Los Angeles herald., 1907-01-27

agile, like the active members of the
pony ballet
But as a rule the American girl so
outShines her sister chorister from the
white shores of Albion that the Ameri-
can manager will not hire an English
girl when he can get an American.
The American girl is said to wear her
stage clothes better and to have an
air and grace that the English girl,
even she who helps make famous those
fine productions made by George Ed
wardes, cannot catch. George Ed
wardes is the London expert on chorus
girls.
In this country the managers that
have used chorus girls most lavishly
in their productions are George w.
Lederer, e. E.. Rice, David Hender-
son, Rudolph Aaronson, Henry w.
Savage and Klaw & Erlanger. Among
the stage managers who know best
the aid of the chorus are Mr.. Lederer,
Julian Mitchell, Ben Teal, George
Marion and William Seymour. Julian
Mitchell, the creator of the chorus
effects in "The Wizard Of o. "It
Happened in Nordland," "The Partisan
Model" Wonderland" and many 9TH
er big musical pieces, is the husband
used to be chorus girl. So did Bon
ME Maginn, who danced with her at
Weber & Fields.
Chorus Trials in Old Days
Julian Mitchell is affected seriously
with deafness, yet he directs chorus
rehearsals with little trouble and gets
better results than some stage man.
ayers that storm at the members of
the chorus. Probably the only chorus
that so behaved itself always that
the nnaOapar could find no fa11lt
that chorus of which Punch Wheeler
is the historian. He says it apper-
tanned to the Alcazar grand opera
company and that it was painted on
the back drop. 1t was that alleged
grand opera organization that Wheeler
says played "Girofie Giroha" and
"Said Pasha" (two old light opera fa-
vorites with every repertory opera COM
pany). and that changed the bill by
the inexpensive device of announcing
that "Girohe" was "Said Pasha," and
vice versa. He said that at the end
of the season not one of three prin-
cipals of the company could have
sworn to the names of the operas they
had played. Choruses used to be en-
ployed in companies as fly by night
as that.
Such companies stranded frequently,
and it was no wonder that young
women did not look with longing upon
places in the chorus of those travelling
uncertainties. But now few musical
companies really strand. Some of
them close before the end of the sea-
son. Such a good one as Mile. Sal
lie,' with Katie Barry and John c.
Slavin as the prinsipals, closed only
the other day. A manager with as
many successes behind him as Melville
b. Raymond saw his Little Jack Hor-
ner" company close this year, THE
Gingerbread Man" met disaster in one
pany giving the piece in another part
failures, of course, but the managers
can't get young women enough for the
successes.
Managers Are Looking for Girls
The Shuberts. who have gone into
the production OF musical pieces quite
heavily, have had difficulty getting the
right sort of chorus girls. They have
notified their managers in every city
where they have theaters to be on the
lookout for young women who seem
as If they would do. The musical
colleges, where Henry w. Savage has
secured so many of his people, have
been secured. Church choirs, out of
which Alice Nielsen, Della Fox, Louise
Cunning and several other prima dom
mas have come, have been looked over.
No young woman who has ambitions
that tend chorusward need stay off the
stage under present conditions.
There is class to the calling, too.
All that is needed is to get with the
right company. Augustin DAILY, who
yielded reluctantly to the craze for