1940's SIGNED BALLETS RUSSES DE MONTE CARLO by 26 Members autographs Markova!!!!

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Seller: memorabilia111 ✉️ (808) 100%, Location: Ann Arbor, Michigan, US, Ships to: US & many other countries, Item: 176284773306 1940's SIGNED BALLETS RUSSES DE MONTE CARLO by 26 Members autographs Markova!!!!. 3 pages with 1940's autographs in black ink on large pages measuring approximately 13x16 inches on front and back with 26 signatures of members from Ballet Russe De Monte Carlo 1. Robert Lindgren 2. Hardin Dorn 3. Val Buttignol 4. Harry Baskind 5. Eddie Pfeiffer 6. Bernice Rehner 7. Irma Sandre 8. Gertrude Tyven 9. Antonia Hadleigh 10. Gerard Leavitt 11. Job Sanders 12. Shirley Haynes 13. Joe Frances 14. Merriam Lanova 15. Patricia Wilde 16. Valrene Tweedie 17. Leon Danielien 18. Anton Dolin 19. Patricia Wilde 20. Alicia Markova 21. Mary Ellen Moylan 22. Paul Strauss 23. John J. Kelly 24. Frank Hobi 25. Frederic Franklin 26. Harry Baskind
Born in England, Anton Dolin was trained by the notable Russian teachers Serafima Astafieva and Bronislava Nijinska. Dolin began his ballet career in 1921 in the corps de ballet of Sergey Diaghilev’s Ballets Russes. As a soloist with Diaghilev’s company, he created the leading role in Nijinska’s Train Bleu. Dolin was considered to be one of the finest partners of his time and frequently partnered Alicia Markova. He eventually danced leading roles in numerous classical ballets but was also noted for such creations as Satan in Ninette de Valois’s Job and the title role in Michel Fokine’s Bluebeard. Active in the formation of many companies, Dolin helped establish the Camargo Society, whose productions greatly influenced British ballet, and he danced leading roles in the first productions of the Vic-Wells Ballet (now the Royal Ballet). He joined Ballet Theatre(now American Ballet Theatre) at its inception in 1940, remaining until 1946 as a dancer and choreographer. He was also director and principal male dancer of the Markova-Dolin companies. In 1949 he and Markova founded another company that in 1950 became London’s Festival Ballet; there Dolin was premier danseur and artistic director until 1961. He then organized and toured with the troupe Stars of the Ballet, worked as choreographer and director of the Rome Opera Ballet, and served as artistic adviser to Les Grands Ballets Canadiens. As a choreographer Dolin restaged Swan Lake, Giselle,#44; and the last act of The Sleeping Beauty, which he presented alone as Princess Aurora. Dolin is particularly noted for his reconstruction of Jules Perrot’s classical divertissement, Pas de Quatre. His many books on the dance include Ballet Go Round, Pas de Deux: the Art of Partnering, Alicia Markova, Autobiography, and The Sleeping Ballerina: The Story of Olga Spessivtzeva. In 1980 he played the part of the teacher Cecchetti in the motion picture Nijinsky. Dolin was knighted in 1981 and died in 1983, in Paris. Sir Anton Dolin (27 July 1904 – 25 November 1983)[1] was an English ballet dancer and choreographer. Contents 1 Biography 2 Partial filmography 3 References 4 Sources 5 External links Biography Dolin in The Prodigal Son, Ballets Russes, during the Australian Tour of 1939 Dolin was born in Slinfold in Sussex as Sydney Francis Patrick Chippendall Healey-Kay but was generally known as Patrick Kay. He was the second of three sons of Henry George Kay (1852-1922) and his wife, Helen Maude Chippendall Healey (1869-1960), from Dublin.[2] He trained at Serafina Astafieva's school at The Pheasantry in London's King's Road.[3] He joined Sergei Diaghilev's Ballets Russes in 1921, was a principal there from 1924, and was a principal with the Vic-Wells Ballet in the 1930s. There he danced with Alicia Markova, with whom he went on to found the Markova-Dolin Ballet and the London Festival Ballet. He joined Ballet Theatre when it was formed in 1940 and remained there as a dancer and choreographer until 1946.[4] Dolin wrote several books, including the autobiography Ballet Go Round (1938) and Alicia Markova: Her Life and Art (1953).[5] He was knighted in 1981. He is featured in the documentary film A Portrait of Giselle. He was the subject of This Is Your Life in April 1978 when he was surprised by Eamonn Andrews at London's Royal Academy of Dance. Upon Dolin’s death, dancers Jelko Yuresha and Belinda Wright inherited the rights to his choreography of Giselle, Pas de Quatre, and his acclaimed original ballet, Variations for Four. Yuresha and Wright danced—and later staged—productions of these ballets with dance companies around the world, designing original costumes and sets for those performances.