The evening world. Newspaper, June 22, 1921, Page 21

ys omething New at Last! A Woman-Picked Chorus For New York’s T.B.M.! And Edna Fanchon, the Picker, Has Even Tabooed Blondes and New York Girls! Explains Her Unique Methods By Marguerite Mooers Marshall Copyright, 1921, by the Press Publishing Oo, (The New York Evening World). W HY pick a chorus on a basis of legs, now that every girl wears them and every man is too blase to look at them? That's what Miss Edna Fanchon would like to know. Miss Fan- chon, so far as t am aware, ie the first and only woman to invade the Strictly masculine profession—or is it an art?—of selecting chorus girls for musical comedy work. She personally chose the chorus of charming lifornians in “Sun-Kist,” which she and her brother Marko have brought to New York. Producing it and picking the chorus, She really is the Pooh-Bah of the performance, for besides she wrote the music, collaborated on the book, designed the costumes and is both star and etage manager. these other chores seemed to me comparatively simple > the task of choosing a rus, ch a super-aesthetic, hyrer-dis- erim ting--in a word, omniscient Masculine eye always been held iadispensable. “How do you do it?” I asked lithe, @ark-eyed, soft-voiced Miss Fanchon, when | saw her in her dressing-room Just before rehearsal. “How can you tell who's going to make a hit in the wand w > isn't you think a woman is al- A better judge than a man of voman’s charm, beaucy and gently questioned that unpopular belief TYPES OF GIRLS IN THE asa matter of fact. the illustrat for my Neysa McMein, one of the reasons conviction; the magazine cover gi draws are infinitely more charming than those depicted by her masculine confreres. “A man,” Miss Fanchon was going on, “makes a point of choosing for his chorus the stupidest girl with the best figure. Even my brother, who is associated with me, when he drops in to look over my girls after they have rehearsed two or three weeks— even he always points to the one with the least brains and says, ‘She's all right, that one!’ Invariably, too, Ye picks out the cleverest one and whispers to me: ‘Do you think her figure {s good enough? In the end, of course, he smiles and says: ‘Oh, if you consider they’re all right, they'll éa!’” “But, frankly, I always thought the perfection of a chorus was based on jts understandings—two to a girl— rather than on its understanding,” I served. “A good chorus has both kinds of understanding: Miss Fanchon in- sisted. “I consider that intelligence 4s exactly as tmportani figure in a chorus girl. It may that men once went to the theatr@pust to see a leg show. But that was before Pro- hibition, and before women began wearing on the street costumes too {mmodest to wear on the stage. The chorus girl who has legs and nothing else is up against too much compe- tition from amateurs, and men now days are too bluse to get excited about her.” “What are the qualities, in the order of their importance, which you ing a chorus?” I consider in P asked The most important qualities are youth and the perfect naturalness that goes with it, she began, “I ghould rate these two at fifty per cent. of any total, Most of my girls are only fifteen or sixteen years old. Therefore, they are full of sparkle, vw acity, enthusiasm, They don’t come on the stage like this"— Miss Fandhon gave a most laughable imi- tation of the professional Broadway ghow-girl’s supercilious slouch, eye- gms and one shoulder lifted, hand yesting on hip. . ‘ Jne or two of my girls have tried to imitate that sort of thing, since they have seen women getting away with it in w York,” she add but it doesn’t go in my show Next come intelligence and figure, of equal importance, Fifteen per may be allowed for cach in any cent table Intelligence knowing how rning new peree » many t nean aps aul thout hav f one syllable 6 yints in the figure are of equal importance—legs, “arms and throat, back. T consider the ensemble Kia gitl has ugly legs and nice arms, and throat, or vice versa, she is dis- quia ‘Regular tres are the next thing fo call them 10 do won und lips, rus girl's nose, mouth and shape of her face must team work, “Tast. and