The Art of Stage Dancing / The Story of a Beautiful and Profitable Profession

One Mirror. 6x8 inches, in wood frame, with metal support. Will stand alone or serve as hand mirror. Strong, clear glass. The best to be had for its purpose.

This completes the list of contents in the Ned Wayburn Professional Makeup Box, for a "straight" stage makeup, for young ladies. For other types and different characterizations the ingredients are changed to suit each case, while the price remains uniform.

There is but one necessity for completing the makeup that is not included in the outfit as given, and that is Liquid White, which comes in white or flesh. This is to be applied as a wash to exposed flesh not otherwise made up. It comes in liquid form only, and can be purchased locally in any first-class drug store. We know Suratt's make of liquid white to be good, and there may be others.

A towel, a cake of soap, a basin of water and a few yards of cheese cloth should be assembled before commencing makeup operations.

A makeup is easiest applied while seated at a table with your materials spread out conveniently before you. If possible, elevate your mirror so that you can see the reflection of your features without the necessity of bending over. Always make up in incandescent light, never in daylight.

When making-up is a matter of daily routine the clothing will become badly soiled in a short time if worn during the process. To save your costume, either wear a washable kimono over it, or better, don the kimono over undergarments and put on the costume after the makeup is applied.

In private lessons at our studios we teach all the required forms of stage makeup, taking every type of person that comes to us and developing each individually along such lines as the character or part demands. Men, women, and youth come to us here for development of their correct makeup in private lessons.

In our class instruction in this line of work only the "straight" makeup for youth is presented, that being the one our young lady pupils find especially adapted to their stage needs. These special classes are held as occasion requires to meet the students' demands, and are given in our own Demi-Tasse Theatre, connected with the studios. Usually a demonstration is made with a blonde, a brunette and a red-head, to show the class the different requirements of the different types. Following this demonstration, each member of the class puts on a makeup under the advice and constructive criticism of the teachers, until thoroughly versed in the art, as it applies to his or her own individual type.

Since the reader of this may not be coming to us for either private or class lessons, we will describe the correct manner of applying makeup in simple language that will enable the distant aspirant to learn all that may be learned by reading without the presence of a personal teacher.

You are now seated at your dressing table, your mirror at a convenient elevation in front of you and between two good lights, your lay-out of tools and materials spread on a towel on the table top, a kimono or other garment spread over your person. Now take a strip of cheesecloth three or four inches wide and tie around the forehead, back of the ears, and behind the neck; or one may use a close-fitting skull cap. Tuck in all straying locks. The idea is, of course, to keep powder, grease paint and cold cream from getting into and soiling the hair. Now you are going to apply makeup.

First stage. Cold cream. Apply this liberally all over the face from the hair line to the upper part of the throat, but not on the neck. Rub it in thoroughly to fill all the pores of the skin. Be careful to cover all the space around the eyes, also rub in on the eyelashes, using care to keep it out of the eyes, for it will cause stinging. Greasing the eyelashes this way makes the removal of the makeup much easier. Now rub your face with a piece of cheesecloth until all the superfluous cold cream has disappeared. If the face shines too much, you have not removed enough of the cream. The surface should give the appearance of being well oiled, but not have a sticky, pasty or greasy surface.

Second stage. Foundation Grease Paint. The quality of your makeup depends upon this. It will be smooth or rough according to the way you develop it. Rub the end of the grease paint stick several times on each cheek, once across the chin, once or twice on the forehead and once down the nose. Use the ends of the fingers and pat this into place rather than rub it, till it is thoroughly worked into all the surface you have just covered with the cold cream. Every pore must be filled with the grease paint. Do not apply it too thick, which would give the face a pasty, unnatural look. Do not forget underneath the chin. Do not apply it to the ears or behind them. Leave no streaks or neglected spots. Have it uniform all over. Blend the paint till the face has an even tone. Watch your mirror carefully. It is better to have the grease paint a little too thin on the face than too thick, but you will soon learn to get it just right, which is what you are aiming at.

