Richka

Am into this too and loving it. I really appreciate the attention to the life AND to the work. It made me think, though--why don't biographers of composers take advantage of new technologies and include audio tracks with the musical notation examples? (Dance writers could do the same w/videos, the powers-at-be willing...). Your posting made me want to re-read "Tchaikovsky's Ballets" also by Roland John Wiley that has been on my shelf for many years, actually since The Author gave it to me, and that I still treasure. What features made up a successful work at the time Tchaikovsky started his career in ballet is discussed in such interesting detail. And the musical as well as choreographic notations of Petipa are illustrated and explained so brilliantly. What a vast amount of research Mr. Wiley had done on this and it is an education in itself on that period of Imperial Ballet. The detailed analysis of the first productions of Swan Lake, Nutcraker, Sleeping Beauty, with revisions of the music. It should be noted that Mr. Wiley also translated these books from Russian! Being Russian speaking myself, I know this could not have been an easy task.

I've been thinking about this, because I so like your memory, but ...The Sleepwalker never lets go of her candle, does she? I can't imagine that she -- even in the person of the great Danilova -- could lift a man from the ground while still holding onto the prop, even with a fake flame. How would she slide her hands beneath him? Not saying it didn't happen, just that I can't envision it. You are absolutely right, it WOULD be hard to imagine. I did say eariler that I was quite young. a bit of a teenage twit and also it was the very first ballet I had ever seen. I also had never seen anyone on pointe before so this was astonishing from the start. Just prior to that, Danilova and Franklin had done a pas de deux of some sort, probably the one from Nutcracker. That vision was still locked in my mind. So forget about the en pointe. But she definately was enfolding him in her arms, that part remains most vivid. The main ballet I wanted to see that evening of long ago, was Scherherezade, which was first on the program. I must say I was totally disappointed. Perhaps because it wasn't as glamourous as the accounts I had been reading of the Diaghilev days, with Nijinsky. That was what I was expecting. However, after seeing the Bolshoi production many years later, my opinion changed drastically. I had thought Ballet Russe may have been winding up a long tour and the dancers may have been very tired, but many years later, becoming friends with Misha Katcharoff who was the ballet master of the company during all those years, he assured me the tour then was just STARTING OUT! So there you are. At any rate, Night Shadow (a.k.a. La Sonnumbula) was enough to keep my interest in ballet going and remained so all my life.

Where did you find this quote? Did he write his autobiography or in an interview? Was there actually a recent TV documentary with him because some are mentioning it. I didn't know about it so I must have missed it. There should be one on Marc Platt as well, as I guess he is probably one of the last of the Ballet Russe legends.There is a Ballet Russe gathering at University of Oklahoma next month but I can find very little about it.

I have never not seen the Sleepwalker carry the poet off, but I have never seen her pick him up. To the best of my memory, she makes a great, circular swoon with her whole upper body before of the male entertainers place him in her arms, and she backs into the house, carrying him. I think have seen Sleepwalkers bouree back across the stage with the lifeless body, but lately I see more of them stand just before the doorway, so they can take one or two unsteady, flat-footed steps and Get The Job Done. Not a lot of magic in that. According to Franklin's Wikipedia page (badly in need of work), he is Commander of the Order of the British Empire. Knot a Knight, but still a Sir, albeit a less-sir. It's good that he has at least a C.E. I've never heard anyone call him Sir Frederic, may be confused with Sr. Frederic Ashton. When I worked with Robert Helpmann I always called him Sir Robert but don't think he would have minded if I didn't. I also worked with DAME Alicia Markova but always called her Dame Alicia. But I lived and worked 7 years in the U.K. Thanx for the Sonambula info.

Another comment concerning Frederic Franklin. George Zoritch, who died last November at age 92 and was a neighbor of mine, often told me stories about the Ballet Russe dancers and about his own years with that company. He certainly liked to relate stories of the past. According to George, he saw Frederic Franklin dance at Goldern's Green in London, probably back in the late 1930s. He was comparitively unnknown then. George was impressed and introduced him to Serge Denham who straight away took him into The Ballet Russe. Franklin quickly became a star and contiues so to this day. First through his dancing in so many different roles with Ballet Russe ( must have been quite a leap in style from Raymonda to Rodeo) and later on for his incrediblel memory of ballets in order to stage them without notes. May he continue on doing so.

