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From DANCING IN PETERSBURG, for Perky: The rehearsal room was linked to the school theatre by a long, broad corridor, where the classrooms were. And so we saw the Imperial Family emerge from the theatre and slowly come towards us. Leading them, towering over the others, came Tsar Alexander III, escorting the Empress Maria Feodorovna, who was smiling. Next came Nicholas Alexandrovitch, the heir to the throne, a young man, with the Emperor's four brothers: the Grand Duke Wladimir Alexandrovitch with his wife, the Grand Duchess Maria Pavlovna, the Grand Duke Alexis Alexandrovitch in Admiral of the Fleet's uniform, the Grand Duke Serge Alexandrovitch with his beautiful wife, the Grand Duchess Elizabeth Feodorovna, and the Grand Duke Paul Alexandrovitch with his young wife, the Grand Duchess Alexandra Gueorguievna, who had just married and was expecting her first child, Marie Pavlovna, born on April 16, 1890. Finally behind these could be seen Field-Marshal the Grand Duke Michel Nicolaievitch with his four sons. Tradition had it that boarders were presented before day pupils. But no sooner had the Tsar entered the room than he asked in his powerful voice: "Where is Kschessinska?" I was standing on one side, having scarcely foreseen such a blow to tradition. The Headmistress and teachers, who were already about to present the two top pupils, Rychliakova and Skorslouk, seemed put out and did not know what to do. But they soon recovered themselves and brought me to the Emperor. I curtsied according to the custom. The Tsar then held out his hand to me and said, "Be the glory and the adornment of our ballet!" Later: When all the pupils had been presented in turn to the Emperor and Empress, and warmed by the kindest words, we passed on into the girl's dining-room, where supper was served on three tables arranged as a horseshoe. "Where are you sitting?" the Tsar asked me as soon as we came in. "I have no special place, Your Majesty," I answered. "I am a day girl." The Emperor then sat at one of the long side-tables. On his right sat the boarder who was to say grace before the meal. Another boarder was to sit on his left, but the Emperor gently moved her aside and said to me, "Sit next to me." Then he turned to the Tsarevitch, told him to sit in the next place, adding on our behalf with a smile, "Careful now! Not too much flirting!"

Dancing in Petersburg can sometimes be found on ebay. An acquaintance of mine purchased a copy that also contained newspaper clippings of Kschessinska's obituary.

I would like to see Elizabeth I dance La Volta.

The premiere performance was quite exciting. Ballo was fresh, optimistic, musical, pastel and romantic. My imagination placed these dancing creatures in a kingdom at the bottom of the sea. The dancers looked as though they were very much enjoying the choreography which was quite witty. Then, near the end of the ballet when Ms. Ashley performed a series of fouettes en de dans, the level of astonishment in the house seemed to blow through the roof.

I think Ghislaine Thesmar, the reincarnation of Taglioni at the Paris Opera, is a red head. She by the way was very nice in 'Emeralds' at NYCB.

Joffrey Ballet/Dance Magazine cover girl Patricia Miller had very light blonde hair as did Annette Av Paul and Soili Arvola. Would Violette Verdy have been considered a blonde?

Sir Fred & Mr. B, a fundraising gala in celebration of the centenaries of Sir Frederick Ashton and George Balanchine 11 March 2004 The Hippodrome Theatre, Birmingham, UK Birmingham Royal Ballet - David Bintley Artistic Director Royal Ballet Sinfonia - Barry Wordsworth, Music Director ACT I was hosted by Marion Tate and Desmond Kelly. The evening began with an overture: Polacca from THEME AND VARIATIONS (Tchaikovsky) accompanied by a screen presentation. TARANTELLA (1964) Tchaikovsky/Balanchine (solo piano - Jonathan HIggins) Ambra Vallo, Chi Cao - Birmingham Royal Ballet MONOTONES II (1965) Satie/Ashton Valerie Robin, Samuel Pergande, Matthew Prescott - Joffrey Ballet CONCERTO BAROCCO (3rd movement) (1941) Bach/Balanchine Molly Smolen, Rachel Peppin and artists of the Birmingham Royal Ballet LES PATINEURS (1937) (White Pas de deux and Blue Pas de trois) Meyerbeer/Ashton Sophie Le Roeux, Alex Jones - Royal Ballet School Romany Pajdak, Elizabeth Harrod Stephen McRae - Royal Ballet School AGON (Pas de deux) (1957) Stravinsky/Balanchine Zenaida Yanowsky, Federico Bonelli - The Royal Ballet LA FILLE MAL GARDEE (Clog dance) (1960) Dauberval/Ashton David Bintley and artists of Birmingham Royal Ballet ACT II Overture: The Huntresses from SYLVIA (Delibes) FIVE BRAHMS WALTZES IN THE MANOR OF ISADORA DUNCAN (1975) Brahms/Ashton (solo piano - Jonathan Higgins) Molly Smolen - Birmingham Royal Ballet SLAUGHTER ON TENTH AVENUE (Pas de deux) (1936) Rogers/Balanchine Monica Zamora - George Piper Dances, Iain Mackay. Lee Fisher - Birmingham Royal Ballet THAIS PAS DE DEUX (1971) Massenet/Ashton Melissa Morrissey, Duncan Cooper - Dance Theatre of Harlem FACADE (Tango and Finale) (1931) Walton/Ashton Marion Tate, Irek Mukhamedov with students of Elmhurst School for Dance CINDERELLA (Act II pas de deux) (1948) Prokofiev/Ashton Miyoko Yoshida, Federico Bonelli - The Royal Ballet WESTERN SYMPHONY (Fourth Movement) (1954) Hershy Kay/Balanchine Asta Bazeviciute, Tiit Helimets, Molly Smolen, Iain Mackay, Ambra Vallo, Sergiu Pobereznic, Angela Paul, Michael Revie and Artists of Birmingham Royal Ballet I can't remember the last time I enjoyed an evening of dance this much. All of the artists were extremely talented and their work was impeccable. There was tremendous electricity on the stage and in the house. Pamela May, Peter Wright and Alexander Grant were among those in attendance.

