With thanks to *The Dancing Times* and Jack Reavely, this article, originally published in their magazine, is featured here with their kind permission.
As I reminisce, swirling figures from the golden days vie with each other to be recreated from my fingers to the keys of my typewriter. I go back in time and see, once again, a famous couple called Len Colyer and Dorice Brace.
Grand finalists in the major open professional events and championships all over the
UK, they were continually inventing new ideas into the choreography, which could bring gasps of sheer delight from audiences.
Len had a background in music. On one occasion, at an event in Blackpool at what was then the Locarno Ballroom, the orchestra was finding some problems with the samba, struggling to create desirable rhythm for the couples in the competition. Len leaped up to the bandstand, was given the conductor's baton, and by his great knowledge enabled the band to create rhythmic sounds that delighted both the audience and the competitors.
Dorice was a terrific follower. Before she and Len formed their partnership, there was a queue of men who wished to dance with her. Dorice tried them all out, but chose Len because she thought that he provided a terrific lead for her, so that she was comfortable, and never in doubt as to what he wished to create. He would often come up with new ideas in the middle of an event, surprising Dorice, but she always coped most admirably.
She was the quiet lady of dance, never pushing herself into the limelight at any time, being content to watch Len's progress in his teaching capabilities.
She was also a first class dressmaker, with a long list of customers. When the ballroom dresses changed from nylon net with very wide skirts, Dorice created, for Brenda Winslade, who was of course Peter Eggleton's wonderful dance partner, a dress made of very soft floaty chiffon. They were both delighted with the result, as the skirt flowed from Brenda's body and created beautiful pictures on the floor.
Len and Dorice demonstrated all over the country. His fertile mind was always inventive and he came up with an idea for a new dance to "Ballin' the Jack". They demonstrated this new dance as an encore to their normal show and it proved to be an instantaneous hit, as the music used was so catchy. It started, "First you put your two knees close up tight, then you swing them to the left and then to the right". Crowds in ballrooms instantly picked up the steps and it created a big stir. So much so that the Hollywood film star Danny Kaye had the rights purchased, introducing "Ballin' the Jack" in the 1951 film On the Riviera. As Kaye was a terrific dancer and actor, it drew worldwide attention to Len's dance.
Len became ultra famous as a coach, in demand all over the UK and beyond. Couples flocked to his London studio in order to gain his opinion and valuable input into their dance skill level. An aura grew around him and the whole of the British Team members at one point were part of what became known as "Colyer's Circus".
He was famous for his forthright comments. At one time during the Blackpool Festival's practice sessions, two couples - both in contention to win, and both taught by Len - arrived in a less than acceptable state of dress, the men with open-necked shirts. Len himself was practising in the ballroom with Dorice.
He immediately collared the culprits and demanded they return to their hotels and come back properly dressed, so as to transmit a picture of elegance and sophistication. The lads concerned never again overstepped the boundaries of Len's demands.
My own teacher, Wally Hobkirk from Preston, was a coach of magnificence who died at a very early age. When he was very ill, he asked me to go to Len Colyer whenever possible for lessons, because he reckoned that Len would be able to lead Anne and myself into correct pathways. He also warned me not to discard some of the unusual rhythms that Len would ask me to use. Wally had sussed out that Len was, at that time, teaching advanced timing use, with what is called rubato (stolen time).
At that time, most wished to know an exactitude of rhythmic usage. Len also had a great way of getting a good body position on an outside step. He always said that the man's left shoulder must be forward as a leading edge, prior to a left turn.
When Anne and I had lessons with Len, we were amazed and delighted with his prowess. For many years afterwards, when we were professional, Len visited my studio every month for a whole weekend's teaching.
I noted everything he said to the pupils over the two days. It gave me remarkable insight into how he produced such top couples. His principles were accepted and developed by superb dancers such as Peter Eggleton and Brenda Winslade.
I must stop the swirling thoughts and reminiscences now. Rest in peace, Len and Dorice. You have left an indelible impact on those who knew and learned from you.
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