Any comment on "Dance Hall" now playing at the Keith-Albee Theater must necessarily be limited by the facts that the theater was pleasantly darkened and the waking hours of the reviewer few. It is difficult to determine the exact relation of Vina Delmar, authoress of "Bad Girl" with the plot of this production. Surely there is nothing so dowdily moral as the morality of a cheap Dance Hall as portrayed upon the screen. Yet, the fact remains that the sociologist who may go to gain information on the correct dance gestures and colloquial idiom of the truly jazzy will probably have difficulty in finding a vacant seat.

The story glorifies the Demos with "Gee, Honey," and "Oh Yeah?" until it all comes out right in the end. The characterization is intensely realistic. Much praise is due to the cast, especially to Arthur Lake, for assuming Mormonism so successfully. The plot contains all forms of interest save the one that might make them interesting, the most virulent source of its pathos being unrequited love tenderly softened by the inevitable strains of "A Boy's Best Friend is his Mother." The only reasons for subjection to this form of entertainment are Olive Borden and the desire to refresh dimming memories of Revere Beach.