[6] Partial filmography Dark Red Roses (1929) - Dancer (uncredited) Alf's Button (1930) Forbidden Territory (1934) - Jack Straw Invitation to the Waltz (1935) – Chief Dancer A Song for Miss Julie (1945) – Himself – Ballet Dancer Never Let Me Go (1953) – Marya's Partner (uncredited) The Girl from Petrovka (1974) – Ignatievitch Nijinsky (1980) – Maestro Cecchetti Dame Alicia Markova, Britain’s first prima ballerina, combined amazing technique and personal strength with tremendous artistry to become one of the finest classical dancers of her generation and, through touring extensively to develop and expand its audience, one of ballet’s greatest ambassadors. She also extended her legacy beyond performance, through choreography and her commitment to coaching succeeding generations of dancers. Markova’s dancing was legendary for its purity, lightness and lyricism. She danced a wide range of roles, particularly early in her career, but became best known for her interpretations of the classics. Most associated with Giselle, she wrote a book on her history with the title role (Giselle and I, 1960). Her variety of experience and her amazing memory made her a living treasure trove of ballet history, tradition and style. Born Lillian Alicia Marks on December 1, 1910, in North London, she was the first of four daughters born to Arthur Marks (1889–1924), a mining engineer, and Eileen Barry (1890–1949), an Irish Catholic from County Cork, who met while in their teens and eventually married (1910) after Eileen converted to Judaism (taking the Jewish name Ruth). Alicia’s sisters—Doris, Vivienne, and Berenice (known as Bunny)—were born in 1914, 1917 and 1918, respectively. A strong Jewish influence in her youth was her Orthodox paternal great-grandfather, Abraham Marks, with whom the family lived briefly when Markova was very young. Abraham, a theatrical costume supplier, fostered young Markova’s theatricality. The sisters would play in his storeroom, making doll clothes and costumes for productions, which Alicia often originated and directed and which they performed for family and friends. A frail child, who was mostly home schooled due to her shyness and several childhood illnesses, Markova originally started dancing for therapeutic reasons. She was diagnosed at age eight with flat feet and weak knees; the family doctor suggested ballet exercises might strengthen her. Markova had loved music since she was a toddler and it quickly became clear that she was a natural, with great technical facility and, despite her shyness, a compelling stage presence. Markova made her professional debut at age ten in the pantomime Dick Whittington, dancing three solos, to such critical and popular success that Mrs. Marks decided to seek further training for her daughter. Markova began study with Serafina Astafieva, a former star with the Ballets Russes company of Serge Diaghilev. Markova was seen by Diaghilev himself the following year and was to be in his 1921 production of The Sleeping Princess, but two days before rehearsals began she was hospitalized with diphtheria. Upon recovering, Markova continued to work with Astafieva, and performed occasionally in engagements arranged through Astafieva’s school. At the school Markova met the young Anton Dolin (born Patrick Kay, 1904–1983), with whom she later formed the first great ballet partnership of the twentieth century. In 1924, tragedy struck the family with the sudden death of Markova’s father. His health failed in the wake of his financial ruin at the hands of a crooked business partner. Markova was devastated, but she realized that her dancing was now the family’s best chance for income. Astafieva and Dolin (now a Ballets Russes soloist) arranged for her to dance again for Diaghilev. He was won over, and Markova was hired to join Diaghilev’s company. He changed her name to Alicia Markova, in keeping with the contemporary idea that all great ballet dancers were Russian. At fourteen, she became the first “baby ballerina.” Markova’s four and half years with the company laid the lasting foundation of her career. Under Diaghilev, she created roles in new ballets, first learned the Russian classics and transitioned from child prodigy to maturing artist. Offstage, the death of Markova’s governess Gladys “Guggy” Hogan (the family nurse since Doris’s birth and Markova’s devoted but fiercely overprotective chaperone since her debut) when Alicia was sixteen both forced and allowed her to take greater charge of the practical aspects of her life and career, through which she gained poise and confidence. Devastated again by Diaghilev’s death in 1929, she rallied and returned to London, where she worked with, among others, the Ballet Club and the Vic-Wells Ballet (later The Royal Ballet), considerably helping to develop these companies which established English ballet. In 1935 she and Anton Dolin formed the first Markova-Dolin Ballet, which toured extensively around Britain, bringing ballet to new audiences, and performing pioneering appearances in large outdoor stadiums. Starting in 1939 she followed much the same path in the US, arriving and touring initially with a re-formed Ballet Russe, then joining the fledgling Ballet Theatre in 1941, where she was a principal ballerina. She and Dolin, who had also joined Ballet Theatre, still made outside guest appearances and in 1945 they re-formed their company. They toured Central America, the Philippines and helped to establish a national ballet in Mexico. In 1948, the two returned to England, forming another touring company that became the Festival Ballet in 1950 (now the English National Ballet). Markova then traveled the globe as a guest artist, performing with her own and other ballet companies, as well