Third stage. Under rouge; foundation red; Stein's No. 18 carmine. Make a few dots with the carmine grease paint stick on each cheek and on the end of the chin. Use but little, and blend it by patting with the first and second fingers of both hands, rather than by rubbing. Begin well up against the nose, go under and around the eyes, and toward the temples, working it down below the ear and off the jaw in case there is a hollow in the lower part of the cheek. The color should extend down on the cheek, over on the temple and well up to the eye, patted and blended till no one can see where the red fades into the foundation. The chin is then blended in the same way, to leave no line between foundation color and under rouge. If your chin is pointed, blend in front, not below, or it draws the chin way down. Put on a lighter makeup for a small, intimate theatre, and a heavier one for the large auditorium.

Fourth stage. Enlarging and beautifying the eyes. This is a very important detail of correct makeup, and is indispensable on every well-lighted stage, where even the most soulful orbs with long, thick lashes will dwindle to half their size and have a faded, dull appearance if not properly made up. It is essential that the two eyes match in every detail, and to secure this result will require the taking of considerable pains and close study of your mirror. Stein's No. 11 blue lining stick is for use by the blue-eyed, regardless of the color of the hair or complexion. Stein's No. 17, for the dark-eyed. Titian-haired folks use Stein's No. 21 purple for the same purpose. With this grease paint stick of the color suited to you, draw a line across the upper eyelid between the eyebrow and the eyelashes, as close as possible to the lashes. With the fingers blend this line into a shadow, making it dark close to the upper lashes. Either pencil can be used for this purpose also. Do not get the shadow up to the eyebrows, but cover all the upper eyelid, and a little beyond the eye at the outer corner. Use the Faber No. 6625 blue pencil or Venus 6B black for shading under the eye. Draw a line with it directly under the eyelashes, and with the fingers blend this into a shadow. Carried too far down this blue suggests illness, so be careful. The shadows thus placed above and below the eyes serve to outline them to the spectators in the theatre, where otherwise the eyes would practically disappear and not be seen at all owing to the strong footlights.

Fifth stage. "Fixing" the makeup. Powder No. 2 for blondes; No. 2½ for brunettes. The creamy tints are for the dark skins, the flesh and delicate pinks for the fair ones. Press the powder first on the chin. It is feminine instinct to start on the nose, but let your start in this case begin with the jaw or chin. Don't rub it in. Pat it on thick till the underlying paint is fully covered up. The powder absorbs the grease. From the chin work upward, reaching the nose after the pad has lost some of its original load, and the nose will not stare out so white on your face as it would if you began there first. Raise the eye and powder underneath; look down, and powder the space beneath eyebrow and eyelid.

Sixth stage. Smoothing off and blending. Use the baby brush for this; there is nothing else so good. It is surprising in its results. Do not press the brush too hard on the face; dust the surplus powder off carefully with a light touch, to leave no streaks or patches anywhere. If now the face has a greasy look, you have not used sufficient powder.

Seventh stage. High lighting. Take some of your No. 18 Dorin's dry rouge on the rabbit's foot and dust a very little on your cheeks. Do not press it down, just tickle about the edges of the rouge to be sure it blends perfectly with the foundation. If there is too much white about the nose, dust it lightly with the rabbit's foot. You can turn the paw around and blend with the end that is free of paint. Never show a white ear to the audience. If ears come into style again, as they will, the lobe and rim should be made a healthy pink, but not a strong red, with the rabbit's foot.

Eighth stage. Darkening the eyelashes and eyebrows. Use Leichner's No. 60 black mascaro; dark brown for light blondes. The lower lashes are better left without the treatment, since they are almost certain to smear the face if treated, and the shadow you have already placed there takes care of the lower lashes all that is necessary. Apply the mascaro to the upper lashes with the brush that comes with the mascaro, or any fine brush will do. Start a delicate line on the edge of the eyelid at the outer corner of the eye, let it curve slightly downward at the start. This line should not exceed half an inch in length and is never carried beyond the eye socket. Do not make the line heavy nor longer. A very little mascaro must be brushed lightly on to the eyebrows, following the curve of the upper eyelid. Fix the eyebrows carefully about three-quarters the size of the mouth, using black or brown mascaro according to whether your type is dark or light.