To those who were fortunate enough to have seen Frederic Franklin dance in his youth I can only envy. I only saw him dance once when I was very young. It was during the last days of Ballet Russe on one of their long tours with a stop over in Boston. The ballet was Night Shadow, later called La Sonambula. All I can remember of it was Alexandra Danilova picking him up in her arms and bourreeing off upstage left with him cradled in her arms. Could that really be right? I've never seen that done in later productions so I wonder if my young eyes then could have left me with a distorted memory. I met Franklin many years later as an adult with the Harkness Ballet. He dropped by and sat with a few of us in the canteen at Harkness House. He seemed an English gentleman. A few years later, as I was staging Pakita for Ballet West in Salt Lake City, Framklin had just finished staging Raymonda for them and had left. I wondered why Ballet West did not also have him stage Pakita while he was there, instead of flying me in to do it. But it could have been the director (Bruce Marks) wanted the Kirov version that I knew rather than the Ballet Russe version. Still, that would have been interesting to see. Unlike others, fortunate enough to be in NY to see him with ABT, I only saw the ABT Swan Lake on TV with him as the tutor, in his advanced years of course. I wonder why England has never Knighted him but probably because he spent most all of his long life dancing in the USA and not the U.K. I would have loved to have seen him in Rodeo. My sincere congratulations to him for all he has done for American ballet and to be still on the stage at the age of 95. A true inspiration!

Scanning through this thread, yours is seemingly the only DANCE book people are reading here. I read the Ashton bio quite some time ago and loved it. I assume you are referring to the Julie Kavanaugh one. I have just been re-reading a paperback I picked up back during the 1980s called DANCE AS LIFE by Franklin Stevens. It's about a season he spent with American Ballet Theater, not as a dancer but as an observer. As I joined ABT a year or so after he was there and the book was published, I know he wrote a very accurate account of the daily life in American Ballet Theater. I wonder if you or anyone else has ever read that fascinating book, now out of print. Another thing is that I actually knew Franklin Stevens when we were teenage dance students at the same time in NYC. Same teachers, same kind of strugging dance student life. I don't think he has written much else, but Ive often wondered if Franklin is still around or whatever became of him. If anyone on Ballet Talk has heard of him or know anything about him, I would really like to know so I could get in touch. I've also just finished "Somewhee" the life of Jerome Robbins. It's incredible to see the amount of research Amanda Vaill must have done to write this fascinating biography because Robbins was such a complicated man.

www.bravo.ca I watched a video tape of this some time ago. Possibly from Bravo. It is a fascinating documentary but I cannot understand why, just WHY a well known and young choreographer would arrive in Moscow and at their invitation no less, to choreograph a ballet for the BOLSHOI (what an honor) and not be fully PREPARED! It seems to me that if you are invited to stage even a short piece for the most famous and greatest ballet company on the face of the earth such as the Bolshoi, you would spend months ahead of time preparing down to the last detail and arrive ready to go. I would be surprised if the Bolshoi would even invite him back after he wasted not only dancer's time but many rubles after costumes and a set was prepared for him at no little expense. I wonder, has he even learned a lesson from all this?

