, or slow, 3 in a bar. "Three o'Clock in the Morning," a ballroom waltz is in the slow tempo, while "In the Good Old Summertime" is more rapid, adapted for fast movements and waltz clogs. "Valse Coppelia," played one in a bar, is the type for dainty Ballet work. The stately Minuet is in 3-4 time.

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The Gavotte, played 4 in a bar, is principally suitable for Ballet, while the Song and Dance ("Narcissus"), on account of its rhythm, is mainly adapted for the soft shoe and its kindred dances. It is also in 4-4. The Fox Trot is written "Alla Breve," 2 in a bar in moderate tempo. It has a somewhat strict rhythm, while the "Charleston," played usually in the same tempo, is rhythmically different. As one can notice, it has an anticipated second beat.

Perhaps the most popular music for the Charleston dance is the Charleston number from "Runnin' Wild."

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There are a great many varieties of national dances, all having a peculiar rhythm of their own, portraying the character of their people. Among these are the "American" characteristic dances, as "The Rube Dance" and the peculiar rhythm of the Stop Buck, the "Essence" played in moderate 6-8 tempo, as in "Comin' Through the Rye."

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Among the Irish Dances, the most popular are the Jig, a fast 2-4; and the Reel, a fast 6-8. The Scotch have their "Highland Fling," a fast 4-4, and there is the Hornpipe.

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The Spanish dancers are particularly fond of the Waltz, played lively, and when still more increased in tempo it becomes the "Fandango," a wild and merry dance. The Tango is in 2-4, played in moderately slow tempo; its rhythm is also adapted for the Habanera.

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("Rosita" Tango Fox Trot)

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The Italians have their "Tarantella." It is played very fast. It is supposed to cure the bite of the tarantula, hence the furious tempo. The Egyptian (Oriental) Dance is of a more sensuous type, either moderately fast in 2-4 or slow (in 6-8).

The Soft Shoe Dance is played 4 in a bar in Schottisch tempo.

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Most any 2-4 March movement is suitable for "buck" dances, but they must be in syncopated rhythm with characteristic melodies and accompaniments and not what is called straight marches, but must have the right atmosphere musically in order to inspire the dancer.

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There are a number of very good dance albums published annually with popular dance melodies and piano arrangements. Among the best are those published by Leo Feist, Inc., Jerome H. Remick & Company, Shapiro, Bernstein & Company, Harms, Inc., and M. Witmark & Sons, all of New York.