Richka

So Sorry to hear this news. I knew Brian when I was with the Harkness Ballet. My first job there as company chorologist was to notate Brian's "Time Out Of Mind" ballet. Others followed, "Firebird" was a magnificent version. RIP.

So sorry to hear this. I met Harry while he was staging for the Las Vegas Ballet and its then director Vasilly Sulich. We became good friends with much to talk about, knowing many of the same people in London.. RIP

Joan Benesh was not only my teacher of notation at the London Institute of Choreology but a dear friend as well. After my graduation from the Institute, as the first American, she visited me several times in NYC and later at my home in Tucson, Arizona where I was able to show her around Southwest USA. We kept in touch through the years. I felt so honored to be invited to escort Joan to her Benefit performance of the Royal Ballet at Covent Garden, London. It was through her and her husband Rudolph who invented the system of notation that is now used by dance companies all over the world and that opened many doors for me as a dancer, choreologist and a choreographer. I am eternally grateful to them and to the remarkable system of notation they invented. I know Joan ... how strongly you believed in the hereafter. Rest in peace. Richard.

Dear JamesPDX

Was just ambling through some old postings on Ballet Alert web site and came across yours about Yuri Zoritch. I was curious who JamesPDX was, then found that I had actually written to you, perhaps one or two years ago in response to your posting.

However as far as I know I never received a response. Several months ago I had severe surgeries for cancer so may have just been out of touch.

I've looked for you here on BalletTalk but apparently you are perhaps not even a member any longer. Anyway, if this does reach you and you are even remotley interested, I would be delighted to hear from you. Richka

This is sad news indeed. Though I have always read John's writings, I've only recently became acquainted with him; through his wife Judith. This friendship has been entirely through the internet by way of emails. Johnn was a termendous source of dance knowledge, as is Judith and happy to share. I send my condolences to Judith.. John will surely be missed.

Hello James,

So you were just now reading about George Zoritch and his obituary?. I am the one who put his obituary here but it was quite some time ago. I'm surprised it is still on this web site. George's last words were to me, Goodbye Richka after he had spent 4 weeks in hospital after a fall. I can tell you details if you like and can share so much with you about Yuri since he was your teacher and my friend living close by my house, and the memorial I arranged for him at the very studio at UA where he taught for all those years. Actually I think I met you once at Yuri's house, quite a few years ago. Anyway, my email is greyhound@richka.net

if you care to be in touch. Cheers, Richard

Remember that Garfield was a student in New York of Maria Ouspenskaya, who taught the entire Stanislavsky System (not just "the Method") to her students. Stanislavsky's comprehensive training for actors contained dance as an integral part of the skill set. Mordkin, being a fellow Russian, would have been a logical choice for an Ouspenskaya student to take class from.

Oh yes, Maria Ouspenskaya was from the Moscow Art Theater and Stanislavsky, et al.. Mordkin, or Adolph Bolm would indeed have been logical choices for some ballet training for actors. There was an old ballet film on TCM several years ago. Forgot the name of it (maybe The Mad Genius) but it had.John Barymore as a Diaghilev type figure who turns a young boy into a great ballet dancer. Nijinsky? Adolph Bolm did the choreography and there is a ballet in it, ending with on stage murder of Barymore. The ballet used a real dancer in long shots but as it was around Garfield's era, perhaps it was what he was thinking of as a vehicle. Early 1930s I believe. I had it on tape but disappeared long since. Interesting to see ballet choreography of that era..

Sr. Lucas, Hello,

In reading your posts I see mentioned the name of Raoul Pause. During my youth as a dance student in NYC, I remember hearing that name mentioned a few times but knew nothing about him, though now I am curious.

Two other names you mention I am more familiar with; Pavley and Oukrainsky. Back in those days of youth I became acquainted with a friend of a friend who was probably then in his 60s and had actually danced with the Pavley/Oukrainsky company in his own youth, well before I was born. The company, Chicago based, apparently toured vaudeville circuits then and he took joy in showing me pictures of himself on stage at the Palace Theater as a corps dancer in various exotic ballets. He was also a friend of Lisan Kaye, another former Pavley/Oukrainsky dancer who ended up teaching in Carnegie Hall.