as in concert programs, operas, on television, and even radio. A tour to Israel with Festival Ballet in 1958 was a proud highlight, given her Jewish heritage and earlier performances at benefits in New York to fund the Mann Auditorium in Tel Aviv. She retired from performing in 1963; that same year she was named a Dame of the British Empire, one of countless awards and accolades she has received. In and around an international schedule of coaching and lectures, she directed the Metropolitan Opera Ballet from 1963 to 1969 and served on the faculty of the University of Cincinnati College-Conservatory of Music from 1970 to 1974, when she returned home to England to be closer to family and include more of her home country’s ballet institutions in her activities. Dame Alicia Markova never married, choosing instead to give her complete devotion to her demanding but immensely fulfilling career. She lived in London with her sister Doris, continuing to work until just a few months before her death, on December 2, 2004, in Bath, England, one day after her ninety-fourth birthday. SELECTED WORKS BY ALICIA MARKOVA Books Giselle and I. London: 1960; Markova Remembers: Dame Alicia Markova. London: 1986; “Tribute to Marie Rambert.” In Fifty Years of Ballet Rambert. Crisp, Clement, Sainsbury, Anya, and Williams, Peter (eds). Ilkley: 1976. Note: Rev. ed. published as Ballet Rambert: Fifty Years and On. England: 1981. Magazines “A Bouquet for the Ballerina.” The Dancing Times, October 1962, 18–19; “My Life in Opera,” The Dancing Times. London. April 1964, 362–363; “Reminiscences of a Ballerina.” Dance Magazine, December 1962, 38, 76. Bibliography Anthony, Gordon. Alicia Markova. London: 1951; Anthony, Gordon and de Valois, Ninette (fwd). Markova; With A Collection of Photographic Studies. London: 1935; Beaumont, Cyril William. Alicia Markova. London: 1935; Dolin, Anton. Alicia Markova, Her Life and Art. New York: 1953; Fisher, Hugh. Alicia Markova. London: 1954; Fisher, Hugh and Swinson, Cyril (ed). Alicia Markova. London: 1958; Hall, A. George (ed). A Legend of British Ballet, Alicia Markova and Anton Dolin; A Collection of Portraits. London: 1940; Leonard, Maurice. Markova: The Legend. London: 1995; Mason, Francis. “Interview with Alicia Markova.” Dance Magazine, July 1952, 11–12 (includes compilation of biographical data). Dame Alicia Markova, prima ballerina assoluta and one of the most influential figures in British dance, has died in hospital in Bath on the night after her 94th birthday. A friend said she had been "gradually fading away this year". As one of the greatest ballerinas of the 20th century, Dame Alicia's contribution to British cultural life was profound. Born plain Lilian Alicia Marks in Finsbury Park, London, she was renamed "Markova", by the Russian impresario Sergei Diaghilev, her early champion, when she was plucked from her Chelsea ballet class to join his famous Ballets Russes in 1925, aged 14. Guardian Today: the headlines, the analysis, the debate - sent direct to you  Read more Diaghilev called her his "English daughter"; she called him "Sergypop". She was crucial to the invention of British ballet, dancing for Marie Rambert and with the Vic-Wells (now Royal) Ballet from the early 1930s. In the latter company she became inextricably linked with the role of Giselle, her interpretation of which Monica Mason, director of the Royal Ballet, yesterday called "definitive". She was still dancing the part at the age of 48. During the war she danced in America, notably as a pioneering ballerina with the American Ballet Theatre, where her status as an international star was confirmed. Back in Britain after the war, she founded English Festival Ballet (now English National Ballet), energetically touring the country and creating, for the first time, a national grassroots audience for ballet. She retired from the stage in 1962, but continued to teach. Judith Mackrell, the Guardian's dance critic, said: "She was the first British ballerina with any kind of international profile.The fact that she danced those roles so shatteringly with Diaghilev's company, and the fact she was their emerging artist, and British, was vitally important. "She was both 'our girl Alicia' and also a dancer with a huge international mystique. "When she danced in Britain, she brought with her the aroma of Diaghilev and of America. Her death severs a link with history." Matz Skoog, artistic director of ENB, said: "She was a true giant of the ballet world and the last of her generation. ENB is extremely privileged to have had Dame Alicia as its guiding inspiration for more than 50 years." Ms Mason said that she was "deeply saddened" and described Dame Alicia's contribution to British ballet as "immeasurable". Dame Alicia Markova DBE (1 December 1910–2 December 2004) was a British ballerina and a choreographer, director and teacher of classical ballet. Most noted for her career with Sergei Diaghilev's Ballets Russes and touring internationally, she was widely considered to be one of the greatest classical ballet dancers of the twentieth century. She was the first British dancer to become the principal dancer of a ballet company and, with Dame Margot Fonteyn, is one of only two English dancers to be recognised as a prima ballerina assoluta.