My goodness! I'm replying to a posting dated 2005 I think, so don't know if the Ruminations is actually still around. Anyway, I'll put in about my delight in reading it. George Chaffee. I too studied there . This must have been around 1951. I was a teenager too and had just arrived in NYC. I had already a bit of training in Boston but it was Russian folk dancing and I was basically a beginner in ballet. I took one class with Madame Anderson whose studio was just below Chaffee's as you know, but I not could keep up. Maybe it was a morning advanced class. So went upstairs to Mr. Chaffee. It was like a family. Before long he took me into his Concert Ballet group and we toured to Atlanta and Hartford. I was working at the Roxy Theater (remember that?) at that time, at the candy stand in the giant rotunda. The Roxy let me off for a week in order to tour with Mr. Chaffee. It was so exciting. Still have pictures and programs from that tour. I remember we all did barre on the train enroute to Atlanta which surely must have been a sight to the other passengers. Many years later, after I had danced with Metropolitan Opera, ABT, England, etc. maybe during the 80s, I again ran into Mr. Chaffee. By then he of course had lost his studio on 56th St. and was living in a tenement bldg on 10th Ave. Adelade Vernon was there too. It was very sad. I visited several times and he made a tape of his voice describing me as his student which was to go into a book. When I got back to NYC from Paris, I found out that he had just died and a memorial was to be held at some church on 47th St. I believe. I went to this. Adelade was there and several others from the early days. Maybe you were there! Anyway, I still have the obit and know full details of his death. I was at Ballet Theater school, also then on 56th St. The first class of Mme Nijinska. I had no money those days so, as I'm Russian speaking, I asked her if I could come to her classes without pay. She said yes. She left shortly after, I think over some misunderstandings with William Dollar, but I kept on at the school. So I had all the teachers you mention, Edward Caton, Vilzak, Shollar, Bill Dollar, then Mme. Peryaslavec.l The BT often called my upstairs where the manager asked me if I could not pay at least half. I couldn't. Scholarships were not around in those days. Mr. Chaffee had me emtying the garbage and cleaning the studio walls as my payment. I have lots more to say about George Chaffe, also the BT staff (Mme. Baliev) Doukadovsky, Margaret Craske, Tudor, Igor Schwetzoff, and many others but should wait first to be sure not wasting time in case this is not going anywhere. Thanx for writing about Chaffee as not much really has been done about him. Richka

I am answering your post but with information that you undoubtedly already have because your quest was 6 years ago and I've only been member of Ballet Talk for several months. Anyway, I have the book "Ballet In Moscow Today". The copyright is New York Graphic Society, Greenwhich, Connecticut, USA but publshed in England by Thames and Hudson Ltd, London. It was printed in Milan, Italy. So Alexander is right. Oddly enough, there is no date included. However, it was a gift to me and inside cover has date 1961 and I think it was already used, so I cannot see how it was published in 1965 as native new yorker says. The other book you mentioned I had but recently sold on eBay. It had autographs of every Bolshoi member during their tour of 1966, given at a party for them at Harkness House. I'm now sorry I sold it as I asked far too little. Please let me know if you have found out anything about the first book.

An interesting thread. Good it's revived. I read Plisetskaya's book years ago but it was only in Russian then but as I am Russian speaking it was okay. I iwould like to also read it in English some day. I remember her saying she was not a lesbian (Ya nye Lyezbyanka, in Russian) because a lesbian fan followed her around everywhere. This devoted fan was Anna, but I forgot her last name. The KGB warned Maya to not associate with her even though Anna was a very nice lady. I remember she was forever at the stage door waiting for Maya back during the 60s abd 70s. I was possibly a fan of Plisetskaya myself and in 1972 when the Bolshoi was appearing in Toronto I took a train and attended every single performance. I even was allowed backstage one morning to watch company class that she was teaching, or I should say holding, as the company of stars were just following her. They were all there, Samokvalova, Liepa, Besmertnova, Vasiliev, etc. It was thrilling just to be in their presence. She of course danced Dying Swan with about 3 encores and multiple curtain calls. I particularly wanted to see The Humpbacked Horse and they did a rather long scene from it. She always said she was glad they put in on the shelf as she didn't like dancing it, but I was enamoured of it from the first when I saw the film version. (They have just revived it at Maryinsky with new choreography by Ratmansky rather than the Radunsky). If any of you were New Yorkers and Bolshoi fans during the 60s, 70s, 80s you may have known Nina Brito. Nina knew everyone in the ballet world and especially the Bolshoi. She was Mexican but spoke perfect Russian. She even introduced me to Grigorovitch and Gordeyev and I helped them both buy Video recorders and showed them around Manhattan one day. I last saw Nina when she treated me to dinner at the Russian Tea Room along with Valentina Peryaslavic. Poor Nina. She died in 1982. She was such a friend of ballet and its dancers!

Long live the memory of Mr. Lazowsky! Mel. I'm so glad you mentioned Yurek Lazovsky. He was my first character teacher as well. Oh, I tell a lie, my VERY first teacher taught me some character but it was mainly doing squat kicks until i couldn't walk. How well I remember Lazovsky's classes, twice a week at the Ballet Theater school. I looked so much forward to them. He even took me into his touring group for the Polish opera "Halka" where we danced the polonaise and mazurkas and afterwards the parties in different cities with his Polish friends. He was teaching his classes all over and around Manhattan in those days. We loyal students would stand at barre patiently as he would explain every barre exercise and steps to newcomers, and there was always a new boy or girl in class. He was such a kindly man too. I even wrote and illustrated a book on character dance (never published) and dedicated it to the memory of Lazovsky. I was too young to have seen him in his dancing days but wish I had. YES, long live the memory of Mr. Yurek Lazovsky.