The Pavely/Oukrainsky Ballet always fascinated me and I always wanted to know more about it, especially the bizarre life and death of Andreas Pavley. What kind of a dancer was he? Why is he not mentioned in the dance history books?

Imagine my surprise when, not too long ago, i came across a book written by Arthur Corey, called Danse Macabre. Corey had danced with the company as well and It must be a rare book because it is a limited edition of 500 copies, boxed, and autographed by Corey himself. I found it in an odd bookstore. I already knew of Arthur Corey because he had, oddly enough, written books on Christian Science which, having grown up in Christian Science myself, was familiar with.

His book is the Life And Death of Andres Pavley. But this incredible life of Andreas Pavley is scarely known. The many pictures of him and the ballets he danced in were highly mixed with the eoticism of that era, Was he, then, so remarkable? He was certainly celebrated during the 20s, if not for his dancing then for his bizarre, mysterious death.

Thank You Mlle. Gina, Mssr Paul,

What a delightful and warming thread of pictorial and personal memories. I have no doubt that we are all treasuring these and those that ensue from our own branches of associated memories. Mssr Wilde seems alive and vibrant because of the vitality of his works and living that has been shared. A fine tribute. A shame to me that none of this was evident at our meeting.

When we met, Mssr Wilde did not mention Raoul Pause. Sad, that lost moment. Raoul Pause was a master of danse,and the joy of danse, that I knew from a company aeons past. The name will float to the top soonest, I trust. I remember the work of the concept "Plastique" danse, at his peculiar studios in Oakland that I visited that were filled to the brim with students of all levels sharing. Here it is, the company..Pavley et Oukrainsky Ballet. Knew I could bring it forth without peering through dust. I also remember Ballet Celeste, or so I believe. The Directress, Mmme Lanova had been with one of the evocations of the Ballet Russe and was there when I did the bonking bit. I saw the Ballet Celeste Company in Monterey, California, when I was at the language school. There was surely some relationship to the services that she enjoyed, I believe, because the company breakfasted and dined with us at the school's mess.

Thank You, Richka

I will now try these leads that you have shared. The charge that Norrlander was a master criminal secret ballet-stager is a major hoot, and worth writing up on its own. These charges should cause him to stand up from wherever he is now hiding to respond, and then i will interview him. Another responder has shared that Sven Norlander appears exceptionally in at least three dance films, one of which is Danses Concertantes, suggest another lead, rather more difficult to search out.

That you have and share so willingly such deep love for and understanding of dance and dancers is deeply heartening and a treasure.

Welcome to Ballet Alert and thanx for the compliment. I see you reside in Santa Barbara, CA. Are you familiar with State Street Ballet and its Director, Rodney Gustavson?

I am lucky enough to have seen Winter's Night, Victim, Eaters of Darkness and two other of Walter Gore's works on films held by Batsheva Rothschild. There was a friend of Batsheva's visiting that evening some 35-40 years past, and she revealed that two of Gore's works that the Bat company was to stage would be staged by someone other than Walter Gore or Paua Hinton; a Sven Norrlander who was coming from Hong Kong at the Cmtesse de Hoechst's. Now that I am trying to assemble a writing on Walter Gore I run again and again into the Sven N name. I find he had worked all over the planet and staged any number of different choreographer's works for them in ballet and modern form. Now I want to find out about this type of person who is trusted to stage others works. Is Norlander out there and willing to talk or has anyone else have anything to share about Norrlander or other artists who have enjoyed this kind of meritous trust?

Thanks in advance of hearing from you.