[1][2][3][4] Markova was a founder dancer of the Rambert Dance Company, The Royal Ballet and American Ballet Theatre, and was co-founder and director of the English National Ballet. Contents 1 Early years 2 Career 2.1 Diaghilev's Ballets Russes 2.2 After Diaghilev 2.3 English National Ballet 2.4 Retirement 2.5 Death 3 Awards, titles and honours 4 Positions 5 See also 6 References 7 External links Early years Markova was born as Lilian Alicia Marks[5] on 1 December 1910. Her father, Arthur, was Jewish by birth; her mother, Eileen (nee Barry), converted to Judaism.[6] The family lived in a two bedroom flat in Finsbury Park.[7] Career Markova began to dance on medical advice to strengthen her weak limbs. She made her stage debut at age ten, performing the role of Salome in the pantomime Dick Whittington and His Cat, for which she was billed as Little Alicia, the child Pavlova.[7] She began studying ballet with Princess Serafina Astafieva, a Russian ballerina living in London. Astafieva was a retired dancer of the Ballets Russes, a renowned ballet company founded by the impresario Sergei Diaghilev. Astafieva established the Russian Dancing Academy at The Pheasantry, King's Road, Chelsea, and was responsible for teaching a number of notable British dancers including Margot Fonteyn and Anton Dolin. A blue plaque now marks the site of her former studio.[8] Diaghilev's Ballets Russes At the age of 13, Markova was observed in class by Diaghilev, who was visiting London in search of new talent for his ballet company. He invited her to join the Ballets Russes in Monte Carlo, which she did in 1925, one month after her 14th birthday. Due to her age, she performed a number of roles which were specially choreographed for her, also performing in a varied repertoire of new and established ballets. Alongside the many notable dancers, during this period she encountered a number of leading 20th century figures who created work for the company including Pablo Picasso, Henri Matisse, Igor Stravinsky, Sergei Prokofiev, Léonide Massine, George Balanchine, and Bronislava Nijinska.[8] After Diaghilev Following the death of Diaghilev in 1929, Markova returned to England, where she became the founder Principal Ballerina of The Ballet Club, a company founded by Dame Marie Rambert. During this period, she was particularly noted for performing works by Frederick Ashton, who was unknown at the time, but would go on to become one of Britain's most celebrated choreographers. The Ballet Club was to be the first professional ballet company in the United Kingdom, later becoming known as the Ballet Rambert. Now known as the Rambert Dance Company, it remains the oldest established dance company in the UK.[9] In 1931, Ninette de Valois founded the Vic-Wells Ballet in premises at Sadler's Wells theatre in London. A former colleague from Diaghilev's company, she invited Markova to join the company as one of its founder dancers, which she did, forming a famous partnership with Anton Dolin. De Valois hired Frederick Ashton, who became the resident choreographer and later Artistic Director of the company. In 1933, de Valois appointed Markova as the first Prima Ballerina of the company, which is now the internationally renowned Royal Ballet.[8] It was after seeing the Camargo Society performance of Giselle with Olga Spessivtseva and Dolin in 1932 that Markova first realized the possibilities of the then-neglected ballet. In time it became her most treasured role and the one whose expressive possibilities she continued to develop throughout her career. Her premiere in the role was on New Year's Day 1934 at the Vic.[8][9] In 1935, Markova and Dolin left the Vic-Wells ballet to form their own touring company known as the Markova-Dolin Company. The company toured extensively for two seasons and in 1936 Prince Wolkonsky joined the company as ballet master. Later in 1938 Markova joined the Ballet Russe de Monte Carlo, touring the world as the company's star ballerina. The company was the first to tour ballet throughout the United States, taking the art form to audiences who had never seen ballet before. During this time, she was a key figure in the formation of the American Ballet Theatre, dancing with the company during its early years.[8] Portrait of Markova in the Bluebird Variation of The Sleeping Beauty, commissioned from Igor Stravinsky for the American Ballet Theatre (1941) Markova in "The Dying Swan", 1948 Markova appeared in ballets around the world, but is remembered mostly for her Giselle, as well as for The Dying Swan and Les Sylphides. During the Second World War she re-formed Les Ballets Russes in the United States and appeared as a dancer with Dolin in the Hollywood film, A Song for Miss Julie.[8] English National Ballet In 1950, Markova and Dolin became the co-founders of the Festival Ballet, a company formed to celebrate the imminent Festival of Britain and backed by the Polish businessman Julian Brunsweg. Dolin was to be the company's first Artistic Director, with Markova as Prima Ballerina. The company was formed to tour ballets to audiences that would otherwise be unable to experience ballet, and went on to tour extensively to less conventional venues both in the United Kingdom and internationally. It also established a number of educational programmes designed to make ballet accessible to new audiences. She remained the Prima ballerina until 1952, after which she continued to appear regularly as a guest dancer until her retirement from professional dancing.