Walter & Marianne Kaiser

RIVALRIES IN BLACKPOOL

by Kit Hallewell

Dance Today - Oktober 2002

Much of the interest in competitions over the years has been focussed on the rivalries that developed between particular couples. These seem to arise more in the Professional field than in the Amateur, although notable instances ocurred in both in the early days. In the Amateur John Wells held off a not too serious challenge from Bobby Israel, first with Renee Sissons when John briefly danced, and won, with Vera Dunham in 1934, rejoining Renee Sissons later against Bobby Israel with Irene Brown and later still for a sterner series of more serious tussles against that great champion of the North, Bob Stanley; first with wife Eve Shortland and subsequently with Renee Peat. At the same time we had in the Professional, Henry Jacques with Mavis Deeming against Timmy Palmer snapping at his heels with three different partners, and, in between, a brief clash with Cyril Farmer and Adela Roscoe.

Just before the war Sid Perkin with Laura Dixon began a series of struggles with Victor Barrett and Marie Taylor in the Amateur. Then, after the war, with Doris Prater, came a rivalry with Bob Burgess and Margaret Baker, revived with Edna Duffield in the Professional of 1952. Further down the finals a grim tussle was waged as Eric Hancox and Betty Wych strove to overtake Hugh Carter and Hazel Willis. The rest of the country saw nothing of a strong rivalry at the Astoria, London, between Thiebault and Scrivener (still amateurs) which resurfaced in the British Professionals of 1946 and 1947.

This year saw the famous tie for the British Professional between John Wells and Renee Sissons and Wally Fryer and Vi Barnes who became involved in their own clashes with Scrivener and Nellie Duggan for the top spot over the next few years.

It was in 1950 that Sonny Binick (with Doris Prater) first appeared in the British Professional final at Blackpool, and again in 1951. Then, in 1952, Binick teamed with Joyce Hayward and finished fourth. They bettered this by winning in 1953, but only with a new challenge - Alf Davies and Julie Reaby from Australia thrusting into the runners-up position.

So began the next great rivalry, with a tie for first place in the British Professional of 1954. Binick, now with Sally Brock, was first and Davies second in 1955, Davies winning first to Binick's second in 1956, and Binick pinning Davies in second place in 1957 and 1958. 1953 had seen a brief clash in the Amateur between Harry and Irene Lewty and Eric Lashbrooke with Seila Wilkinson who also clashed in a first place tie with Sammy Harris and Pearl Rudd in 1954. 1957 saw Peter Eggleton and Diana Gradwell second in the Amateur to Dennis Udell and Joyce Brampton, then second again in 1958 to Eric Donaldson and Edna Barnett, repeating this in 1959. 1959 was also remarkable for having five couples occupying the sixth place in the British Professional Final under the separate dance marking.

Not only that, but there emerged a new Professional championship couple in Harry Smith Hampshire and Doreen Casey, who were to retain first place for 1960 and 1961. In 1960, what was to be the bombshell of Bill Irvine squeezed into sixth in the Professional, where he and Bobbie were to take up residence up to and including the magnificent performance of 1966, when they won both the Standard and Latin American Championships - a feat unequalled before or since.

When Harry and Doreen retired we were on the threshold of the vintage years of what was probably the golden period of the British Professional - Peter Eggleton and Brenda Winslade tussling with Bill and Bobbie Irvine. Here were the classic 'slow' dancers and the high impact challengers in direct conflict. Peter and Brenda had their reward in 1965, taking first place with Bill and Bobbie retired. Peter and Brenda had had to be content with second to Bill and Bobbie in 1962, 1963 and 1964.

It was in 1961 that Latin was introduced into the programme (nota bene: Amateur 1961, Professional 1962), and, as might have been expected, produced its own crop of rivalries, beginning with the early years when Walter and Marianne Kaiser of Switzerland strove to hold off Robert and Margaret O'Hara. (John and Betty Westley seem to have had a struggle all the way in both Amateur and Professional Latin and Standard finals.) The Kaisers took first in Latin in 1962, 1963 and 1964, closely challenged by the O'Haras, second in 1963 and 1964, but able to take first in 1965, when into third came Rudi and Mechthild Trautz who were to dominate this field for 1967,1968, 1969 and 1970.

In the meantime, Anthony Hurley and Fay Saxton took charge of the Professional Standard for a successful run until they left it too late and Richard and Janet Gleave took first in 1973, and went on to set up a record number of successive firsts. Eight in all, though not without a substantial challenge from Michael and Vicki Barr who themselves took first place in 1979, and then again in 1982-5, followed by Stephen and Lindsey Hillier 1986, 87 and 88. But this ushered in the next great rivalry: John Wood and Ann Lewis versus Marcus and Karen Hilton. John and Ann took the title in 1989, closely followed by Marcus and Karen in 1990, and regained by Wood in 1991.

In Latin, a monumental tussle had arisen betweeen Peter Maxwell and Lynn Harman and Alan and Hazel Fletcher, following the sensational reign of Donnie Burns and Gaynor Fairweather, with Sammy Stopford and Barbara McColl also sharing the limelight. Latterly we have had Bryan Watson and Carmen establishing a slight edge over Haapalainen and Miss Suutari.

The Modern field of Professionals has seen a close rivalry between Luca Barrichi and Lorraine and Augusto Schiavo with more than one partner, but recently retired. Further down the field there is, of course, the ever on-going rivalry of Christopher Hawkins, Tim Howson and Alan Shingler and their charming partners, while the Draper family have two strongly competing sons in their own particular fields.

Fortunately, we can look forward to this peculiar magnetism drawing certain couples into close conflict with one another, often with contrasting styles to challenge us to choose between them.