also counting 10 per cent., are the teeth and «mile. Good deeth are the most important single facial pay and any WOMAN-PICKED CHORUS. @ Youth and naturalness... Intelligence ....... Figure Regular features Teeth and smile... The 100% Chorus Girl. chorus nrust have a sweet, natural, girlish emile.” ‘How about coloring?” I questioned “Do you prefer blondes or brunettes?” ‘Then—shades of Flo Ziegfeld and Charles Dillingham — this woman picker of choruses confessed that she doesn’t care much for blondes—espe- cially the peroxide ones! “They are 80 coloriess,” she objected; “so mo- notonous, so lacking in natural charm. ‘After seeing many of them, here in New York, some of my little girls have asked me if they couldn't Dieach their hair, or touch it up a Dit. I told them they would lose thelr nat- ural loveliness overnight if they tried it ‘Most of my girls are the typical American beauty—light brown hair, with gray-blue eyes. Several of them have married since we left California, and they haven't chosen millionaires, I'm glad to say, but nice, healthy young fellows who have their own way to make. When I tried to replace them I found the New York chorus girls who applied wouldn't do at all. ‘They were too fully developed”—hor- rors, does this California critic mean too FAT!—"“too languorous and perior, and they had been in too many shows. Thad to fill in with California girls whom I managed to find through the agencies.” “But, from a strictly business view- point, isn't it necessary for you to consider sex appeal in choosing your chorus?” I asked. “Youth, naturalness, girlish charm make the finest sort of sex appeal,” in- sisted Miss Fanchon. ‘I want the sort of girls in my chorus whom a man will bring his wife and daughter to see, and whom he wouldn't mind having his son marry. And that’s the kind I have.” ‘Yet they're delightfully pretty girls I know, for I saw them, and I give you my word that Miss Fanchon is a perfectly good picker! THE EVENING WORLD, WEDNESDAY, JUNE Ta ao railtith DN ih van si as he 22, 1921, a Wid COME ON SEE THE IH REST oF THE LIVE INA CELLAR WHAT A BEAUTIFUL \WHAT ABOUT THIS > One Steady Man By Sophie Irene Loeb q ¢ Copyright, 1921, by the Press Publishing Co, (Tae New York Brening World). ‘66 HAT is a steady man?" You can give John any task to do, ‘asked some one of me the for he can do most anything besides Ree aae, being a carpenter, and you will come oth back and find it done. He never “I know of one," I replied, “H's makes excuses—he makes good name is John, and he lives in a little village up the State.” John is different from other men. His being steady is part of himself. He could no more stop being steady than he could stop breathing. If some one told him that he had suddenly become a rich man he wouid still continue to be steady. And what does he do? He is always doing. He is a carpenter on the ratl- road, He begins very early in the morning and is through early in the evening, after which time he has odd jobs which he takes pleasure in doing —yes, pleasure, He has done many odd jobs for me, and I marvel at him There isn't anything you ask him to do that he doesn't do, and he does it with a smite. He never misses half an hour if he can work that half hour. Glimpses Into New York Shops Copyright, 1931, by the Pres Publishing Oo, (The New York Byening World) | HIE white collar, which fashion has for some time tabooed from the suit coal, has again been reinstated, but the new collar ts of soft fabric and is unobtrusive, being quite narrow, The modish collar is of organdy or muslin and the English eyelet embroidery is especial in de mand. The creamy shades are pre ferred to white by good dressers and the tea tints are favored a favorite fabric for the ummer dresses, There are attractive silks for dress-up occa sions, and crepe de chines are just as popular for the little miss as they are Linen is little girl's for mother, Dresses in natural colored pongee are being shown, and these are embellished with worsted em roidery in ‘contrasting shades Women who are furnishing a sum mer bungalow will be interested the Tuscan net that makes euch ide: gummer curtains. One shop is