In this place we are going to tell you how to bead the eyelashes, but unless you are a professional actress and your part will be decidedly enhanced by having the eyes very much in evidence, we advise against your undertaking it. It is not a necessary stage in the makeup process, but it comes into the story of makeup naturally and we give it here for the benefit of those who may wish to make use of it. Beading the lashes consists in placing a small bead of cosmetique on the extreme tip of each lash. This is best done on the upper lashes only, leaving the lower ones free. The Lockwood Cosmetic Stove is a small affair that holds a piece of candle and a baby-size frying-pan, or skillet, and is one device for its purpose that has the approval of fire insurance companies and so will not be objected to by the theatre fireman. There are some heating devices that you are not permitted to use in any theatre, and persistence in their use after being once cautioned has caused arrest more than once.

Tenth stage. Rouging the lips. Stein's moist lip rouge, medium. If the lips are left their natural color the footlights bleach them white and colorless. Shape the upper lip into a cupid's bow and round out the lower lip. Dip the little finger into the rouge and press it tightly against the lips, being careful not to smear it; open the mouth and draw the upper lip tight over the teeth. When necessary the upper lip can be shortened in appearance by blending and putting the cupid's bow a little higher. Do not put color on the lips beyond the angle of the nose, otherwise it will make your mouth appear very large. A blonde should not apply the rouge full strength, as it is too dark for her. The lips should not be heavily painted, and the line about the edges should be soft and smooth.

Eleventh stage. Finish with a little powder, dusting the face very gently, using a swan's-down puff. Put a very little powder on the lines about the eyes, but not enough to dull them.

Now look in your mirror with critical eyes. Your handiwork should have resulted in a velvety, soft yet rich complexion that will stand the strong lights of the modern theatre.

What you have just put on is known as a grease-paint makeup. There is also a cream makeup, so called, but it is less desirable for the modern professional stage. It fails to give the right effect for a real musical show with powerful lights. I have used both and do not hesitate to give this opinion based on my own experience.

There is also a dry makeup, with powder, known in theatrical parlance as a "lazy" makeup, suitable only for a "dumb" chorus girl who has no interest in her work, who comes in late and does not care whether she appears to advantage or not.

To complete any makeup, apply liquid white with a soft sponge to the neck, chest, arms and other exposed flesh that is not already made up. If, as in some of the modern revues, the legs are not covered with stockings or tights, they too must have an application of liquid white. To look right, any flesh that is exposed must be made up, because the lights bleach the exposed flesh, making it appear bloodless and giving one a gruesome, corpse-like color.

You are wise if in the matter of makeup you study your own face. Experiment, and note the results. When you are certain you have acquired the best for your own purposes, practice it often, till you can put it on properly and always with the same result. Don't seek to look made-up, ever, but to look your best for the part you are playing, always. If the makeup ingredients are in evidence to the audience you have not created the proper illusion and must practice making up until you acquire skill. It usually takes about one-half hour to put a good makeup on after you have perfected the process with your own features.

Removing Makeup. First remove the beads of cosmetic from the lashes. Then get rid of the little red spot in the inner corner of the eye. Work this toward the nose with cold cream. Then take plenty of cold cream on the fingers of both hands and massage the face thoroughly, to soften the makeup all over. Wipe it off with cheesecloth or an old towel, that you can throw away. Now wash the face with warm water and soap, dry thoroughly, apply a bit of powder, and you are all ready to dress.