[10][8][9] In 1960, she collaborated with Indian classical dancer Ram Gopal to create a duet "Radha-Krishna" based on Hindu mythology, in which she danced as Radha, while he danced as Krishna. Today their collaboration is commemorated at the National Portrait Gallery, London where her bronze bust stands next to his portrait.[11][12] In 1989, the Festival Ballet was renamed English National Ballet to reflect the company's role as Britain's only classical ballet company dedicated to touring ballets nationwide at an affordable price for audiences.[7] Pointe shoe belonging to Markova, currently housed at The Shoe Room in Toronto. Retirement Photo of Markova taken by Allan Warren Markova retired from professional dancing in January 1963 at the age of 52. Following her retirement, she continued to play an active role in the ballet and theatre industry as a teacher, director and choreographer. She was responsible for staging a number of ballets that she had performed with the Ballets Russes, also coaching dancers for roles she had created for choreographers such as Sir Frederick Ashton.[13] As a teacher she presented televised master classes and was also appointed Professor of Ballet and Performing Arts at the University of Cincinnati. In her later years, she continued to be a regular member of the teaching faculty for residential ballet courses such as the Yorkshire Ballet Seminars and the Abingdon Ballet Seminars, and was also President and a regular guest teacher at the Arts Educational Schools in London and Tring. She was also a governor and regular guest teacher at the Royal Ballet School.[9] She was the subject of This Is Your Life on two occasions, in January 1960 when she was surprised by Eamonn Andrews at the Royal Festival Hall, and in October 1995, when Michael Aspel surprised her at London's Royal Opera House. Markova was Patron/President for numerous dance organisations, including serving as President of English National Ballet, a Governor of The Royal Ballet and vice President of the Royal Academy of Dance.[13] Death Some time after suffering a stroke, Markova died on 2 December 2004 in a hospital in Bath, one day after her 94th birthday. She never married. A funeral service was held at Bath's Haycombe Crematorium. A memorial service of thanksgiving for her life and work was held at Westminster Abbey on 8 March 2005.[14] As part of the service, dancers of the English National Ballet company performed extracts from the ballet Giselle (Daria Klimentová, Dmitri Gruzdyev, Erina Takahashi, Arionel Vargas) and Les Sylphides (Agnes Oakes and Simone Clarke).[14] Awards, titles and honours 1957 - Dance Magazine Award 1957 - Woman of the Year Award (American Women's Organisation) 1958 - CBE, Commander of the Order of the British Empire 1963 - DBE, Dame Commander of Order of the British Empire 1963 - Queen Elizabeth II Coronation Award, Royal Academy of Dance 1966 - DMus, Honorary Doctorate of Music, Leicester University 1982 - MusD, Honorary Doctorate of Music, University of East Anglia 1994 - Evening Standard Special Award 2000 - Cecchetti D'Argento Award, Imperial Society of Teachers of Dancing 2001 - DUniv, Honorary Doctor of the University, Middlesex University Positions Co-Founder and President, English National Ballet Governor, The Royal Ballet Vice President, Royal Academy of Dance President, The London Ballet Circle Patron, The Academy of Indian Dance President, All England Dance Association President, The Arts Educational Schools President, British Ballet Organization Professor of Ballet and Performing Arts, College-Conservatory of Music, University of Cincinnati Patron, Friends of Northern Ballet Theatre Patron, Abingdon Ballet Seminars Honorary President, ANCEC (Associazione Nationale Coreutica Enrico Cecchetti) Patron, Critics' Circle National Dance Awards Director, Metropolitan Opera Ballet 1963-69 Harding Dorn Biography (1923-) Born August 1, 1923, in New York, NY; son of Morris (a designer) and Celia Dorn. Addresses: HOME--206 E. 67th Street, New York, NY 10021. OFFICE--c/o Jerome Cargill Productions, 97 Reade Street, New York, NY 10013. Nationality American Gender Male Birth Details August 1, 1923 New York, New York, United States Famous Works Credits; Stage Debut Benjamin, Jacob and his Brother, Juilliard School of Music, NY, 1936, forfifteen performances. Credits; PRINCIPAL STAGE APPEARANCES In seasons with the Ballet Russe de Monte Carlo, 1948-55: Dance master, Gaite Parisienne, prince's friend, Swan Lake, cowhand and caller, Rodeo, Czardas and Pas de Classique Hongrois, Raymonda, head mistress, Graduation Ball, Waltz of the Flowers, Nutcracker, Sailor, Frankie and Johnny, Shepherd Divertissment, Night Shadow, Harlequin, Coppelia, Bird and the Man, Seventh Symphony. Also danced in the ballets: Virginia Sampler, Le Beau Danube, Rouge