I am so glad you are responding to this thread on character dance and Alexander Sheraev. I have done character dancing all my life and teach it as well. My first character teacher was Yurek Lazovsky at Ballet Theater school. I was interest in Sheraev of the old Maryinsky and found his book at NY Public Library (not at all easy to get) and had a copy made, then I translated it. It was not easy to translate for me because it is printed in the OLD Russian (pre Soviet) style. It is true that he systemized the training. Beautiful illustrations. Joan Lawson translated some and published it but not entire book. Lopukov was co-author. But I am so surprised that not anyone has mentioned Igor Moiseyev, the leading figure in ALL Folk/Character dance. I went to Russia to study some with him and even assisted him when he came to NYC to stage one of his pieces for the Harkness Ballet. After he died, at age 101, I invited his successor, Irina Scherbakova to teach an open class and she brought 2 young Moiseyev dancers along to demonstrate, plus a bayanist for accompanyment. It was of course completely new to the local dancers who came but they all were fascinated that such a dance form even exists. It is true that character dance (it's based on folk dance, but balleticized) must be taught by someone who really knows and understands it, and not only the steps but the culture that goes along with it. This is very important. When I taught it in University, I brought in costumes to show, had singers perform fok music, even made cuisine of the country we were studying for the taste of the country. This all goes along with a true study of character dance, not just learning some character-like steps. Character dance uses the same rules as classical ballet really. Apart from more relaxed legs, characteristic arm movements, stomps, etc. the barre work is basically the same. I've found that modern dancers learn character much more easily than classic ballet dancers. THe latter sometimes feel they might be ruining their knees, which is of course untrue. Regarding Jazz dance. I believe Jazz is the American character dance, just as csardas is Hungarian, Mazurka, Polish, etc. In my opinion, the best character dancers are European, and mostly with Bolshoi or Kirov training. It's not only the best training available but is basically part of their culture and heritage. During ABTs golden age when Baryshnikov, Makarova, Alexander Mintz, George de la Pena were dancing, the character dancing was more authentic than now, as mentioned in another posting.

After 36 years as the Artistic Director at Hamburg Ballet, I can't imagine there is a whole lot any of us good "tell" Mr. Neumeier. The man has a huge repertoire of choreography and a devoted following in Hamburg. I wouldn't think of 'telling' Mr. Neumeier anything at all as I have not seen any of his ballet output for mamy years, actually not since 1977 (that's 32 years ago). So my comments may be valueless in this present time. But I did know very well his methods of choreographing then since I worked with him at that time while he was doing a Hamlet for ABT. I was ABT's resident choreologist (that's a Benesh dance notator) and so had to attend his rehearsals and write it all down. First of all, his cast could not have been better chosen for star power, or rather given to him by ABT management for box office. Baryshnikov, Gelsey Kirkland, Eric Bruhn, Marcia Haydee, William Carter. All top stars. Even with that line-up, the ballet was a disaster from start to finish and Lucia Chase pulled it after only one performance at the Gershwin Theater on 51st Street. I don't know what it's called now as I no longer live in New York. My feeling was that he had made a bad choice of music: Connotations for piano by Aaron Copland. A solo piano throughout. Baryshnikov kept asking me about the counts and I had a hard time figuring them out myself, and I am trained in music. John does know music and I often saw him studying the piano score, which is not too often seen with other choreographers. The Copland score was unlistenable, at least to my ears. That's only my opinion of course but the audience reaction was the same when I went out front at intermission time to listen. John was rather young then, I think maybe 30 or so, and already well established in Hamburg. I admired him and his tenacity. He was possibly a bit overwhealmed by all that major star power. I remember him asking me how he could to do the curtain calls cautiously, so as not to offend any of them I suppose. (I suggested they come out all at once). I was overwhealmed as well because it was my first job with ABT plus also notating Baryshnikov's Nutcracker and rehearsing Sleeping Beauty at the same time. I believe John re-worked Hamlet after he returned to Hamburg. I do remember sending him the notated score. It was possibly a big success in Germany. I never did a follow-up but the choreologist there would probnably know. At the present time I am very much admiring John for his founding of a museum for the Diaghilev/Nijinsky era. Apparently he has done tons of work in collecting materials from all over the world. My friend and neighbor, George Zoritch, who just recently died, thought very highly of John and I believe at least part of his own vast collection will end up in this setting. It is truly remarkable when an American dancer from Milwaukee is so much honored and respected in Germany and we can be proud of him and his success.