show- ing one of these net curtains em- etrl in my broidered tne bold wertical, design of hollyhocks done in wool embroidery Any woman who can embroider will have no difficulty in duplicating this charming curtain, and, as floral design affords sufficient no overdraperies will be requ How often we have purchased so- called unbreakable thread for strin ing our b ces oniy to meet with an ac the annoya or pretty bi tually a thr several pounds we be no more break new thread comes jay a ng a few but now there d for sale that w nt g thr n seve so the colora The favorite mer frocks are 8 and gingham, a seems to be the proper waist f no matter which fabric used the dress One shop ts showing attractive dresses of onrgandy in the paste! hades. A novel feature in the belt ecoration, which is a simple row of oy vad to match the tracks If he has no materia! on hand, he goes and gets it. If you have forgot- ten to tell him something in connec- tion with the matter, he is sure to re- member it He is resourceful. If one thing doesn't do, he makes another take its place. Why? Not only because he is being paid for doing the thing, but because he likes to see it done. I honestly believe that it is in the very weave of him to want to see a thing finished. He feels a certain pride that he has done it and there itis. It is refreshing to say the least I venture to say that the hours of overtime John put in more than double his regular employment, And why? ‘There are five little ones and when he is with them you realize the rea son, All the extra money he makes is being put away for them And when I look at the beautiful little girl with the big bright eves, [ want to congratulate her that John is her father, He will never fail her, or any of the others One day I said to John, ‘When do you get any fun, if you work all day on the railroad, and then after hours for others?” “I get lots of fun from my work,” sald John. ‘Don't you think it's fun to make a rustic summer house for you, and don't I like to hear you “How pretty it looks’? Isn't that fun? “Of course there is other work tha sn't so pleasant, but most of it can be real p sure. I like to fi 1 the end of a day that so much has been accomplished ome people look forward to long vacations, or they look for the day they will quit work and have od time I don't th such have as good a time as I p,"" said John meaningly becaus I get some fun every single da and I love to laugh with t ehnildren when T get home at nigi "Yes, I have m fraternity lodge onee in a while, and | hava my mi friends, but after all, T find that t t time T have is when f ig a And T know this is true John is ance to make g: ng it He will trey to rear ahildren to be as He wil! never let the comr care of him, but he will help take care ef the community ot fork BY 1021, jorid), LOOKS LIKE A WET CELLAR -The Jarr Family By Roy L. McCardell Copyright, 1921, by the Preas Publishing Co, (Tae New York Breuning World) R. JARR, coming home at « late hour without an excuse, almost stumbled over a total stranger sitting on the bottom step. m read papers she of such things in the news “She never neglected her home never oaned the oted nger. negle sad str ything,” ne was “Here, look out there!" cried Mr. too good for muh, and now we're Jarr sharply. “What do you mean Patted forever!" Here he commenced y to sob. “All's over between us; all's sitting there for people to fall over over!" he repeated you?” “Can't it be adjusted some way?” ‘The stranger looked up blankly at asked Mr, Jarr, deeply moved by the Mr, Jarr, the light from the street Strangers grief Netle ditter lamp on the curb falling on a sad, ‘no use, we differ on the Hinstcin ead face. theory of relativity” re But Mr, Jarr arose in his ‘Escuse muh,” said the stranger, Kicked hing off the steps. “but I live here!" "Get ou” he cried “No, you don't.” replied Mr. Jarr, to flgure that out as an ¢ a 3 ri myself.” but L live here any. Dhen he marched upst “S'all right,” said the stranger, “an’ Mrs Jarr he had been held it don't make no difrunce. Um a lost hall below for two hours man.” driven inaane over the ory Mr. Jarr was touched, “I didn't jut when Mra mean to be rude, But evidently, in your case, there's been many a slip between the hip and the lip. Go home!" he said “But I ain't got no home,” replied the stranger. ‘Muh wife's"—— “Don't tell me she's gone to the country—that's old staff!" said Mr Jarr, ‘Ain't got no home,” repeated the stranger. “Lost muh home; muh wife's gone an’ threw muh out!” Mr. Jarr paused at this. Suppose his wife threw him out! “What was the matter?" asked Mr State of the United Stat juldn't tell nobody ¢ Coprrigh'. 