et Noir, Ballet Imperial, Madronos, Serenade, The Snow Maiden, Prince Igor, Baiserde la Fee, Giselle. At theatres throughout the U.S., Canada and Australia danced in musicals:Simon of Legree, The King and I; Harry Beaton, Brigadoon; Indian dancer, Annie Get Your Gun; dancer, Lend an Ear; head dressmaker, Arabian Nights; TommyDjilis, The Music Man; dancer, Merry Widow; mayor and shriner, Bye, Bye Birdie; the Admiral, Fannie; various roles, Little Me. Credits; PRINCIPAL STAGE WORK; DIRECTOR, CHOREOGRAPHER,AND ASSOCIATEPRODUCER George M. Sweet Charity. The Music Man. Damn Yankees. My Fair Lady. 70 Girls 70. West Side Story. The Boy Friend. Hello, Dolly!. Fiddler on the Roof. Molly Brown. How to Succeed in Business without Really Trying. Funny Girl. On a Clear Day. I Do, I Do. La Deuce. Credits; CHOREOGRAPHER Calamity Jane. Cinderella. Around the World in 80 Days. Tom Sawyer. On a Clear Day. Call Me Madam. Can Can. Peter Pan. Wildcat. Carousel. 110 in the Shade. Camelot. South Pacific. Little Me. Tovarich. West Side Story. Rose Marie. Firefly. Merry Widow. Sound of Music. Funny Girl. Milk and Honey. Gypsy. The King and I. Annie. Mr. President. Bells Are Ringing. Bye, Bye Birdie. Carnival. Oklahoma. Superman. Panama Game. Student Prince. Wizard of Oz. Meet Me in St. Louis. Choreographer, director, and co-producer, Los Pretty Americanos, Puerto Rico Sheraton, San Juan; choreographer and musical staging, Little Me, MineolaPlayhouse, NY. choreographer and musical staging, Mr. Scrooge, Crest, Toronto, Canada. choreographer and musical staging, The Music Man, Melbourne, Australia. director, choreographer, and writer, The Wyatt Earp Western Review, Melbourne, Australia. choreographer and musical staging, The King and I, My Fair Lady, Merry Widow, Brigadoon, and Carmen, all at the St. Paul Civic Opera. choreographer and musical staging, Die Fledermaus. director and choreographer, Revue, Royal Alexander, Toronto, Canada. creator, Purely for Pleasure. choreographer and musical staging, Lend an Ear, The Day Before Spring, Brigadoon, all at the Royal Poinciana Playhouse, Palm Beach, FL. Credits; PRINCIPAL FILM WORK; CASTING DIRECTOR Death Wish, Paramount, 1974. Three Days of the Condor, Paramount, 1975. Report to the Commissioner, United Artists, 1975. The Stepford Wives, Columbia, 1975. The Reincarnation of Peter Proud, American International, 1975. Aaron Loves Angela, Columbia, 1975. Credits; PRINCIPAL TELEVISION WORK; CASTING DIRECTOR Kojack (movie). Queen of the Stardust Ballroom (movie). Life of Ralph Waldo Emmerson (movie). Since the late 1960s, University of North Carolina School of the Arts has produced some of the finest dancers and dance makers. (Think Gillian Murphy, Jonah Bokaer, Mark Dendy, and Trey McIntyre.) This is due in large part to its founding dean, Robert Lindgren, who passed away May 10 at 89.   Born in British Columbia, Lindgren performed with Ballet Theatre (now ABT) in the early 1940s. After serving with the Royal Canadian Air Force during World War II, he joined the Ballet Russe de Monte Carlo and later became a soloist with New York City Ballet. In addition to his work in classical ballet, he performed on television and Broadway.   After retiring from the stage in 1959, Lindgren and his wife, Sonja Tyven, whom he met while dancing with the Ballet Russe, moved to Phoenix and opened the Lindgren-Tyven School of Ballet. Soon after, the couple moved to North Carolina.   In the early 1960s, North Carolina became the first state to establish a public, residential high school for the arts. North Carolina School of the Arts opened in 1965 in Winston-Salem, and Lindgren was appointed the first dean of dance. Adam Miller, a UNCSA alum and a former Pacific Northwest Ballet principal, recalls Lindgren's early days at NCSA: “I remember him talking about how within any week, he and his wife had worked with Balanchine or Peter Gennaro, taking class at Carnegie Hall, rehearsing with Antony Tudor," says Miller, who teaches ballet in Seattle now. "He made those experiences a part of our legacy."   Lindgren founded North Carolina Dance Theatre in 1970 as an extension of the school. The company moved to Charlotte in 1990, and is now thriving as an independent professional company under the direction of Jean-Pierre Bonnefoux.   One of Lindgren's most lasting contributions to UNSCA ( “University” was added to school’s name in 2008) was the school's annual Nutcracker, which Lindgren and Tyven first choreographed in the mid-1960s. Lindgren passed on the Russian tradition he had inherited to UNCSA students. Miller, for example, learned the Nutcracker prince’s mime sequence that Lindgren knew from dancing with the Ballet Russe. And today, UNCSA’s Nutcracker remains a central part of the region’s holiday festivities. It's a giant production—the music, design, and dance departments collaborate, and renowned guest artists (like ABT principal Veronika Part and former NYCB principal Charles Askegard in 2012) are invited to perform.   