[4] During the American “dance craze” of the 1910s, she left Vienna for the United States, appearing in shows at the New York Hippodrome, also known as “the National Amusement Institution of America”[3] and the Winter Garden.

"[3] Rasch felt that the precision of the dancers would “make ballet dancing acceptable to American tastes.”[4] She and her school would later further focus on dance as a “way to develop grace, charm, slenderness, and attractiveness.”[3] In 1925, the Albertina Rasch Dancers performed her Rhapsody in Blue (1925), one of her “first experiments combining ballet moves with American Jazz dance.”[3] She starred in a number of Ziegfeld productions, appeared at the Moulin Rouge and performed with Josephine Baker before adapting her classical training and techniques for the Broadway theatre and films.

[5] Rasch's early stage work for such projects as George White's Scandals evoked the Black Crook tradition of inserting fantasy dance sequences that had little to do with the plot between book scenes.

Wearing gloves covered with blacklight paint, Losch stood in front of a mirror on a darkened stage and performed a "ballet" in which only her hands could be seen to the Arthur Schwartz and Howard Dietz song "Dancing in the Dark".

Rasch also helped establish Cole Porter's "Begin the Beguine" as a popular standard by choreographing it to an ethnic dance in Jubilee (1935).

"[4] Some of her credits include: Rogue Song (1930), The Merry Widow (1934) with Jeanette MacDonald and Maurice Chevalier, Broadway Melody of 1936 (1936) with Jack Benny and Eleanor Powell, Firefly (1937), Rosalie (1937) with Powell and Nelson Eddy, Sweet-hearts (1938), The Great Waltz (1938), The Girl of the Golden West (1938) with MacDonald and Eddy, Marie Antoinette (1938) with Norma Shearer, and Broadway Melody of 1940 (1940) with Fred Astaire.