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for what it may be worth as a curiosity regarding the history of THE SLEEPING BEAUTY in Britain, this program shows how Nicholas/Nicolai Sergeyev/Sergueeff's staging was listed in '51.

David Vaughan, who has written extensively of BEAUTY in the West - notably a series of articles he's entitled "Annals of The Sleeping Beauty" - once told me he very much regrets having not seen this production on stage.

(i've sent these scans to him in case he has any thoughts about the staging from the program copy.)



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well observered, Christian, re: the lack of indication of a solo for the prince.

below is a scan of the next spread of the 4-page program.

David Vaughan writes:

<<What an ambitious rep, and in the Festival Hall too, a notoriously unsuitable venue for ballet. Two Massine ballets. Her production of Carnaval is probably the last one I saw, and it was good when I saw it, with Harold Turner as Harlequin and probably Nina Tarakanova as Columbine, maybe Mona as Papillon. I don't know what For Love or Money was, or Visions. It would all be in the Dancing Times, I suppose.>>


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Slightly off-topic, but we had a thread a few years ago about Mona Inglesby, the proprietor of Ballet International and the Aurora in this production.

Here's a brief Ballet Talk thread, started off by leonid at the time of her death.


Several obituaries are on line. Here's the Times:


Her greatest achievement was yet to come. When Sergeyev died, he left his collection of notations to a friend who knew nothing of ballet. Determined that they must not be lost, Inglesby bought them and looked for a suitable home. No British company or organisation showed interest; nor did Leningrad.

Happily, Harvard University was persuaded to buy them, and there their immense value is belatedly being realised. Both the Mariinsky Ballet and the Royal Ballet have drawn on them for productions of the old classics, and future generations will surely be thankful for their preservation.

And here's information about the book she wrote, Ballet in the Blitz.

http://www.monainglesby.co.uk/about.html I noticed that it is now out of stock on Amazon U.K.

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I believe that Inglesby had an operation on her foot at some point and this might have prevented her from holding the unsupported balances in the Rose Adagio.

Errol Addison who was a Cecchetti pupil and appeared in the corps de ballet of Diaghilev's ballet who gained a real reputation as a teacher, did when I was in a group and he holding court, naughtily rather than nastily said, " That Mona Inglesby had a prosthetic toe that would become dislodged and once fell out of her shoe on stage."

I do not think this event could be a possibility, but it was typical of Errol Addison's sometimes off colour humour. It also probably confirms why she lost her ability to balance which hitherto had been a feature of her very strong technique.

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