As most of you know by now, I was originally brought in to work the Skeleton Crew by, Choreographer, HERMES PAN.
A small group of us learned the number so that PAN could work out all the diagrams and intricate patterns. We would then teach them to the rest of the dancers that would be hired later.
As far as I knew, that's all HERMES had in mind for me. However, he did try to play a little trick on GEORGE CUKOR one day, and he introduced me to MR. CUKOR, telling me to speak to him in the Cockney accent that I had done for him many times. CUKOR loved it, and he believed I was actually from England. (He had a rule that no one, NOT from England (or there about) would be hired for any speaking parts. No matter how small.) HERMES got a 'huge' kick out of this; for I, 'his' discovery, was made an exception by The Director.
As it turned out, I was hired me to play the part of the Cockney boy, partner of MARJORIE BENNETT, in the opening scenes in front of the Opera House.
When they realized what they had done, CUKOR came up with the idea of the mustache, in order to hide my face so that I wouldn't be recognized.
Oddly enough, the film was shot in sequence; and by this time, I had impressed all parties concerned, and they began thinking of how they would use me at The Ball.
Shortly before finishing up on The Ascot Number, MR. CUKOR came up to me and asked 'where I was going from here.' I didn't quite know how to answer; and in his usual quick manner he said to me, "Stick around, I have a nice little cameo in mind for you with AUDREY, at The Ball."
Thus, I literally ended up playing three parts in the film.