I think I taped it years ago as well but not sure if you're talking about the same ABT documentary that I have. The one I have is when Jane Herman was company manager. In one scene she is blasting the Met for booking the Bolshoi with the same repertory as ABT. I'll have to look again but I think it has Michael Somes rehearsing ABT in Ashton's Symphonic Variations. Is THAT the one? Richka

Good news! There was a video recording made after all. So we do have a record of the event. I brought my digital camera along but then with the multi tasking, I forgot to take any pictures. Maybe someone else did. Then the guest book that peple were signing in has disappeared. Yes, the memorial for Zoritch was indeed held in the studio where he taught for 14 years. I'm so glad I chose that place and Jory Hancock and Melissa Lowe (heads of the Dance Dept) were very helpful in arranging it. Jory was the teacher who replaced Zoritch after he retired. But George Zoritch continued taking class, (only the barre portion) for several years after retirement. Melissa did a very touching gesture at the memorial. After she spoke she placed 3 red roses on the floor where Zoritch always stood at the barre.

Good news! There was a video recording made after all. So we do have a record of the event. I brought my digital camera along but then with the multi tasking, I forgot to take any pictures. Maybe someone else did. Then the guest book that peple were signing in has disappeared.

In case you are interested, as you mentioned that picture, I placed that obituary and picture and it is one George gave me from the movie "Night And Day". I even have the original costume design from Warner Brothers. It does look Southwestern, and that is why I used it for the obit.

The memorial I arranged happened last Sunday. Sadly, the video only produced a blank tape and nobody took pictures. I wrote a report and so here I am glad to copy what I had written. People came from near and far. December 6th 2009. The memorial celebration for George Zoritch was held in the studio where he taught for 14 years at the University of Arizona, a little over a month after his death on November 1st. Close to 75 people arrived as The Prelude to “Afternoon of a Faun” was playing. Among the speakers were Richard Holden (organizer of the event), Phil Sharper (master of ceremonies) Rochelle Zide and Howard Sayette (former dancers with Ballets Russes) ), Douglas Turnbaugh (a producer of the documentary film, Les Ballets Russes) and Norman Walker (a modern choreographer). Tributes and Messages of condolence from Frederic Franklin, Mlada Mladova, Nina Novak, Yuri Grigorovitch, Vladimir Vasiliev, Michael Lavrovsky, Andrei Konkin, Valery Kosarukov, Taina Elg and others were read. Beside the speaker’s table was a beautiful bouquet of roses, reminiscent of Zoritch’s signature dance, “Le Spectre de la Rose”. Interspersed among the memories were DVDs projected on a giant screen. First was a ballet from the film “Escape Me Never” with Zoritch and Mlada Mladova. Zoritch was then 29. Richard Holden pointed out that this was the first glimpse of a male ballet dancer that he saw as a youngster of 14 and which inspired him to become a dancer himself. An endearing scene from the film “Ballets Russes” of Zoritch and Natalia Krasovska, both then in their 80s, recalling a pas de deux from “Giselle”. There was a slide show done on Zoritch’s 90th birthday celebration presented by Kasem Sedigh and a delightful film of a massive tribute to Zoritch by the University Dance Dept in 2007. The closing music was appropriately, ‘Le Spectre de la Rose”. Richard Holden

You are most welcome. It is my priviledge to honor his memory. He lived a very long and interesting life. You were indeed fortunate, even as a child, to have seen him on the stage and the memory lasts. It was very likely Nina Novak that he danced with but he danced with so many ballerinas. He so often told me about Tamara Toumanova who he idolized. He was so broken hearted when she passed away. I never saw him on the stage in my youth, of even the Ballet Russe itself. I only saw him dance in films. The ballet scene in "Escape Me Never" was the first, where he danced with Mlada Mladova. He gave me the costume design from Warner Bros for the costume he wore in "Night And Day" starring Gary Grant, Alexis Smith. I also have a photo of him talking with Errol Flynn. These and a collage of photos by another friend will be on display at the memorial celebration. He was always telling me and showing me how the arms of the "Spectre de la Rose" should be danced as he didn't like any of the recent interpretations. The Spectre music will be playing as well as L'apres midi d'un Faune, another of his favorite roles.

