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.

Drinks at the Midnight Frolic

In 1915, patrons of the Ziegfeld Follies at the New Amsterdam Theatre were invited to stick around and attend a new after show, Ziegfeld Midnight Frolic, held upstairs at the new rooftop theatre. Originally designed and christened the Danse de Follies in 1914, this more intimate space had a stage and dance floor along with tables, box seats, and a balcony. There patrons could dance, have some dinner and drinks, and be entertained by a floor show that included some of the stars of the Follies: Fanny Brice, Eddie Cantor, Will Rogers, W.C. Fields, Bert Williams, and most importantly Follies girls including the beautiful Olive Thomas.

Margaret Morris, Kay Laurell, and Florence Cripps on the infamous glass walkway in the Ziegfeld Midnight Frolic of 1916.

The Midnight Frolic was a bit more risqué than the Follies. For starters, the girls would parade across a glass walkway that ran above the first row of tables, allowing those seated below a unique view of the girls (Ziegfeld reportedly made sure they wore undergarments so it wasn't too wild). Small wooden hammers were distributed so that patrons could bang on the table when they liked something they saw. And then there were the costumes: one of the most notorious involved the girls being covered with balloons and the male patrons encouraged to use their cigars to pop them. 

The show was highly successful and ran every year until 1921 by which time Prohibition had started to take its toll on attendance. Ziegfeld would make one more go at it in 1928 but the show bombed and that was the end of the Midnight Frolic.

Recently I stumbled upon a menu from the show on eBay. The seller only posted two pages (seen here) but look at the choices: Rickeys, fizzes, punches, and lemonades, quarts of Champblanc and Champrouge, not to mention various mineral waters and even Coco Cola. The items listed tell me this menu is most likely from a one of the later shows after Prohibition had taken effect; most of the choices are non-alcoholic or could be made without alcohol (the Highballs, for example). And yes, Budweiser is on the list but Anheuser-Busch de-alcoholized their beer until Prohibition was repealed in 1933. I think I would have chosen one of the punches and slipped some gin in via my flask (oh course I would have carried a flask if I lived in the 1920s) or I may have splurged on a pint of Champblanc. Regardless, it's nice to imagine having drinks at the Midnight Frolic.