1.12 - From Austerlitz to Astaire

Claude Alviene Guided Stars to Change Their Names

Within a few months, most likely at Claude Alviene’s suggestion, the young Austerlitz children would take on new names—the Astaires. Alviene’s students and proteges frequently changed their names for the stage. While for Neva C. Irwin, Alviene had simply added the “La” (before changing her last name when he married her), more complete name changes were part of the management package with other dancers he handled. Agnes Mahr had become Mlle. Senga (“Matters of Fact” 1899). Helen B.J. Dunwoodie became La Noveta (“Vaudeville: La Noveta”). He was not always consistent with her new name, as it was spelled La Novelta in an advertisement in Theatre Magazine ('Three Celebrated Stars'). This same advertisement pictured La Neva (who is also listed as the school’s secretary under the name N.C. Irwin) and Mlle. Dazie, who was also often billed as La Belle Dazie. She had been born Daisy Peterkin and appeared in 1907’s original Ziegfeld Follies (Cohen-Stratyner 237). According to an article in the New York Dramatic Mirror (“Matters of Fact” 1897), Alviene had prepared a spectacular dance for Mlle. Rialta, who was born Anna Murtha and gained fame for her fire dance (Mme. Rialta Obituary). The Dolly Sisters, however, did not receive their stage name from Alviene but rather from Gertrude Hoffman, another former Alviene student who had become a successful dancer and choreographer in her own right (Chapman 14).

The change from Austerlitz to Astaire came by the summer when Fred and Adele began appearing in some of Alviene’s private recitals, with “Astaire” (or some variant spelling) appearing for the first time in the recital programs. Fred recalled that “Austerlitz sounded too much like a battle” (Satchell 20). Fritz approved of the change. “Astaire” would fit better on theatre bills and carried with it echoes of wealth and sophistication (the John Jacob Astors) or for Alviene the goddess of productive energy, Astarte (Satchell 19).  Nor was it just to be a stage name for the children. Eventually their mother took on the name as well, while shortening her first name to Ann (Riley 25).

La Neva was one of many artists trained by Claude Alviene who adopted a stage name at his suggestion. Her original name was Neva Irwin. Photograph: The Alviene 1910 catalog, page 83.

Alviene appears to have had a special focus on instruction for children, which may be why the school was selected by Fritz.  As early as 1897, children’s day and evening classes were advertised ('Lenox' advertisement). He would also schedule an annual children’s carnival at the Central Opera House on 67^th Street with classes made up of children of professional performers (“Gossip: Claude M. Alviene”). In the 1910 catalog, a full page is devoted to “Children’s Classes” emphasizing the broad range of topics: stage and ballet dancing, grace and carriage, artistic pantomime, Spanish, French, Russian and Hungarian dance, and an astonishing list of varied styles, including serpentine, toe, step, buck, wing, waltz, clog, soft-shoe, jigs, and reels.  The curriculum also included physical exercises designed to build muscle, lung capacity and general health. “The children are taught to breathe properly, to use their voices correctly, to read and recite with vocal and physical expression. Careful attention is given to the cultivation of refined manners and correct deportment” (The Alviene 73). Tuition ranged from 20 lessons for $20 in an open class to $60 for a private quarterly course to $100 for a full course including dancing and dramatic art.  This last is what the Astaires likely took. In his autobiography Fred recalled that “dramatic work was stressed just as much as the dance” (Astaire 18). According to Kathleen Riley, the Astaires’ classes were scheduled at 2 p.m., after a morning of private tutoring by Anna (Riley 45).

This Alviene advertisement from 1909 featured three dancers for whom he suggested stage names. Source: Theatre Magazine January 1909:iv.

Beyond the broad range of instruction, Alviene would also develop routines and assist with bookings.  He advertised “complete dancing specialties with or without original lines business and songs $30 upward” ('Arrived! Dances!' advertisement). Later he promoted “three spectacular novelties with scenery and dates” ('Alviene--Dancing' advertisement).  At the time that the Astaires had started with Alviene, he was credited with staging a musical sketch for baritone Griffith Hughes at Keith’s (“Interesting News Items”).  Alviene also advertised “electric transformation effects for clubs &c., at short notice” ('Vaudeville Talent' advertisement).  He had done similar electrical effects for La Neva.  Alviene set up a booking department in his school and in 1912 expanded it with two bookers (Roland Wallace and Charlie Bailey) promising no commission for current or former students.  Agents could contact the Alviene booking department for lists of performers and then charge their own commissions (“Schools and Booking Office Combined”); (“Wallace and Bailey with Alviene”).

In his 1910 catalog, Alviene published a lengthy article describing the history and theory of dance: “In classic Greece, dancing was deified in art and religion. Terpsichore led the Muses. Nymphs and Bacchantes, wearing the crown of oak leaves and garlands, danced in the poetic festivals to propitiate Pan, Apollo, Diana and kindred deities” (The Alviene 76).  In contrast, Astaire concludes his autobiography nearly 50 years later saying “When you come to the evolution of the dance, its history and philosophy, I know as much about that as I do about how a television tube produces a picture – which is absolutely nothing…. I have never used it as an outlet or as a means of expressing myself.  I just dance” (Astaire 325).

SOURCES

Alviene, The. New York: The Alviene United Stage Training Schools, 1910.

"'Alviene--Dancing' Alviene advertisement." New York Clipper 6 June 1903: 16.

"'Arrived! Dances!' Alviene advertisement." New York Dramatic Mirror 19 October 1895: 17.

Astaire, Fred. Steps in Time. New York: Harper & Brothers, 1959.

Chapman, Gary. The Delectable Dollies: The Dolly Sisters, Icons of the Jazz Age. Phoenix Mill: Sutton Publishing, 2006.

Cohen-Stratyner, Barbara Naomi. Biographical Dictionary of Dance. New York: Schrimer Books, 1982.

"Gossip: Claude M. Alviene." New York Dramatic Mirror 23 April 1898: 2.

"Interesting News Items: Arthur Griffith Hughes." The National Police Gazette 25 February 1905: 2.

"'Lenox' Lenox Conservatory advertisement." New York World 24 October 1897: 46.

"Matters of Fact." New York Dramatic Mirror 24 April 1897: 15.

"Matters of Fact." New York Dramatic Mirror 14 October 1899: 9.

"Mme. Rialta Obituary." Variety 16 June 1948.

Riley, Kathleen. "The Astaires: Fred & Adele." New York: Oxford University Press, 2012.

Satchell, Tim. Astaire: The Biography. London: Hutchinson, 1987.

"Schools and Booking Office Combined." New York Dramatic Mirror 26 June 1912: 11.

"'Three Celebrated Stars' Alviene advertisement." Theatre Magazine January 1909: iv

"Vaudeville: La Noveta." Billboard 2 February 1905: 5.

"'Vaudeville Talent' Alviene advertisement." New York Evening Telegram 11 September 1902: 12.

"Wallace and Bailey with Alviene." New York Clipper 29 June 1912: 21.

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