I also have never heard of Sven Norriander but that doesn't mean he doesn't exist or is not legit.. He no doubt is a re-constructor of other choreographer's works, either those living or dead. As a rule, the re-constructor is a notator or has a close relationship with the choreographer in question and is familiar with the work and is named in the choreographer's will or trust as inheritor of his works.. Dance notators, or "Choreologists" go all over the world staging from the written scores that they have done or those notated by another choreologist. They have the rights to do this and the rights come along with the notation of the score. This has been proven the most accurate and reliable way rather than relying on memory.becasue every detail is documented in the score. Staging from a video is a tremendous help but not as accurate as a written score; the same way you wouldn't want to stage an opera from just listening to a recording of a particular performance.

My guess is that Mr. Norriander performed in these works or assisted in their re-staging as a ballet master, etc. and so the choreographer gave him the rights to re-construct the work. Or perhaps he is a qualified notator and has notated the works. You could check with the Institute of Choreology in London or the Dance Notation Bureau in NY and find out if they are registered there. Just going around and staging another's works, unless you have this kind of permission or legal rights would be an infringement of copyright and is illegal. It is basically theft. Agnes de Mille always had quite a time dealing with that.

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thanx for the information. Wasn't too clear about time line and never knew Ben ever had anything to do with Chicago, After Harkness folded I thought he went directly to Houston. Now I don't know WHY he left that. He was here in Tucson several years ago bringing his Swan Lake. I aksed why on earth bring that as we already have it. Why not bring Dracula. He said the production was too big. Swan Lake ISN'T. Anyway, he invited me to come see his Snow Maiden he was then doing for ABT.Almost did but had to go to London instead. Told me he was thinking of retiring in Mexico. Larry Long, and is wife Doloras, were with us on European tour in 1970. Long story here. more later. Richka

i was there but as a student; i recall seeing the ballet but not who staged it. at the time, however, ben stevenson was the director so perhaps that was the connection? alas i have no program. also there was richard and christine ellis? that is the only guess i can make. however i am fairly certain that no dancer other than a chicago ballet dancer was used. "chicago ballet" was the name of ruth page's company during that period in the 1970s.

OK, thanx. That makes sense because Larry Long was a ballet master at Harkness during that time period and he also was Ruth Page;s right hand man. After she died he took over her company, then HE died! Sorry tale. I understand when we are young we don't usually bother to keep programs.

Eaters of Darkness was presented by the Chicago Ballet in the mid 1970s and I saw it then. What I recall of it is that it was very powerful and unusual to my somewhat untrained (!) eye at the time. The only dancer I remember in it was, I think, Carmen Mathe, but I would have to check that.

You say Eaters Of Darkness was presented by the Chicago Ballet in mid 1970s. First of all, do you mean Ruth Page's company in Chicago. I am not familiar with the "Chicago Ballet". Do you recall who staged it? Was it Walter Gore himself. That seems the most logical as he had staged it for the Harkness Ballet in 1970 and it was possibly still fresh in his mind. Did his wife Paula Hinton dance the lead? You see, I am curious because I had notated it in 1970 while doing it in Spain and Portugal. See my other postings on this thread about Walter.

Perhaps you have an old program that you could find out about these questions.

The filmed version of Eaters on this thread is from Germany. They filmed it shortly after the Harkness staging, with the same cast, probably released around 1971.

Welcome friend - to this magnificent, all inclusive dance site where you will find intelligence, discernment and warmth. But I warn you; if you're anything like me you will want to spend many, many hours here. Happy wandering. Richka

I can't imagine John Garfield as a dancer, though I believe acting students of that period were required to do some ballet classes, or more likely modern dance. Bette Davis studied some with Martha Graham. Possibly that's why she was expert at walking down stairs so gracefully. Are there ANY movies where she doesn't make a sweeping entrance down a staircase? Warner Bros. must have grown tired building them for her.

But Garfield as Nijinsky? The movies I've seen him in on TCM he plays mostly gangsters. There is one where he is a concert violinist, I think with Joan Crawford. Even that seems unlikely. But Nijinsky? It would be laughable but he must have believed he could actually do it. Didn't know he had been blacklisted.

