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W alt Disney’s musical comedy, “The Happiest Millionaire,” is only the third motion picture to be choreog¬ raphed by the talented husband and wife team of Marc Breaux and Dee Dee Wood, but the first two were blockbusters — “Mary Poppins” and “The Sound of Music.” The combined grosses of these two films have already passed the $100 million mark. Marc and Dee Dee staged all of the memorable dance sequences for both pictures, including the twelve-minute roof top dance of the chimney sweeps in “Mary Poppins” and the delightful dances on the streets of Salzburg, Aus¬ tria, in “The Sound of Music.” Breaux is a former Navy test pilot whose collegiate studies were aimed toward a career in chemistry. In fact, a dance career was the farthest thing from Marc’s mind when he enlisted as an Air Cadet in World War II. Beginning his training while only 18, Breaux was as¬ signed to a base in the Philippines for the remainder of the conflict. Following the war, he spent a year in Johnsville, Pennsylvania, testing some of America’s first jet fighters. Completing his Navy career, Breaux returned to school for additional studies in chemis¬ try, and that’s where fate in the form of a girl changed his life. Marc had a girl friend in his home town of Lafayette, Louisiana, who went to New York every summer for a ten-week dance course. Thus, Breaux accepted a job as a lab as¬ sistant in the Bell Laboratories in New York, and went along. However, before reporting to work, Breaux visited the dance class to watch his girl friend. Having participated in track in high school, Marc decided that dancing must be fairly easy, and gave it a try. The instructor offered him a schol¬ arship on the spot, and Breaux never saw the inside of the Bell Laboratories. Breaux later met his wife while per¬ forming on a Stan Kenton television show, and together, they danced in such Broadway musicals as “Kiss Me Kate,” “Guys and Dolls,” and “Can Can.” They assisted noted dance director Michael Kidd with “Lil Abner” and “Destry,” then were elevated to the position of co-choreographers with Kidd for the musicals “Do-Re-Mi” and “Subways Are For Sleeping.” Striking out on their own, Marc and Dee Dee turned to television and set the Continued on Page 25