SOME MAKEUP NOTES

You makeup for the lights of the theatre, which nowadays are very strong, and may come from many directions and in various colors. The switchboard controlling all the lights is in the first entrance of the stage, and the electrician in charge has his plots and cues all carefully planned for each act. He does not throw lights on or off for the fun of it or at his pleasure, but exactly as carefully designed and mapped by the show's producing director.

The front lights are those in the body of the house as distinguished from the stage. On the stage we have the footlights in red, white and blue, a row of each, and overhead are the border lights in the same three colors. There is the first border, second, third—sometimes even seven border lights, according to the size of the theatre stage. The spotlight is an arc light. It has usually a color wheel that revolves so that either red, blue, straw, light straw, or pink or any other color may be projected onto the "spot" on the stage that it is to illuminate and emphasize. There are dimmers for the footlights and the border lights. With these you can go from daylight effects to sunset, to moonlight, dawn, etc., with gentle gradation. There are two kinds of moonlights on the stage. Number 29 blue in the spotlight gives a summer moonlight; number 35 is best for a winter moonlight scene. Good gelatines, or "mediums" as they are called, are made by the Gelatine Products Company, in Brooklyn, or may be had from Kliegl Bros., the New York Calcium Light Co., the Display Stage Lighting Co., all first-class concerns in New York City.

Under strong blue lights the under-rouge in the makeup will come to the surface, which is not desirable, so get to your dressing room and powder your makeup down if you are going to be under a blue light. The makeup will stand a white spotlight or a pale yellow, but will not look well under too much blue and never well under green.

Put liquid white on with a soft sponge. Put this on only exposed flesh that is not otherwise made up, as the arms. Never put powder on the arms. It comes off on everything it touches. Liquid white is far preferable in every way.

The baby brush for blending facial makeup is one of the most important tools in the makeup box. If you try to buy one in a small town they will insist upon your buying a tray and comb, and everything else that goes with the baby set—everything, practically, but the baby. Better buy the outfit than try to go without the brush, but it is still wiser to supply yourself with the brush in time. You can buy it separately in the large cities.

Never put your mirror in your makeup box, for powder and grease will ruin the best mirror made. The mirror furnished with the Ned Wayburn professional makeup box is almost non-breakable; it is clear as well as strong, and in every way one of the best for its purpose. It will stand up where you want it.

Never makeup while in your street clothes or in stage costume. A drop of cosmetique on satin slippers or silk stockings will never come out. A washable kimono or bath-robe is the best garment to wear. Long fingernails will cut and ruin thin stockings. Don't ever wear the fingernails pointed.

In using the 6B Venus pencil to darken the upper eyelid, use the side and not the point of the pencil. Do not use a pencil sharpener, for it leaves too sharp a point. Keep your pencil free from grease. Wipe it often.

Rouge will fade under bright lights. Much depends upon the condition of one's health as to how long rouge will keep its color on the face. There will be certain times when rouge will disappear rapidly and you will have to renew the outer rouge, perhaps before the act is over.

Do not throw powder at your face, nor rub it in or smear it. Pat it on gently with the pad and use the blending brush.

The tiny dot of rouge placed in the inner corner of each eye is to fix the distance of the eyes apart. When the eyes are finished they should appear to be about the distance of one eye apart.

Rarely is makeup used in the nostrils. A big nose will look very wide if made up, but a small and very straight nose can stand a very little number 18 rouge in the nostril—not lip rouge, which would be too dark. But it is very seldom that the nostrils are made up.

Unless very careful in removing makeup, your face will feel raw and chafed when you go out in the wind. Take time and plenty of cold cream in the removal of makeup, and dry and powder your face before exposing it to outdoor weather.

If you wish to you can leave the mascaro on the eyelids, working over and under it in removing the rest of the makeup, and so use the mascaro on the street. On matinee days you will see shadowy eyes on Broadway, as some of the ladies of the cast keep the mascaro on till the evening performance.

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.

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.

DANCING TEMPOS

[Listen] [PDF]

Copyright by Leo Feist, Inc., Used by Special Permission

[Listen] [PDF]

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.