1971. by the Pres QUESTIONS. 1, What is the chief fla 7 “I was t tthe ‘New York Prening World | wrath and excuse irs and told up in the by a man Finstein the Jarr wanted him to explain what was the Kinsiein theory, 0, x-growing 2. How many legs has a flea? 3. How many wings has a fly? Jarr solicitously. iaiere in , 4. What English King, whose arm Ditrunce of opinion,” said thirty-six inches long, estab- stranger, “irrevocabubbul difrunce of lished the yard measure of that opinion, We must meet as stran- length? gers!” 5. What number does the Roman “That's too bad," wala Mr. Jarr, Numeral L designate? sitting down beside the melancholy 6. What is that force called which man, “Been patronising bootieg- draws toward a centre, as in a whirl paren 2 ae irec tants etme ees Li 7. What is that force called which Bure)! sald the stranger. @* throws mud and water from the tire else is there to do of a revolving automobile wheel? “Your wife objected to your drink- 8, What State is popularly called Ing and staying out late?” suggested the Empire State? Mr Jarre, He had, heard of wives 9, What State is called the Empire with those objections State of the South? ha was st Prohibition an- 10, What proportion of the entire forced,” said the stranger, “But ahe area of the United States, exclusive SEGA Ba 108 PNT AD ES aa ae of Alaska, is forest land? AD Ee riten levitra tiniey cit ANSWERS OE REAR, Aiey 1 North Dakota, 2 sia, %. two; ‘Waa someon ¢4s eal Henry L; 5. 50; 6, centripetal; 7 “Was she 4 woman who neglec her home?’ aeked Mr.Jarr, Heb ~tritugal; & New York; 9 Georgia; ne-tourth, > Correct Carriage and Poise Two Benefits Derived From “Floating” Also Relieves Fatigue and Helps Overcome Nervous Disorders é By Doris Doscher. Copyright, 1921, by the Press Publishing Oo, (The New York Bening World). metry; develops your muscles, benefits your health, but that is not all ] HAVE shown you how swimming improves your figure, giving it eym- the water will do for you. sense of fatigue. come any In these strenuous times, when we are in the midst of the hustle and streas of everyday Bife, we long for an exercise to relieve our taut muscles, one that can be enjoyed outdoors. For this J can assure you there is nothing that meets this need like floating. Few of us stop to realize how vitally important ie the spinal column. splendid opportunity to stretch in the water, thus re- lieving the taut nerves and muscle strain of the epina The fact that the water is buoyant takes away our In learning to float we have a Floating, more than any other position in ewim- ming, is primarily a mental contro! of the position of the body in the water and the first essential is to over- sense of fear. So many conditions of nerve disorder are due to improper posture (eee Nlustration No.*1), and restful floating is particularly beneficial to those who have nerve disorder. To be able to float you must main- tain correct body balfnce in the water, which is just the same as standing in correct ppsition on the land (see Illustration No. 2) When the is correctly bal- anced, a spear passing up through it from the ankle bone would come ou: body at the collar bone, just above the chest. ‘To take this position, stand with the weight resting on the balls of the feet, the head up, shoulders hack, abdomen in In balancing your body in the water or floating—inhale and slowly in- cline the body backward, placing the head in the water until the ears are submerged. The legs are extended and held together. At the same time, the body assumes a horizontal posi- tion, chest and hips raised. Breathe naturally, because deep inhalations give added buoyancy to the body and eliminate fear. Be sure not