The Waterbury Democrat., 1931-05-12
IN NE w
 WORK
!!'!!' Gilbert

New York.-Can you dance the '.Maxey Ford" the ginger" troll over," or "crackerjack"?
 No! Then you're not a hoofer and you are not likely to be until you can dance the entire routine, "beans," the "catsup'' and the 'Ioop." There are at least dozen others.
 And if you think they are unim- portant, let me advise you that 10.- 900 young women of America who dance for a living-or seek to-are being told that there is little use trying to crash the Broadway gates unless they are prepared to put on something like 20 intricate and dif- ficult steps that bear names such as those mentioned above.
 It's the Chorus Equity associa- tion, a branch of the Actors Equity, that is breaking the news to cho- rines across the land.
 Some 10000 letters have issued from this office in the course of the Broadway wants "hoofers'' rather than ladies of the ensemble. The chlorine situation in New York is not a simple one; there are thou sands out of work, few music shows running and fewer summer shows than usual likely to open.
 The producer wants something more than just beauty this time. He wants something more than straight heel-and-toe work; something more than fha n1d dance rnllfine.
 Chorus Equity finds that he wants dyed-in-the-wool "hoofers."
 Now even in Broadway, there are not so many professional chorines who can qualify. And taking danc- ing lessons runs into money.
 So Chorus Equity runs a dancing school on the side. As an aid to the girlies who get but a nominal salary even when they get work, the charge is 50 cents. Professor William McPherson is the trainer, and he tutors as many as $50 at time.
 A glimpse at one of these classes in action is an amazing sidelight on what goes on behind the scenes of the main stem.
 Most routines begin with what is known as the Primrose take-off," named after the famous minstrel man who invented the step. It's sort of back and forth shuttle that works into a soft-shoe routine. The straight clog and buck-and-wing are still part of beginners train ing, but the clog now develops into waltz rhythm.
 It's the ''time-step," however, that makes the big difference. Un- less than can be mastered there is little chance of a dancer graduat- ing, for dozens of other steps de- pend completely on a thorough
 Listening in on one of Professor knowledge of "time tapping" McPherson's lessons presents an entirely new lingo to the average
 "All right, snap into the banty twist hey, there, fall off the log, now over the top and pivot little catsup and beans and now fcS a cracker-jack."
 What all this means, only the professionals know.
 And after all this has been mas tered, the girl still must be able to pick up the intricate new steps and routines invented by chorus direc- tors. This, of course, if she is lucky enough to get chance with a show.
 And if you don't think a chlorine earns her money-let it be known that when rehearsals begin she works from ten in the morning un- til early in the evening; that once the show. gets warmed up" and the director knows what is going to happen, they work 12 hours at practice, which is from ten in the morning until ten at night And just before opening, it's midnight when they get through.
 GILBERT SWAN. Copyright, 1881. NEA Service, Incl