I don't think I have seen the Fonteyn/Sylphides video Alexandra, and since I am a huge Fonteyn fan I should get my hands on it ASAP. I was quite young when I saw her live in "Cinderella" and "Romeo and Juliet Balcony Pas de Deux." I was fortunate to be in class with her once when she came to my town and took class with Martha Mahr. Besides her beauty I will never forget that she took the class with the utmost respect for the teacher. Did not change one combination. I've always understood the difference between classical line and romantic line, but of course your explanation has brought a new clarity of how to describe it. Thanks. New book - hint, hint! In "Les Sylphides" my mind says the a la second arm should always be below the shoulder in a drooping position. Do others agree? I know Victoria is an ABT "Les Sylphides" expert. I look forward to all responses.

How interesting Alexandra! I love thinking about the difference. You know I'm nuts about the Romantic style. Forgive me for being so stupid, but which is more correct for "Les Sylphides"? It's so good to hear the phrase romantic style. There has been very little Taglioni talk on the board lately.

Beautiful dancers. I liked Wheeldon's MESMERICS a lot.

I remember The Empire Hotel from the outside, O'Neals and The Ballet Shop from the inside and have only heard stories of the Harkness Theatre. Heck, what about the massive changes at Columbus Circle?

I really liked the original "Jewels" sets. Does anyone know if Balanchine ever expressed interest in having them changed?

If you get to Boston and you call the Pusey Library at Harvard ahead of time, you can see a pair of Taglioni's character shoes.

I have seen Maria Kowroski as the Siren, the Firebird and on some of the televised NYCB performances. I think she is beautiful and she is for sure one of my favorite dancers.

I wish I could see Stephanie Saland once more in Emeralds. Her exquisite powers of hypnotism were so strong when she performed the port de bras solo I think the entire audience had no need to breathe.

THE GREEN TABLE is one of the most fulfilling ballets I have viewed, rehearsed, performed and taken care of. I believe that any role in the cast brings maximum satisfaction to the artist. The choreography is very pure and simple to the eye. There is nothing fussy, nothing extra. The Joffrey Ballet presented a Jooss evening at City Center in the late 70s. The program consisted of: THE BIG CITY, A BALL IN OLD VIENNA, PAVANE ON THE DEATH OF AN INFANTA, and THE GREEN TABLE. All of the works were mounted by Anna Markard, (though THE GREEN TABLE still had many cast members whom had worked with Jooss himself). The Joffrey has filmed THE GREEN TABLE three times. Kurt Jooss was involved the first time in which only the first peace table and the farewell scenes were performed. In the mid 1980s Anna Markard supervised a Joffrey filming of the complete ballet, and Ms Markard also supervised a Joffrey filming done in Chicago in the late 90s. Davis Robertson who danced the role of Death in the JBC production is the guest Death with Milwaukee Ballet for this series of performances.

I don't think things have changed much. I was in Moscow a few years ago and mentioned to the welcome-host on my way to the hotel from the airport that I would like to see the ballet. Lo and behold the next day on the street (everything else had been arranged by COMPOS tour agency) a very tall man with a mustache in sunglasses, leather coat and hat stopped my tour guide to offer us tickets for Bolshoi/GISELLE/Ananiashvili that night, seventy-five American dollars.

I believe that Georgette Tsinguirides will remount Haydee's FIREBIRD for the Stravinsky program.

I've seen a video of Makarova in Don Q Pas before the birth of her child. I saw Makarova perform the Baryshnikov full length at the MET with Bujones soon after the birth of her son and she danced amazingly. I did not know that there is a video of her in the full length version.

I saw Ann Miller in ANYTHING GOES in Miami when I was a kid and my memory of her belting "Blow Gabriel, Blow" is vivid. She always came backstage after Joffrey performances in LA and was charming and down to earth. If you have not already seen her rendition of "It's Too Darn Hot" (in 3D), from KISS ME KATE you darn well should!

Sorry to not be of much help in this Herman. I was only with the company for a total of three weeks in all. I co-staged a ballet for BB, teaching and then putting it on the stage (two separate trips). The dancers and artistic staff seemed quite supportive of each other but as far dancer popularity with audience I cannot say. I only saw the two performances of the ballet before I left. I can tell you that Lambiotte and Chaland were cast in leading roles, first cast in the Arpino ballet and leading roles in Bruce Well's A MIDSUMMER NIGHTS DREAM. If possible, please keep posting news of them and let us know how Jeanette Vondersaar is doing

So special in the role that, correct me if I'm wrong, Suzanne Farrell requested to dance the pas de deux with him.

Gail Lambiotte and Sabine Chaland are gorgeous dancers. I worked with them at Boston Ballet and I'm glad to hear that Van Manen's FOUR SCHUMANN PIECES is being revived especially for Lambiotte. I have a video of Royal Ballet performing this ballet with Dowell in the lead and I love it.

Remember Afshin Mofid who was Iranian and French? He was a NYCB beauty.

I like her very much. I am familiar with her in "La Sylphide" and "Pas de Quatre" and was once in class with her. She had beautiful line and ballon.