Interesting that you should mention "Million Dollar Mermaid" and the underwater ballet with Esther Williams. It 's the life of Annette Kellerman, a famous swimmer of early 20th century. But did you also notice the scene with Maria Tallchief dancing the "Dying Swan'' as Anna Pavlova? I don't think she is credited but it is certainly her.

A memorial gathering will take place for George Zoritch on December 6th. It will be held in the studio that he taught in for 14 years at the University of Arizona in Tucson. It will be at 2 PM (Arizona time) and last until 5 PM. The studio is part of the Dance Department in the Ina Gittings building on campus. People from the Tucson dance community and those flying in from all parts. ALL are invited!

Last evening (November 12) I held a meeting at my home for some of his former students and some from our Tucson dance community, to plan a memorial for George Zoritch. The when, where and how. We decided on December 6th and it will be held in the studio here at the University where he taught for 14 years. This memorial gathering will start at 2 PM. ALL are invited.

I would be the last one to make judgements but seems to me the director of a ballet film should be someone who KNOWS ballet inside and out. Not just the experience of making a film about wrestling of all things. What kind of a background is that for directing ballet scenes? I suppose, like previous films about ballet, (apart of course from Red Shoes and Turning Point) the "ballerinas" will be actors who can dance, a little. But, on the other hand, we may be surprised!

Yes, it's true. George Zoritch died Sunday, November 1st at 10 PM in Tucson's St. Mary's Hospital. He had been there for 3 weeks after taking a fall in his house and injured his head and neck. I have been a close friend since I moved to Tucson in 1987 and live close to his house in the Tucson Mountains. I visited him nearly every day at the hospital and sometimes fed him. His head was encased in a halo in order to try and heal his neck. He died with it still on. The Sunday morning I visited on my way to a matinee performance of Giselle by the Tucson Ballet. The hospital was very quiet. His caregiver was not there. George had definately taken a change for the worse. He was unable to sit up and spoke almost in a whisper. I had to lean close to hear him. I felt he was dying. His last words to me were "Goodbye Richard" as I left for the ballet. During the ballet "Giselle" (staged and coached by Amanda McKerrow) I felt that, unknown to the dancers, that I would never see George alive again and this "Giselle" could have been an unknown tribute to him, as he had danced Albrecht many times in his life. It came to be true as I was later to find out. A month earlier he had given me his entire collection of video tapes of about 400. Of course I have not seen any of them yet, but among them are recordings of his classes and students of his while he was on the faculty of the University of Arizona. I am not yet prepared to look at them. George was my original inspiration to dance. I had never seen him on the stage in his glory days with Ballet Russe of course but only in films. "Night And Day" and "Escape Me Never" are two that I saw as a teenager and they were the first chance I got to see ballet at all, least of all a male ballet dancer. Perhaps I could relate here that at that time, as a 16 year old, I was an usher at the Metropolitan Movie Palace in Boston (now the Wang Center) and every time the ballet in "Escape Me Never" came on I would rush to the bottom of an aisle to watch as closely as I could. That's when I started lessons and to practice dance steps unseen, whenever I could find an isolated spot in that immense theater. So George had a great influence on my life, and little did I know at that time that we would one day be close neighbors in Tucson. At age 72, George was still doing class barre in local ballet studios and at 82, doing gym at the local YMCA. Then he began writing his book of memories "Ballet Mystique". He then translated it into a Russian edition which he told me is selling very well in Russia. He had been going every other year to Perm, Russia (the home of Serge Diaghileff) to attend ballet competitons there. He was actually planning on going this spring. The Abaturovs, who direct this competition at the beautiful theater there, were visiting George on the day he fell. ВЕЧНАЯ ПAМЯТЪ (Eternal Memory)