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BOSTON SUNDAY POST,NUARY 11, 191433DONALDLNDANCESOWN MUSICMusical Comedy Star of “The Marriage Market” Writes Tuneful “Hesitation Waltz” for Sunday Post and Demonstrates itDonald Brian and partner, Miss Cissie Sewell, in some charming; Hesitation waltz poses. (Posed especially for the Boston Sunday Post.).. ■«.ThecharmingIWaltzexpresslyFor the Post by Donald Brian,musical:he clever young :omedy star of the “MarriageMarket.”Mr. Brian and Miss CissieSewell have also, at the suggestion of the Sunday Post,osed in the various positionsThe hesitation waltz owes the favor it enjoys largely to the circumstance that, at bottom, it is a simple waltz, yet it lends itself to an infinite number of charming variations which need only occupy a pause to be eligible.Following is a description of how to dance the waltz.Mhto *!JtefiCu?PMo **Jtfl? feMr? Ate £,'» r*' \)'Prate *3• £:pf this popular new dance sohat they form a«lt;ure instructionmoving pic-plate” tolancers not familiar with thenovements.The regular dance position is assumed by the couple preliminary to the hesitation. The gentleman’s leftfoot is at right angles with his right, while the lady’s left opposes his right directly and her right is pointed outward to bring the toe pointing toward the toe of his left.The couple proceed in the direction of (the line, of progress around room orr / r J rnficrr:jzn s PAcPO sqoPCroy*teSc■er J d. r, lt;c j a •*lt;*.’lt; /a *Ycs/AifwFAotO *?r+rrCL .MWers forward any appreciable' distance, no fewer than three picturesque Hesitation figures-'dip, bend and reverse, of bend—can bo Introduced, afl of themgraceful and all of the feet by movements ofrelieving thesubstituting the wholef*Diagram showing positions and steps of partners in Hesitation waltz.*hall, and for some little distance do( the gentleman’s left—In order to let not deviate from that line, which is them circle the dancing floor as they curved slightly inward—that is. toward 1 advance.Detroit Team of ’87 Could Beat Mackmenof 1913, Says Veteran Charley GanzelThe gentleman steps out with his ; lady’s left, seen extended together In left, the ladv with her right, their feet ! the second photograph, are set on tne naturallv taking an Incline toward floor and the couple In unison bend the each other like that assumed In the other knees-gentleman’s left, lady’sfirst position.»right—in a genuflection which almost,But. as they bring forward the feet but not quite, tp.tches the floor.u J .... .. . .. Tlin nnriitinn u m 11itrpn f»m«rpresent-dayprofessional discovered it. lie was almost a perfectF3*tolicr. **anv better than the old- When it comes to pitchers he contends John Clarkson and Charley Rad-Are theiajl-playersime stars of a generation ago?Such stars as Cobb, Johnson, Math-• as high as today, ewson and a dozen other high-priced | “There are more good players todayplayers receive more money for a season’s work than would have been paidthan there ever were before, and the general standard is higher. The aver-for tlie next step, which is the preliminary to the dip, his advancing right and her left are set down almost side by aide, the toes, if they wish, touching. while the gentleman raises the lady’s hand on high, as the couple face forward it) the posture shown inthe second photograph.The dip and the bend, while the exigencies of a diagram make it requisiteThe position, as the gentleman maintains his clasp of the lady’s waist, naturally throws in his right foot* at right angles to the toe of the lady’s left.ftAs they rise, tl#y recover on the feet which extended backward in the kneeling position- gentleman’s left, lady'sright. Facing backward as In t liephotograph, they toe the floor with theextremelyactivities rhythmicbody.The step forward after reversing the bend is taken with (ht febt; which have bee if extended—gentleman’s left, lady's right. The step which follows breaksnow the monotony of the advance andcarries the couple almost at right angles to the original line the gentleman advancing his right, the lad.v her left.With tlie next step, taken by the gentleman with bis right and the lady with her left, they retreat in a long stride even beyond the tlrst line of progress,The (irapevjne EffectThese three steps, as the broken lineof the diagram shows, Have introducedthe grapevine effect into the dance.At this point, another dip can he made, resembling in all respects the first on© employed. Hut instead of recovering to the bend, as before, thecouple advance a step--gentleman’s left, lady’s right -to a repetition of the grapevine variation, ending with another dip.The grapevine is now resumed for one step forward, another at right, angles, and a third forward. But this third step forward is made a distinct hesitation step, the most familiar of the hesitations commonly seen in the Hesita-reaHy fancy hesitation* ii whirl of the lady under the gentleman’s arm to aposition given in ihe last photograph, where he looks Into her face. His left hand upholds her right at her side, while his right clasps her left behind her back.Variations CountlessThe diagram shows how the gentleman, standing immovably, swings her op her left foot as on a phot. Tier right foot, which is drawn in solid outline for its original position, describes the dotted circle as she swings until, facing about at the conclusion of her pivot, it comes to rest on the floor in the position shown for the dotted foot outline at the end of the dotted circle.After thOiJurn. the couple swing into regular d#U‘‘h*£ position and proceed an they did from the beginning.Fcfr 'the Hesitation Waltz* none oftheao figures is essential, except thatmomentary hesitation of the regularstep which has been referred to as the one most familiarly seen.Alone, it can suffice to let a waltz pass muster a» the Hesitation. Even an interruption effected by dragging one foot in the step, now frequently introduced, gives the requisite illusion.But the other, more distinctive figures- all well known in other danc*s~-do serve to enhance the beauty of the performance*,'and they are by no means all that can be Introduced by a couple qualified to do fancy figures gracefully.The Hesitation Waltz, in reality, Is nothing more than a waltz in which oneor a variety of interruptions can he employed; and any interruption whichA «I I1
Newspaper Details
Boston Sunday Post
Boston, Massachusetts, US
Sun, Jan 11, 1914
Page 33
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USA 13 Aug 2022
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