[Listen] [PDF]

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

[Listen] [PDF]

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.

[Listen] [PDF]

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.

[Listen] [PDF]

[Listen] [PDF]

[Listen] [PDF]

[Listen] [PDF]

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."

[Listen] [PDF]

Copyright by Leo Feist, Inc., Used by Special Permission

[Listen] [PDF]

Copyright MCMXXIII by Harms, Inc., N.Y.

[Listen] [PDF]

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."

[Listen] [PDF]

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.

[Listen] [PDF]

[Listen] [PDF]

[Listen] [PDF]

[Listen] [PDF]

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.

[Listen] [PDF]

("Rosita" Tango Fox Trot)

[Listen] [PDF]

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.

[Listen] [PDF]

[Listen] [PDF]

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.

[Listen] [PDF]

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.

Incidentally, it is not stage dancers alone who need to be told what is best for them, but as our professional dealings here in the studios are with dancers, we are directing our advice to them. For really the need is greater in the case of the lady whose "job" and salary depend upon her bodily appearance and health and mental condition, than it is in the case of any other of her sex. The lady of society wishes to look at her best, and usually succeeds in doing so, but her "job" doesn't depend upon it, as yours does.

To see how your present weight conforms to the proper standard, I present here a table of average weights based on heights and age. In this table the weights are taken in scant costume, a single garment and no shoes. Any table of this kind can be only approximate, however, for the frame and general build vary in different people and the bone structure must be considered in fixing the weight.

STANDARD TABLE OF AVERAGE HEIGHTS AND WEIGHTS OF
MEN AND WOMEN OF VARIOUS AGES

WOMEN

MEN

Now first of all, weigh yourself and see how near you come to the standard, and take note how many pounds you have to add or subtract to reach the perfect mark. Weigh yourself at regular intervals, every Sunday or Monday, but weekly, if possible, and keep a record of your weights and the dates they are taken.

First I am going to direct the too thin as to the best method for them to put on flesh, fill out hollows, become symmetrical and graceful and pleasing to the eye.

HOW TO GAIN WEIGHT

1. If you are thin, have an examination by a competent physician to be sure you have no organic trouble, before you try to put on flesh.

2. Calm yourself. "Learn to accept the trivial annoyances and the small misfits of life as a matter of course. To give them attention beyond their deserts is to wear the web of your life to the warp."—Hubbard.

3. Exercise and air. Take at least 10 minutes of Ned Wayburn exercises every morning as soon as you get up. Begin with a small number of movements and increase gradually. Be in the open air as much as possible.

4. Sleep. Resistance is markedly lowered by a lack of sufficient sleep. Have a rest period during the day if possible. Do not sleep longer than eight hours. For every hour you are in bed over that time the fat piles on or else you are losing flesh.

5. Avoid unnecessary exertion. Don't talk too much. Delete the details. Never talk about your ailments except to your physician. You pay him to listen (or should).

6. Avoid tea, coffee and nicotine and other stimulants.

7. Masticate your food thoroughly and leave your troubles behind when you go to the table.

8. EAT. Stretch your stomach and train it to take care of more food. You must eat three meals each day at regular intervals. They must consist of what your system requires and not just what tastes good on your palate. Never eat between meals. Give your digestive apparatus a chance to function as it should, three times daily, at the same time each day, always giving it an opportunity to rest as well.

9. EAT. Eat whether you enjoy it or not. You will enjoy it later. Don't heed the advice that you should not eat as a matter of duty. You should.

10. EAT. But no second helpings.

I have seen printed advice never to eat unless you enjoy your food and to avoid eating as a mere duty. I tell you to discard that advice. Do eat whether you enjoy it or not, and do eat as a matter of duty.

Once the food is in your system, whether you like it or not, a large part of it will be assimilated. Perhaps not so well nor so readily, for we know that the enjoyment of food adds to the efficiency of the digestive juices.