to raise the arma too high out of the water. ‘To make true floating possible, the back must positively not be relaxed, but at the same time do not hold the body rigid, a® this is very fatiguing and floating 1s relaxed Incorrect balance is shown in Ii- lustration No. 1; correct position of floating in Mlustration No. 3 Body balance, in standing on the land or in floating on the water, will cure nerve disorders, Correct car- riage of the body when or standing is the foundation of health and beauty. If you persevere you will soon gain that grace and poise which is the chief charm of @ beauti- ful woman. When floating you are leas active than when swimming; therefore, more likely to sustain a cht] when you come out of the water. As quickly as you leave the water take a warm- ing up exercise as follows Stand with the weight on the balls of the feet and the hands on the hips. Bend the body as far backward as possible, then as far forward as pos- sible, being careful not to crook the knees. This exercise is called trunk bending, and should not be repeated more than ten times, as it is fatig- ulng when muscles are unaccustomed to it. With this exercise, rub the body vigorously all over, first with one hand, then with the other, al- ways working from the extremities to the heart. I shall tell you later, in more detail, of a new system of rubbing and its benefits. Instead of the trunk bending, you may warm up by @ Vigorous game of hand ball—which is good tun as well as good exerclee. Answers to Emma L. Trapper’s 60 Questions About Women SRE are the answers to the sixty questions submitted by Miss Emma I. Trapper, associate editor of the Jersey Review. Miss Trapper, un- like Thomas Edison, answers her own question: Compare these an- swers with the questions printed in The Evening World yesterday and see how many you know Answers to yesterday's according to numbers given: Mary Ball Marie Louse Four Juha Ward Howe, 5. Amusing character in Sheridan's comedy “The Rivals.” 6. A Philadelpbian reputed to have made the first hand sewed American flag. 7 A celebrated actress of the sev- enteenth century, mistress of Charles TI. of Bngland 3. Ono of the heroines of French Revolution; stabbed blood-thirsty Marat to death. 9. Greatest tragedienne of the Eng- lish speaking stage in the middie of the nineteenth century quest’ons, (of Austria) the the 10. Heroine of Charles Kingwley‘s novel in the early days of Christian era, 1 Eve, Lot's wife, Potiphar's wife, Pharaoh's daughter, Queen of Sheba, Sarah, Rebeka Leah, Ruth, Naom Rache nd Ty an 12, Mary, the mother of Jesus Mary Magdalene, Mary, the mother of Zebedee's children; wife Pon thus Pilate Martha, zabeth, He- mdias and Eunice A Capulet ‘Out, damned spot, our, T say!" 16. And will he not me again & Agnes Wickfleld 1 Esther Summe a Manette 19 Rachel Fawcett 20. Mra Harding (Florence Kling) first, Mra Wilson (Ellen Axsen second Mra. Wilson (Edith Bolling), Mre. Tat (Helen Herron); frat dis. Roosevelt (Alice Lee); second Mrs. Roosevelt (Edith Kermit Carow); ‘Mre. MoKin'sy (Ide Saxton); Mrs. £ Cleveland (Frances Folsom). Becky Sharp. 2. Gilda 23, Heroine of Dickens's “Old Curt- osity Shop.” 4, Liza Lehmann of London. Yum-Yum, Pitti-Sing and Peep- Bo (not Bo-Peep) 26. “Bloody” Queen Queen Elizabeth. 7. Queen Victoria. Queen Anne (1707) Viola. Cecile Chaminade of Paris 1 Mme. de Stael (Annie Louise r) acques Necker. 8. Jane Austen, Mary and 34. wife, 45, Cordelia George Eliot (Mary Ann Evans). 87. Helen Hunt Jackson 88. Brunnhilde, Sieglinde, Prioka. #9. Ouida (Louise de la Ramee) 40. Heroine Walter Scott's rv: mance a zetti's opera “Lucia” 41. Fo ¥ 42. Edith Wharte (3. F 1 Hemans 44. Phoebe Cary 45. Salome 45. Frela, Goddess of Youtn 47 Calliope (epic poetry); Clo (his- tory); Bute (yric poetry); Thalia comedy); Melpomene (tragedy): psichore (dancing); Erato (erotic try); Urania (astronomy) 48, Emma Willard 49. Maria Mitchell 50. Mrs. O'Leary (Mary Ann) 51, Beatrice 2 Poetess of ancient Greece Nineteen women Margaret Fuller cient Greectan §§. Heroine let Vetter.” 59. Mme. Recamier. 60, Clare Barten. Hawthorne's "Scare salt ae eee) ne le eee i } A a OE eo NN NR 0 ce Oe er eee eS ~~