Daily Kennebec journal. [microfilm reel] (Augusta, Me.) 1870-1975, 1926-03-13
old time Tunes AND DANCE STEPS WILL Be
feature OF novel NUMBER "PASS IN REVUE"
Ball Room Dances of
Quarter Century To Be De-
lineated in "The Evolution
of the Popular Song" One Of
Big Special Acts in Head
quarters Company Show
Next Wednesday Evening

Exactly % musical numbers, con-
shutting what is believed to be a
record for any amateur or profess
sional production ever heard on an
Augusta stage, will be used in Pass
in Revue No. g." the Headquarters
Company annual entertainment.
which will be produced at City hall
next Wednesday evening, March
18th.
Among these tunes are some that
were famous 10 to 20 years ago,
tunes that swept the country and
brought thousands of dollars to their
composers. And in conjunction with
these older melodies will be shown
the dances that everyone did 20
those same songs. 1t is believed that
a great many of the older people
who attend Pass in Revue No. 81
will remember 1.-TWO Little Blue Lit
tie Shoes" a waltz song published in
the year 1900 and considered at that
time the hit of the decade. 9
Then again in 1909 song was pub
lished under the title of PUT Your
Foot on the Soft. Soft Pedal" a two
step that people raved over. This
was before the now old fashioned
was ever SStH OH d Ddll
room floor. In 1911 came the Bun
ny-hug and the one-step with its
resultant changes in melodies and
rythm; then in 1916 the fox-trot
took up the dancing public's atten-
ton and with it came the Camel
Walk and numerous other fleeing
characteristic steps. About 1919,
while "Dardanella' was raging, the
dancing feet of Americas public
glided to the intricacies of the Ar
gentine. And now today the Charles
ton is. in vogue.
The schottishe, the galop and the
polka, those dances which once were
as popular as the Charleston is to-
day, have now passed to the bone
yard. OF the favored old time round
dances only the waltz remains, and
nowadays even that may not often
be recognized as such. 1t is a very
common sight today to see the pres
ent generation doings nothing but
foXtrot steps to waltz rythm. Though
the Hesitation Waltz and the Dip
Waltz came and tried to supplant the
old time glide waltz, the latter is stifl
popular as ever.
The two-step of yesterday bears
remarkable resemblance to the Har-
wa "a l1OP u IOdoy. Nilh put q III
tie change in the rythm of the music
the difference could be hardly noticed.
The one-step of 1911 holds a specific
likeness to the foxtrot as it is danced
nowadays. When the foxtrot first
came into vogue, the tempo of the
dance music was slow, exceedingly
slow, but since then this tempo has
increased until now 1t is enarly like
that Of the old one-step rythm. 1t
remains for the Argentine of 1919
and the Charleston of 1926 to be ORR
ginal. The Argentine is now prac-
ticallv only remembrance on a ball
room floor and it is wondered il G.
few years from now will see the
Charleston relegated to the realm of
the forgotten. Eminent authorities
assert that only the waltz and the
foXtrot will remain for coming gen.
eratiOnS.
The scene in pass in Revue No.
8" depicting these old and new day
dances is entitled 1.-The Evolution OF
the Popular Song" Those that take
part in the scene are: Ruth Black
wood, Barbara Froberger, Thelma
Haskell, Mary Berran, Dorothy Phil
lips, Marion Moody, Helen Knapp.
Evelyn Haskell. Sygne Casper, Lou
Use Raynes, William Jarvis, Bernard
Knight, Urban Rowe and Cecil Has
kell.
Six trunks containing costumes and
scenery for the production arrived
yesterday and the costumes passed
out to the shows participants last
evening
Following the production next
Wednesday evening there will be
dancing with music by Douglas
Melody MeTf=eight of EN-