There is a small bird called the ortolan, which is highly esteemed by the Italian gourmands. When it is fat it is very delicious, but as it feeds normally only once a day, when the sun rises, it naturally has no fat on it. So the Italians confine these birds in a darkened room and succeed in getting them to eat four or five times a day in the following manner:

They put a lantern at a little window in the room. The ortolans, thinking the sun has risen, hop around and eat. The lantern is withdrawn and they are left in darkness four or five hours. Now the lantern is again put in place. The ortolans, evidently an unsuspicious, guileless type of bird, thinking the sun has risen again to perform its duty by telling them it is time to eat, hop down from their perches and busy themselves very seriously and dutifully with their breakfast.

Apparently they do not keep track of time and do not suspect that only four hours of the 24 have elapsed. This same sun rises for them four or five times during the day and each time they obey its summons and gallantly eat. The result is that they are converted into little balls of delicious fat.

You can get a lesson from these birds.

DIET TO INCREASE WEIGHT

Thick soups. Thick gravies. Plenty of butter and sugar.

Fruits. The best fruit to fatten is bananas, eaten slowly with cream and sugar. Any kind of stewed fruits, cooked with sugar. Orange juice, with plenty of sugar. Grapefruit, with plenty of sugar. Any kinds of berries, with plenty of cream and sugar.

Cereals. Oatmeal, Cream of Wheat, Corn Flakes. Avoid bran foods.

Meats. Anything fried is good. Roast beef, roast veal, roast pork, roast ham, veal chops, pork chops. No lamb. Must have steaks rare. Ham and eggs.

Vegetables. White potatoes, creamed, hashed, any kind of fried potatoes, sweet potatoes fried, mashed potatoes with butter. Beets are fattening boiled—not pickled. Spaghetti, macaroni, boiled onions, spinach, creamed, creamed carrots, lima beans, peas.

Bread. White bread, fresh bread, hot tea biscuits, plenty of butter.

Pastries. Pies, cakes, puddings, bread puddings, any sort of French pastry, and candy (in moderation).

Beverages. Sweet milk, cocoa, chocolate, malted milk. Perhaps one cup of coffee a day, not too strong, with plenty of cream. Weak tea with cream and sugar.

Keep your system well flushed. Drink plenty of water, about 45 ounces a day, say nine tumblerfuls. A glass of water before and after each meal, one in the middle of the morning, one in the afternoon, and another just before going to bed, are essential. This induces perspiration, which opens the pores and lets out the impurities, the worn out tissues, and keeps the system healthy, incidentally relieving the kidneys. Never take any liquids during a meal. This interferes with the work of the digestive juices and prevents the proper assimilation of the food.

There is no hardship involved in selecting one's meals from this extensive and comprehensive menu, and if proper eating were all that is necessary to perfect your figure the process would be a joy indeed. But we are seeking to make you not only pleasant to look upon, but also physically adapted to a stage career, which means that vigor, strength, endurance, "wind" and flexibility are demanded as well, so, in order to accomplish both, we unite exercise to diet, and the combination of the right food and habits and the Ned Wayburn Foundation Technique brings about the direct result; you become shapely, graceful, strong, and accomplished in a great art, all as the result of the same instruction, and simultaneously.

NED WAYBURN’S DAILY MENUS FOR
THE UNDERWEIGHT

MONDAY

BREAKFAST

Shredded wheat with sliced banana, ½ cup thin cream or top milk and 1 rounding teaspoon sugar; poached egg; 2 slices toast, 2 squares butter; coffee with ½ cup hot milk or cream and sugar as desired.

LUNCHEON

Cream of tomato soup; 3 saltines; Swiss cheese and rye bread sandwich; 1 square butter; prune whip, soft custard sauce; 1 glass milk.

DINNER

Vegetable soup; roast beef with gravy; baked potato; lima beans; French roll; 2 squares butter; hearts of lettuce, French dressing; ice cream, chocolate sauce; coffee if desired.

