Balanchine and Ballet Theatre

[perky]

Recently I read that when Lucia Chase formed Ballet Theatre in 1939 Balanchine was practically the only choreographer in America not asked to contribute work.

Also that when American Ballet Caravan's South American tour was over the repertory was offered to Ballet Theatre and was refused. This repertory included such gems as Concerto Barocco, Apollon Musagete, and Serenade.

After reading that I went Whhhaaattt!!!!

So what gives? Did Lucia Chase not like Balanchine? Or is the answer like most things in life more complicated.

[Mel Johnson]

As you suggest, it's a far more complex story than just that. We don't hear as much about the Sergei Denham Ballet Russe because it's not around anymore, and the apparent snub was as much a result as competitive bidding for Balanchine's services (even to the movie world) and schedule conflicts as to any other factor. Lucia and Balanchine got along tolerably well, and he staged their 1946 production of Giselle.

[atm711]

Lucia and Balanchine got along tolerably well, and he staged their 1946 production of Giselle.

---which was pretty much of a disaster due to those Eugene Berman sets.

[sandik]

Well, he did make Theme and Variations for Ballet Theater in 1947 (for Alonso and Youskevitch).

[Alexandra]

And "Waltz Academy."

According to "Choreography by George Balanchine, A Catalogue of Works," Balanchine's contribution to the 1946 ABT production of "Giselle" was: "Balanchine arranged the traditional Maryinsky staging of Giselle's grave scene in Act II." Antony Tudor contributed to a production credited to Dimitri Romanoff. (I don't think any of them can be blamed for the Berman designs!)

One insider view of the politics of ABT at the time -- when you had quite a few out of work Russian exiles jockeying for position -- is in Charles Payne's "American Ballet Theatre." (My favorite story is that Mordkin, who was supposed to be staging a "Giselle" found out that Dolin was rehearsing his own version. Mordkin placed a toy machine gun on the piano every day in class, aimed in Dolin's direction.)

But back to Balanchine, I think Mel's right -- there were people competing for Balanchine's services at the time, and he was trying to get his own company going.