Red and All Red

Charles Bolton published Red and All Red in Retreads V (1991), basing his reconstruction of it as a 3-couple dance on the version published by Thompson in 1757, originally as a triple minor longways. The tune has a 14 bar B, which is then repeated. Bolton used this music to great effect by making some slight changes and additions to the dance as it originally appeared. Fried Herman did not bestow praise lightly but she was unstinting when it came to Red and All Red. Indeed, one of its signature figures, the circumnavigation of the set at the conclusion for the end couples with inside hands joined with partners, appears in her own dance Terry’s Triad. What does a dancer look for in this dance? Among other things, in the opening Set, Turn Single, dancers set to partner, then turn single right ‘into’ the 2-hand turn ½ way (the figures should flow from one to another without, as Fried would say, “stomping hoofs”). The turn gets 8 counts, so ideally partners turn half and end close in 4, then fall back a double in 4. The hands-6 wants to be expansive and well formed, with arms in the shape of Ws. And in the lead-around in B2, the dancer in the lead (2M or 3W) glances back at partner at some point to enhance their connection, while the inside hands joined in the lead-around help both to flow into the final 2-hand turn. I want to express my gratitude to Bruce Hamilton for choosing this beautiful and relaxing dance for our cool-down farewell gathering on Sunday after a challenging weekend at the 2016 Lenox Assembly, to the dancers for their fine dancing, to Bob Mills on sound for his deft, incomparable support, and to Cynthia Shaw, Eric Martin, and Doug Creighton for the superb music that makes it all possible. –Paul Ross JULY 11, 2016: Shortly after posting this video, I learned the sad news from Orly Krasner's message to the ECD List that Charles Bolton passed away. I wish to dedicate this video to Charles's memory and his inestimable legacy. --Paul Ross