The Ballet Russe premiere danseur George Zoritch left a considerable amount of rare ballet memorabilia. Oddly enough, after his death in 2009, the NY Performing Arts Library refused to take any of it. Also various Universities, including the University of Arizona where he taught for 18 years, refused it. Finally it was given to Kaatsbaan, the summer ballet training school in upstate NY.

don't know if this would help but i get mailings from an autograph dealer who may or may be interested in buying lots of ballet items.

as follows:

"Harmonie Autographs and Music, Inc." <harmonieautog@aol.com>

This is another autograph dealer I have had good experiences with. He doesn't carry that much ballet stuff, it's mostly classical music and opera but it may still be a match:

http://www.musicautographs.com/

The outfit's name is La Scala Autographs

In all he created some eighty or so ballets.

[ ... ]

There are many of these and other creations by Gore which would have been well worth preserving as examples of his creativity, so why have they all disappeared? It isn't that they couldn't be done successfully without their original casts; that was demonstrated time and again, however much they showed of the special qualities of the creators. But because Gore's own companies died when he did, and because he moved frequently between other troupes, the works haven't been preserved. So many of the ballets by Britain's choreographers (yes, even some by Ashton and Tudor among them, and pretty well all the excellent output of Peter Darrell) have been allowed to disappear; Walter Gore's ballets are prominent among our losses – an extreme example but by no means the only one.

80 ballets !!! ".... why have they disappeared ... ? This is always an interesting question in the arts. It has particular poignancy with ballets of previous generations, where so much depends on memory of the participants who are now gone. I had a similar feeling when reading the very long list of Fokine's forgotten pre-Diaghilev ballets in Lynn Garafola's book, and when thinking about Alexandra's post (on another thread) of an article she wrote about Camargo and the ephemeral quality of long lost dance performances.

There's a sadness here. Ballet has no museum buildings in which to display living, moving ballets on the wall. It's not possible to present them frozen under spotlights.

Are there any reliable sources for Gore's ballets, or other lost ballets of tihs period in Britain? Any agencies that are devoted to preserving and reconstructing them?

To answer your last question. I agree about lost ballets but Walter Gore's Eaters Of Darkness I am happy to inform you, is NOT lost. I have written elsewhere on this site about Walter Gore and his "Eaters Of Darkness", which I notated in Benesh Movement Notation while I was resident choreologist for the Harkness Ballet.

You probably don't think of notation as a "reliable source" but should tell you that ballets are reconstructed and staged all over the world through Benesh notation. I'm not pushing Benesh Notation but It's a fact that I'm surprised is not known here. All the Royal Ballet repertory is documented in Benesh by, I believe, several choreologists on staff. The same with most European companies. Perhaps less now with world economy the way it is. American companies can no longer afford the luxory of a staff choreologist. They use video, which is a marvelous tool but a notated score is much more complete in detail. (compare musicians and actors without a written score) Ideally, both should be used together.

Anyway, for what it is worth, there exists my notated score of Eaters, lodged at the Institute of Choreology and I believe also at the Dance Notation Bureau. I also have the original along with pictures of Walter rehearsing it in Barcelona, with the Harkness dancers. Look for my posting about Walter on this Ballet Talk website.

I have an anniversary, of sorts, coming up this month. It will be 60 years since I saw my first ballet performance on Saturday evening April 22, 1944. Accompanied by my sister and her friends we went to the Metropolitan Opera House in New York City to see Ballet Theatre. Our seats were in the first row of the balcony around the curve of the horseshoe shape of the theater ---and 4 levels up. I had a fairly good view of the stage by leaning over the brass railing. The program was Fokine's "Les Sylphides", Robbins "Fancy Free" and Lichine's "Fair At Sorochinsk". To this day, I feel the only way to truly appreciate Fokine's masterpiece is to see it from this perspective. Normally, one likes to sit up close when viewing a ballet, but in this case the distant vantage point had a distinct advantage: it made it easier to see the movements envisioned by the choreographer. Alicia Markova and Anton Dolin danced the leads.

