The Camargo Ballet

[rg]

the scans below show the cover and one of the spreads from a 14 p. announcement of a 1932 season.

noting that "The Ballets presented will probably be chosen from the following list:--" tells something of the trust the presenters expected from its subscribers.

[leonid17]

the scans below show the cover and one of the spreads from a 14 p. announcement of a 1932 season.

noting that "The Ballets presented will probably be chosen from the following list:--" tells something of the trust the presenters expected from its subscribers.

Not really.

The subscribers all had strong social or artistic links with the presenters and were already or in the process of becoming big fish in a small pond.

[bart]

A quick Google turned up a couple that WERE performed that season: Rupert Doone's Enchanted Grove ,Ashton's Facade amd Rio Grande, and something called High Yellow, which is not on the original list.

The Doone was designed by Duncan Grant and High Yellow by Vanessa Bell, so Bloomsbury was directly involved. leonid, your comment about "big fish in a small pond" definitely applies. .

Also, Giselle and Swan Lake.

http://books.google.com/books?id=Gn5OrjD4r...%22&f=false

Did anything else make it to the stage that season?

[Lynette H]

Thanks for posting that, rg.

I've seen some film clips of Venus and Mars (without sound) - I don't know if it was from 1932. An early example of Ashton's love of ribbons, I think.

[Jane Simpson]

High Yellow was the piece originally announced as Sorrow in Sunlight.

Neither Spectre nor Faune was actually given in this season, and in the article I'm looking at (by John Percival, Dance & Dancers, March 1961) I don't see any mention of either Cephalus and Procris or Pomona; but there was an Ashton/Satie piece called Mercury.

This was the season when Spessiva danced in Giselle and in Swan Lake Act 2.

Maybe the 'trust' element was taken care of by offering a book of subscription coupons in advance, exchangeable later for tickets - presumably after the programmes were announced. 20 coupons cost the same as 14 single tickets.

[Mel Johnson]

Whatever else, if a company were to debut today with a repertoire like that to choose from, I daresay it would receive a lot of interest from modern audiences! I'd go!

[sandik]

... noting that "The Ballets presented will probably be chosen from the following list:--" tells something of the trust the presenters expected from its subscribers.

That's such an interesting situation -- there's a presenter in Seattle that specializes in contemporary work (along the lines of DTW) who often runs their subscription renewal campaign without being able to tell people what they will be showing during the next season. Much of their audience is very loyal, and very trusting -- they can run a campaign for a season full of "TBA" and still do well.

[leonid17]

" The Doone was designed by Duncan Grant and High Yellow by Vanessa Bell, so Bloomsbury was directly involved. leonid, your comment about "big fish in a small pond" definitely applies. ."

High Yellow was choreographed by Buddy Bradley(Black American dancer and choreographic fixer) with assistance from Frederick Ashton.

Buddy Bradley had an interesting dance career and worked with many famous people. see:- http://www.streetswing.com/histmai2/d2budbrd1.htm

After reading about him, I am sorry that I had never heard of Bradley before.