nearer. Prepared with a Volkov repertoire, Ilona decided that the only path with which to launch herself in the foreign realm of professionalism was to emulate her teacher and open a school.
Her school was a success, but it brought her no closer to the role of professional dancer.
When the fabulous Diaghilev dancers touring the United States performed in Denver, leaving in their wake the phrase "art of the dance," Ilona, reinspired, again journeyed to New York, this time to work with the ballet masters who taught professionals. Devoid of a performer's native requisites, her dancing remained that of a conscientious gym student. Toward the end of the term Fokine used her with other students to dance in a Westchester charity pageant. For a few weeks thereafter she remained in a sweltering New York to see whether this was the beginning to a great future. But, at last, she returned to Denver where the words "Formerly with Fokine" transported her to the position she craved. She would instill into a benighted community appreciation for the finer things.
Alas, professional zeal was lacking in girls who thought dancing school fun once a week, or a place to learn a dance to show off at school entertainments.
But here was a girl with a natural rhythm, unlike the giggling awkward pupils who aroused exasperation she had to mask with a patient smile. Here was a young, ready-made performer who could make the name of Ilona Klemper famous.
"Of course," she said, with a foreign shrug acquired in New York, "if you want to be a real dancer you must study ballet."
"But doesn't that mean she has to have her toes broken?" Mae asked anxiously.
"Not at all," Miss Klemper reassured, "that is a mistaken belief."
At the Empire Lucy had seen toe dancers, and though she marveled at their ability, ballet, until this moment, had belonged to the category of acrobatic entertainers. Acrobatics to beautiful music—not nearly as exciting as dance steps to ragtime. Now, however, the prospect of learning to balance on the tips of her toes entranced her as she recalled a photograph in Mode of Marilyn Miller.
Need of a dancing costume and ballet slippers was unexpected expense.
"Stand in your stocking feet on a sheet of paper and draw around them with a pencil," said Miss Klemper. "Bring it to me with $3.50 and I will send to Capczio in New York for your toe slippers."
