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dkeary

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Teacher, Dancer, director
  • City**
    Jackson
  • State (US only)**, Country (Outside US only)**
    Mississippi
  1. Hi Victor - I am currently the director of Ballet Mississippi in Jackson. It is a school with a performing ensemble (youth ballet). Ballet MS was the result of a merger of the Jackson Ballet (which I grew up in) and Mississippi Ballet Theatre in 1983. I was at SAB when Peter Martins, Heather Watts, Baryshnikov performed in Jackson. I'll be happy to see if I can located from the supporters here any information you might want or need. thanks! David Keary
  2. My teacher, Albia Kavan who is now deceased, was on this tour I believe. She told me many stories about the tours. In the book by Deborah Jowitt on Jerome Robbins, I "think" this tour is mentioned. Albia's son may have information or memorabilia available. I'll ask.
  3. It was in fact the pas de trois, (which Danilova came to Hamburg to stage), and I remember that Baryshnikov's variation began with a huge, sideways jump. Additionally, many years ago I saw the Kirov in what was described as a pas de deux from Coppelia. Neither music not choreography resembled anything I'd ever heard or seen in Coppelia, and I was later told that it came from Le Pavillion d'Armide. This is correct, the jump was to the side, it actually could have been on the diaganol from what Doubrovska told me. There are a couple of books on Nijinsky that discusses the variation, I'll have to look for them in my library, but it describes the choreography.
  4. I worked with Madame Danilova while a student at SAB, and I was part of the cast for the Workshop performance in 1979. I am also part of Anne Belle's film and featured in it during rehearsals. The ballet Le Pavillon d'Armide is rich in its history and the score is beautiful. During the Ballet Russe reunion in New Orleans a few years back, two dancers performed the variations. The ballerina's variation was quite similar to what Danilova taught, almost identical. The male variation was not the same. However, Madame Doubrovska was at many of the rehearsals and she helped Danilova since she was in the original production in Paris. I asked Doubrovska about that and here is what she said, almost perfect quote as I remember it: "Well, I was very young and my part was that of a page. I was responsible for holding the big plume over the royality as they watched Karsavina and Nijinsky. When Nijinsky came on for his variation, he was standing upstage left, he went plie, and he flew across the stage. It was so magnificient that I dropped the plume on top of the royal ensemble." And then she smiled as she told the story. David Keary
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