TUESDAY

BREAKFAST

Baked apple (large) with 1 tablespoon cream; scrambled eggs with 2 slices bacon; 1 cornmeal or graham muffin; 1 square butter; coffee as above.

LUNCHEON

Club sandwich with mayonnaise; lemon meringue pie; coffee with half cup hot milk.

DINNER

Fillet of sole, Tartar sauce; boiled potato; lettuce and tomato salad, French dressing; 2 slices bread; 2 squares butter; ice cream; glass of milk.

WEDNESDAY

BREAKFAST

Grapefruit with sugar; ½ cup oatmeal with ¼ cup cream and 1 rounding teaspoon sugar; 2 boiled eggs; 1 slice toast; 1 square butter; cocoa.

LUNCHEON

Lamb chops (2); creamed asparagus on toast; tomato and lettuce salad, mayonnaise; 2 rolls; 2 squares butter; ½ cantaloupe.

DINNER

Broiled steak with gravy; scalloped or mashed potatoes; buttered beets; 2 slices whole wheat bread; 2 squares butter; ice cream; glass of milk.

THURSDAY

BREAKFAST

1 orange; 3 griddle cakes with 2 squares butter and 3 tablespoons syrup; coffee as in breakfast (1).

LUNCHEON

Fruit salad, mayonnaise; raisin bread and cream cheese sandwich; doughnut; glass of milk.

DINNER

Substantial soup such as minestrone, chowder, petite marmite or pot au feu; roast chicken or duck with stuffing and gravy; candied sweet potatoes; green peas; 2 rolls or bread; 1 square butter; raw fruit, honey-dew melon or ½ cantaloupe; coffee.

FRIDAY

BREAKFAST

6 stewed prunes and juice; cornflakes with ½ cup top milk or cream and 1 teaspoon sugar; 2 slices hot buttered toast and marmalade or jam; 1 glass milk.

LUNCHEON

Cream of pea soup; ham omelette; French fried potatoes; 2 slices buttered toast or bread; strawberry ice cream; tea as desired.

DINNER

Breaded veal cutlet or roast leg of veal; spaghetti with tomato sauce; string beans; celery; French roll; 1 square butter; apple brown Betty, hard sauce; glass milk or coffee with hot milk.

SATURDAY

BREAKFAST

1 serving strawberries, raspberries or sliced peaches with 2 tablespoons cream and 1 teaspoon sugar; ½ cup wheatena with 4 tablespoons cream and 1 teaspoon sugar; 3 slices bacon; 1 French roll; 1 square butter; cocoa.

LUNCHEON

Chicken or egg salad with mayonnaise; 2 rolls; 2 squares butter; baked apple with cream; glass of milk.

DINNER

Cream of asparagus soup; baked ham; potato salad; mayonnaise; fresh green or red cabbage, cooked; 2 slices rye bread; 1 square butter; raspberry sherbet or peach ice cream. Coffee.

SUNDAY

BREAKFAST

1 glass orange juice; 3 tablespoons grapenuts with 4 tablespoons cream; cocoa; creamed eggs on toast.

LUNCHEON

Macaroni and cheese; spinach with oil and vinegar; 2 slices whole wheat bread; 2 squares butter; chocolate cornstarch pudding with cream.

DINNER

Beef stew with vegetables; red beet or cabbage salad, French dressing; 2 rolls; 2 squares butter; strawberry short cake; glass of milk or coffee with hot milk.

Note: If underweight is marked, it may be advantageous to take additional nourishment at 10 A.M. and 4 P.M., such as a glass of milk or cocoa with 2 graham crackers and a glass of hot milk and crackers at bedtime. This will add 750 to 1000 calories to the day's total.

Any one of the above breakfasts contains 800 calories. Any one of the above luncheons contains 1000 calories. Any one of the above dinners contains 1200 calories. This gives a day's total of approximately 3000 calories of heat or energy.