This was followed by "Fancy Free" (with Leonard Bernstein conducting---my schoolgirl crush at the time.) The ballet had its premiere a few days before on April 18; this was probably the second or third performance of the work. It received a raucous reception, and the old opera house erupted in waves of enthusiasm. Robbins masterfully captured the personalities of his original cast to perfection. Robbins was the 'rhumba' sailor, John Kriza the 'dreamy one' and Harold Lang, the 'show-off'. The pas de deux that Robbins danced with Janet Reed was in the best tradition of the Hollywood WorldWar II romance movies at the time---casual relationships could quickly become immediate. Muriel Bentley was deliciously insoucient as the 'girl with the red pocketbook'. At the end Shirley Eckl slithered hesitatingly on to the stage, and Rex Cooper was properly bored as the bartender.

The last ballet was David Lichine's "Fair At Sorochinsk" to music of Moussorgsky---a colorful work that has probably not been seen since. Anton Dolin appeared as the Devil and danced the role 'on pointe' and Andre Eglevsky was most appealing as the lover. I always thought he was shown to best advantage during his Ballet Theatre days. A Hopak was a high point of the work, but I cannot recall who danced it, although in retrospect it might have been Nicholas Orloff.

Before this performance my other encounters with ballet had been mainly in operettas, i.e., "The Chocolate Soldier", "New Moon" and the Warner Bros films of the Ballet Russe de Monte Carlo in "Capriccio Espagnol" and "Gaite Parisienne". The year before I saw Agnes deMille's "Oklahoma". But this first encounter with a ballet company had a profound effect on me, unlike the other performances I saw. I went on to study ballet for seven years and although I was in my teens, I had a natural flexibility which eased my way. Ever since that first performance so many years ago, ballet has been a big part of my life.

Congratulations on your anniversary which I, sadly, missed.

I don't check into RUMINATIONS that often. Actually at this moment I'm trying to put in some kind of a contribution myself in the way of "Memories Of George Zoritch" who as you probably know was my neighbor and friend and died a couple years ago.

I still must learn how to do it.

I really envy you seeing that performance at the old Met. I've always wondered about "Fair At Soroshinsk". But at that time I was not in New York and I think still in High School in Massachusetts. I had not even seen any ballet. We have talked before about George Chaffee and his studio where we both went, but I a bit later than you. I have an ABT souvenir program in my collection from that season with some pictures of Fair. Of course we've always read about Dolin dancing en pointe so that makes it all the more interesting. Why oh why did they not film those things??? The expense I suppose.

When you said the 'Hopak' was in it! I've done Hopaks ever since I started dancing in the classes of Yurek Lazovsky.

Another item I would like to put up, either as a blog or in this RUMINATIONS, is a list of ALL my teachers; not just a list but my impressions of each one and how they influenced my entire life. I'm sure, besides Mr. Chaffee, you had many of the same. Do you think that would be of any interest?

So nice to run into you again here.

Richka

MEMORIES OF GEORGE ZORITCH - PART TWO

Three Days in Las Vegas

George Zoritch was a home person. When he retired after 18 years of teaching at the University Of Arizona, he so much enjoyed his house; a villa style in the foothills of the Tucson Mountains overlooking the city of Tucson.

Once I suggested we take a trip to Las Vegas. I frequently went to Vegas alone, not to gamble but to see the shows; an 8 hour drive; if speeding. I always stayed at the LUXOR since its opening day in 1993. Built as a pyramid with slanted elevators to the rooms, everything was in the Egyptian style of decor (It has since changed). Originally it had a spectacular show beneath the pyramid that I saw many times. The magnificent Court of the Pharoah, even the river Nile, with chariot races, a parade of camels and elephants and over 200 dancers; all in spectacular ancient Egyptian costumes. Sadly, after two years it was all discarded; probably because the management felt it was not really of interest to the usual type of Vegas visitors. They replaced it with a night club and rock bands.

