Roszika Dolly and Martin Brown

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11 Mins.; Full Stage (Curtains). “Danceland.” After giving Rose Dolly and Martin Brown credit for framing their act for a Palace audience, and knowing enough to get away from the hum-drummed “society dances,” also noting that Monday evening at the Palace the somewhat light audience held a considerable portion of their friends, there isn’t a great deal left to be said of this new dancing turn, expecting that it is another instance exhibited where a vaudeville audience will fall easily, if the bunk is delivered right. Mr. Brown has come back from Europe with several ideas new to the American dancer. They are quickly reorganized as belonging to the French dancer. The Russian steps or style Brown affects he has more trouble with. And Brown often articulates “Voila!” after the manner of French acrobats, though confessing Mr. Brown’s garbled version of the French word nearly disguises it. Miss Dolly dances well enough with Brown. She can do that with any good leader. They do a waltz or two, doing their worst with a Spanish effort mainly consisting of foot stamping. The dressing for this is picturesque, what there is to it, but not much clothing is worn by either. Between changes of costume a Pierrot sings the story of the next dance, before the curtain. Many flowers were showered upon the couple. Their friends came early, and remained to see Fanny Brice later on. But the house was not filled by quite a large margin (for the Palace) even with Houdini headlining. Dolly and Brown will gain a reputation for class with this turn, and maybe dancing also. Both are fair dancers in their line, which appears to be classical from this exposition, but when classical dancers are spoken, of there’s a long list to be read off before Rosie Dolly and Martin Brown’s names are reached. The American vaudeville audiences – which have stood and stands for so much in the dancing line that isn’t – will be as easy as they are gullible for this team.

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