Lindgren left UNCSA in 1987 when Lincoln Kirstein asked him to direct the School of American Ballet. He retired from SAB in 1991 and returned to Winston-Salem. In his later years, he helped establish the Carolina Ballet in Raleigh, and was a visiting guest artists at Wake Forest University. For a time, he also served as director of the South Carolina Governor's School for the Arts. He received honorary doctorates from Wake Forest in 1976 and UNCSA in 2006. —Jenny Dalzell Robert Lindgren, a Canadian-born dancer who appeared with major American ballet companies before becoming the founding dean of the influential dance school at the North Carolina School of the Arts, died on Friday at his home in Winston-Salem, N.C. He was 89. His death was confirmed by his wife, the dancer and teacher Sonja Tyven. Mr. Lindgren was well known to ballet audiences in the 1940s and ’50s, although he was seen less in strictly classical roles than in contemporary ballets and as the Golden Slave in “Schéhérazade.” He danced with Ballet Theater (now American Ballet Theater) in New York in the early 1940s and with the Ballet Russe de Monte Carlo from 1945 to 1952. From 1957 to 1959, he was a soloist in New York City Ballet. He also danced on television, on Broadway and on State Department tours. Gov. Terry Sanford of North Carolina established the School of the Arts (now the University of North Carolina School of the Arts) in Winston-Salem as a public arts conservatory in 1963, offering courses at the high school and college levels. (It now has a graduate program.) Mr. Lindgren was its first dean of dance, from 1965 to 1987. He also founded and directed its professional ballet troupe, North Carolina Dance Theater. Sign up for the Theater Update Newsletter Every week, stay on top of the top-grossing Broadway shows, recent reviews, Critics’ Picks and more. SIGN UP The school’s graduates became visible in American companies as diverse as Ballet Theater, the Merce Cunningham Dance Company, New York City Ballet and the Paul Taylor Company. In 1979, Mr. Lindgren’s reach became international when Netherlands Dance Theater, directed by Jiri Kylian, began using many North Carolina-trained dancers. The faculty included leading alumni of professional companies, among them Melissa Hayden of City Ballet. ImageRobert Lindgren Robert LindgrenCreditKing Douglas Mr. Lindgren resigned as dean in 1987 when Lincoln Kirstein invited him to be his successor as director and president of the School of American Ballet, City Ballet’s affiliate school in New York. He left in 1991, reportedly over disagreements about widening the curriculum. Drawing on his own professional experience, Mr. Lindgren remained a believer in training dancers in several dance idioms and styles. Born on Dec. 9, 1923, in Victoria, British Columbia, Mr. Lindgren studied ballet in Canada and then in New York. During World War II he served with the Royal Canadian Air Force. On his discharge, in 1944, he joined the Ballet Russe, at a time when George Balanchine was its main choreographer. He and Ms. Tyven, who also danced in the Ballet Russe, were married in 1952. After they retired from City Ballet, they opened the Lindgren-Tyven School of Ballet in Phoenix and later moved to North Carolina. In addition to Ms. Tyven, Mr. Lindgren is survived by their daughters, Ann LaRosee and Elizabeth Mullen, and four grandchildren. One of Mr. Lindgren’s legacies at the School of the Arts is the annual production of “The Nutcracker,” which he and Ms. Tyven choreographed there more than 40 years ago. The company Ballets Russes de Monte-Carlo (note the plural) was formed in 1932 after the death of Sergei Diaghilev and the demise of Ballets Russes. Its director was Wassily de Basil (usually referred to as Colonel W. de Basil), and its artistic director was René Blum. They fell out in 1936 and the company split. The part which de Basil retained went through two name changes before becoming the Original Ballet Russe. Blum founded Les Ballets de Monte Carlo, which changed its name to Ballet Russe de Monte-Carlo (note the singular) when Léonide Massine became artistic director in 1938. It operated under this name until it disbanded some 20 years later.[1] The Ballet Russe de Monte-Carlo featured such dancers as Frederic Franklin, Alexandra Danilova, Maria Tallchief, Nicholas Magallanes[2], Tamara Toumanova, George Zoritch, Alicia Alonso , Yvonne Joyce Craig, Nina Novak, Raven Wilkinson, Meredith Baylis, Cyd Charisse, Marc Platt, Irina Baronova, and Leon Danielian. The company's resident choreographer was Massine; it also featured the choreography of Michel Fokine, Bronislava Nijinska, Frederick Ashton, George Balanchine, Agnes de Mille, Ruth Page and Valerie Bettis. The Ballet Russe de Monte-Carlo toured chiefly in the United States after World War II began. The company introduced audiences to ballet in cities and towns across the country, in many places where people had never seen classical dance. The company's principal dancers performed with other companies, and founded dance schools and companies of their own across the United States and Europe. They taught the Russian ballet traditions to generations of Americans and Europeans. Contents 1 History 2 Works 3 Legacy 3.1 Choreographers and principal dancers 3.2 Corps de ballet 4 In popular culture 5 References 5.1 Notes 5.2 Sources 5.3 Further reading 6 External links History Ballet Russe de Monte-Carlo initially began because Léonide Massine, the choreographer of Colonel Wassily de Basil's Ballets Russes, desired to be more than just Colonel Wassily de Basil's right-hand man. De Basil was the artistic director of his Ballet Russes, and Massine desired that position, so he broke off to start his own company.