We stayed at the Hilton. I liked to visit other hotels on the strip but George wanted to stay in his room. He would have been in his 80s then.

I had tickets for the Debbie Reynolds Theater; part of her own hotel that she sadly lost soon after. We had a table directly in front of the stage. George was delighted with the show, especially when the star chatted with me as part of the show. After the show he even stood in line for an autograph from the star.

Then there was the Nevada Dance Theater, run by George's friend of long ago, Vassili Sulich. Vassili started his ballet company as an artistic outlet for the classically trained dancers on the Vegas strip. After the performance we were invited to a dinner at the Tropicana where Vassili had once been a headliner. It was in a special dining room, hosted by the Tropicana management. George, always the reconteur, made himself the main attraction with his vast stock of stories. I was quiet and waiting; as is usual at events such as this. Vegetarians are habitually forced to wait patiently until everyone else has finished; then, invariably, a plate of three steamed vegetables arrives! Chefs usually have no imagination when it comes to vegetarians!

George was obviously glad to get back home to Tucson.

Next: Visitors from Russia.

Thanks, Richka. I would enjoy your memories of Mr. Zoritch's later years.....As a young girl, I saw him dance many times with Ballet Russe....one of the most memorable was in "Gaite Parisienne". Even so young, I knew I was in presence of a great artist as well as dancer. Over the years, I studied with him whenever BR was in our area..... and every summer in whatever city he held sessions & performances. I was fortunate enough to see one of his last performances of "Giselle" w/N. Krassovska . Although, in his fifties, his technique and artistry would rival that of any of the dancers of today. I had the privilege of being one of the few permitted to attend the rehearsals. He was always very kind to me, took me under his wing, and provided a young dancer with many wonderful experiences and exposure to the great artists of that day (including attending Bolshoi classes with him). He was so much a part of my growing up years as a dancer. I appreciate your taking the time to let us be a part of the sunset years of this great artist.

Thankyou for letting me know of your association with Mr. Zoritch while in your 'growing up' years. I plan on making my memories of him as I knew him in his latter years (age 72 to 92) eventually into a BLOG.

You were indeed fortunate to see him dance with the Ballets Russes. I never saw him on the stage; only in three Hollywood films but feel AS IF I did as he told me so much about those times. When you studied with him was it at his school in West Hollywood? I would appreciate any further comments that you might care to share. Richka

Oh, I would also LOVE to read more of your recollections!

Thank you for taking the time to write them here!

Same here, these are so enjoyable.

Thanks so much.I have MANY more memories of Yuri on the ready as the plan was to do a series, but first I must know more about how to do it. I'm not sure I'm going about it in correct way, meaning; isn't it supposed to be a blog and not a 'reply'? Or is it supposed to be in form of a FORUM? Can't seem to find out from anyone and I don't have time to take up a total STUDY of the workings of BalletTalk or Ballet Alert, because it's such a VAST site with so many avenues. BTW, it's even difficult to get into it as there are several Ballet Alerts online to choose to get right one.

This is one of those books I keep intending to get ... but somehow have never gotten around to it. I know we've discussed it elsewhere, but the occasion of Mr. Zoritch's death seems a good opportunity to revisit.

Here's material from Mr. Zoritch's website, with links to photos and some excellent reviews:

http://www.georgezoritch.com/frame.html

I checked Amazon, which lists 3 copies: 1 used at $295.00 and 2 "collectible" at $225.00 I guess I should have acted sooner !!!

This is a RIDICULOUS price to pay to Amazon for this book. PLEASE read my posting on this thread. richka

Folks keep writing here that they are looking for and want a copy of the book Ballet Mystique by George Zoritch. I've said several times here that I HAVE SEVERAL COPIES of the book that Zoritch gave me, BRAND NEW, wrapped in celophane. They are stored in a box in my garage. They are available and I've offered several times to share them. I don't know what more I can do.