Pavlova of America

During the 1920s and 30s ballerina Harriet Hoctor, dubbed the "Pavlova of America” by showman Florenz Ziegfeld, charmed audiences with her graceful and unique dancing. Double-jointed, she was able to bend her body backwards and execute a perfect question mark, as seen in this photo, and incorporated her backbend into many of her dances.

Born on September 25, 1905 in Hoosick Falls, New York, she made her Broadway debut at just 15 in the chorus of the Ziegfeld produced musical Sally (1920) starring Marilyn Miller. After dancing on the vaudeville circuit, she was asked by the Duncan Sisters (huge vaudeville stars at the time) to join the cast of Topsy and Eva, a musical version of Uncle Tom's Cabin, which toured the country before opening on Broadway in 1924. After a 20-week run, Hoctor went on tour again before returning to Broadway for A La Carte (1927). 

Harriet Hoctor in The Three Musketeers (1928), Photo by Maurice Goldberg. While Hoctor was lovely
as a blonde, I like the bob and general flapper attitude in this photo. 

Having made an impression on Ziegfeld, she was cast in three of his productions: The Three Musketeers (1928), Show Girl (1929), and Simple Simon (1930). During this time Hoctor also participated in recitals, showing off her dance skills in various pieces including one based on The Raven by Edgar Allan Poe for which Hoctor tapped out of the sounds of the bird. This was accomplished by toe tapping en pointe, which is exactly what it sounds like— dancing en pointe with taps attached. Although not the only dancer to utilize this style of dance, Hoctor was one of the best.

In 1932, she travelled to London to perform at the Hippodrome in Bow Bells where she received huge ovations from the audience. Returning to New York, she appeared in a series of productions including Earl Carroll’s Vanities (1932) before she turned to film. She played herself in The Great Ziegfeld (1936) and danced with Fred Astaire in Shall We Dance (1937) for which George Gershwin wrote a number specifically for her titled “Hoctor’s Ballet.” Back in New York, she was a member of the Ziegfeld Follies of 1936 along with Josephine Baker and Fannie Brice.

She spent the rest of the decade and the war years dancing on stage, including performing and choreographing dances at Billy Rose's nightclub the Diamond Horseshoe, after which she retired and ran the Harriet Hoctor Dance School in Boston for many years. She passed away on June 9, 1977.

Her appearance in Shall We Dance comes at the end of the film. She's in the first part of this clip (before the dancers with the creepy Ginger Rogers masks appear). Notice her name on the marquee in the opening shot? Look at how beautiful and effortless her movements are and how perfectly paired she is with Astaire. It was rumoured that Ginger Rogers didn’t want to make this film at first and that Hoctor was going to replace her. Rogers decided at the last minute to take the part. At least Hoctor got her own ballet, and we get to see it. Enjoy.

Fred and Ginger

Fred Astaire and Ginger Rogers in their first film 

together Flying Down to Rio (1933).

Katharine Hepburn reportedly once said of Fred Astaire and Ginger Rogers, “He gave her class, she gave him sex.” Theirs was a perfect pairing. And through ten films together, they became the most famous dance team to ever grace the silver screen. In The Fred Astaire and Ginger Rogers Book, Arlene Croce offers a detailed examination of their work that is both informative and entertaining.

After covering Astaire and Rogers’ prehistory, Croce looks at each of the ten films, beginning with full film credits and a story synopsis before going into a detailed analysis from the creation of the dance numbers and use of music by the most popular composers of the day to the production and supporting players who were an integral part of the films (Edward Everett Horton, Eric Blore, Erik Rhodes).

"Pick Yourself Up" from Swing Time (1936)

I have seen and loved all of the Astaire and Rogers films and so was particularly interested to read the behind the scenes moments. During the filming of Swing Time (my favourite of their films) we learn that while repeatedly performing a series of pirouettes for “Never Going to Dance” Roger’s feet began to bleed. Or that the floors on which they danced were overlaid with Bakelite, which scarred easily, requiring that they be covered with cardboard during rehearsals and long breaks had to be called during filming so the floors could be cleaned up. We also learn about Astaire's creative process, including the fact that he rehearsed all of the routines alone save for the company of choreographer Hermes Pan and pianist Hal Borne. Not even Rogers was allowed to join in until Astaire and Pan felt they were ready.

"Cheek to Cheek" from Top Hat (1935) with that dress.

The book is brimming with film and production stills. It even includes a wonderful analysis of Follow the Fleet by director Mark Sandrich that looks like a blueprint of the film.

Perhaps my favourite thing about the book is that it also serves as not one but two flip books (I collect flip books, which may make me a bit biased). Flip the pages one way and you can watch “The Waltz in Swing Time” from Swing Time in the top corner; flip them the other way and you get “Let Yourself Go” from Follow the Fleet. Who could ask for anything more?

"The Yam" from Carefree (1938)

The Fred Astaire and Ginger Rogers Book is available from various sellers here.

Happy Easter

Happy Easter! I'm spending the morning getting ready to go over to Fifth Avenue and take in all the lovely Easter bonnets in the annual Easter Parade and Bonnet Festival. I've also got the classic musical on (TCM shows it faithfully every year). If you've never seen Judy Garland and Fred Astaire in Easter Parade (1948) please do. It will have you singing all day.

Pick Yourself Up

On a lazy Sunday what better to inspire you to get up and move than Fred Astaire and Ginger Rogers dancing to "Pick Yourself Up" from Swing Time (1936)? This is one of my favourite Fred and Ginger routines—no elaborate set, the choreography is concise but brilliant, and I've always coveted Ginger's dress (love Peter Pan collars).

Fred plays a former dancer turned gambler who runs into Ginger and promptly gets her in trouble with a police officer. Following her to her job at a dance studio, he pretends to need lessons. Acting the klutz, Fred literally falls all over Ginger while they sing "Pick Yourself Up." Ginger finally tells him "Listen. No one could teach you to dance in a million years. Take my advice and save your money!"  Her boss, played by the always entertaining Eric Blore, hears this and fires her. Fred grabs Ginger and shows the boss what she has taught him, resulting in the dance above to the same song.

"Pick Yourself Up" by Dorothy Fields and Jerome Kern had a great "can do" message for Americans during the Depression and proved to be a big hit. So go out and conquer those weekend projects, the crowds at the shops, the pile of laundry, whatever you need to do. Just move. And remember to "pick yourself up, dust yourself off, and start all over again."