[3] Blum and de Basil fell out in 1934, and their Ballets Russes partnership dissolved.[4] After working desperately to keep ballet alive in Monte-Carlo, in 1937 Blum and former Ballets Russes choreographer Léonide Massine acquired financing from Julius Fleischmann, Jr.'s World Art, Inc. to create a new ballet company.[5] At the start of Blum and Massine's company, Massine ran into trouble with Col. de Basil: the ballets which Massine choreographed while under contract with Col. de Basil were owned by his company. Massine sued Col. de Basil in London to regain the intellectual property rights to his own works. He also sued to claim the Ballet Russe de Monte-Carlo name.[6] The jury decided that Col. de Basil owned Massine's ballets created between 1932 and 1937, but not those created before 1932.[7] It also ruled that both successor companies could use the name Ballet Russe — but only Massine & Blum's company could be called Ballet Russe de Monte-Carlo. Col. de Basil finally settled on the Original Ballet Russe.[6] The new Ballet Russe de Monte-Carlo gave its first performance in 1938. British dancers Frederic Franklin and Jo Savino were also among those who joined the new company. Franklin danced with the company from 1938–1952, assuming the role of ballet master in 1944. With the company, Franklin and Alexandra Danilova created one of the legendary ballet partnerships of the twentieth century. Maria Tallchief and Frederic Franklin in a 1955 advertisement for the Ballet Russe de Monte Carlo Sol Hurok, manager of de Basil's company since 1934, ended up managing Blum's company as well. He hoped to reunite the two ballet companies, but he was unsuccessful. The Ballet Russe de Monte-Carlo and the Original Ballet Russe often performed near each other. In 1938, both the Ballet Russe de Monte-Carlo and the Original Ballet Russe performed in London within blocks of each other.[6] Hurok continued to have the companies perform near each other. After London, Hurok booked both of the companies to perform seasons in New York, for a total of fifteen weeks, making it the longest ballet season of New York. Along with management, the two companies also shared dancers. Co-founder René Blum was arrested on December 12, 1941, in his Paris home, among the first Jews to be arrested in Paris by the French police after France was defeated and occupied by the German Nazis during World War II. He was held in the Beaune-la-Rolande camp, then in the Drancy deportation camp. On September 23, 1942, he was shipped to the Auschwitz concentration camp,[8][9] where he was later killed by the Nazis.[4] With Blum gone, Serge Denham, one of the co-founders of World Art, took over as company director.[10] Massine left the company in 1943. Based in New York from 1944–1948, the company's regular home was New York City Center. In 1968, the company went bankrupt. Before then, many of its dancers had moved on to other careers; a number started their own studios and many taught ballet in larger studios, especially in New York and other major cities. Works 1938 Serge Lifar's Giselle (after Petipa, Coralli, Perrot), London 5 April premiere — Léonide Massine's Gaîté Parisienne, set to music by Jacques Offenbach, Théâtre de Monte-Carlo, Monte-Carlo, Monaco[11][12] 12 October premiere — Léonide Massine's Gaîté Parisienne, set to music by Jacques Offenbach, Metropolitan Opera House, New York[13] 1939 Frederick Ashton's Devil's Holiday (Le Diable s'amuse)[14] Léonide Massine's La Boutique fantasque, set to the music of Ottorino Respighi Léonide Massine's Le Beau Danube 17 November premiere — Serge Lifar's Giselle (after Petipa, Coralli, Perrot), Metropolitan Opera House, New York City[15] 17 November — Léonide Massine's Gaîté Parisienne, Metropolitan Opera House, New York[15] 17 November — Michel Fokine's Scheherazade, Metropolitan Opera House, New York[15] 18 November premiere — Blue Bird, Metropolitan Opera House, New York[15] 18 November premiere — Marc Platoff's Ghost Town, set to music by Richard Rodgers,[16] Metropolitan Opera House, New York[15] 18 November — Michel Fokine's Les Sylphides and Petrushka, Metropolitan Opera House, New York[15] 18 November — Vaslav Nijinsky's Les Aprés-midi d'un Faune, Metropolitan Opera House, New York[15] 1940 Alexandra Fedorova's (after Petipa)[17] The Nutcracker [abridged], set to music by Pyotr Ilyich Tchaikovsky, New York City[18] 1941 Léonide Massine's Labyrinth, New York Léonide Massine's Saratoga, New York Alexandra Fedorova's The Magic Swan (after Petipa), Metropolitan Opera House, New York 1942 Alexandra Balachova's La Fille mal gardée 16 October premiere — Agnes de Mille's Rodeo, set to music by Aaron Copland, Metropolitan Opera House, New York 1943 9 October — Igor Schwezoff's The Red Poppy, Public Music Hall, Cleveland, Ohio[19] 1944 George Balanchine's Le Bourgeois Gentilhomme, set to the music of Jean-Baptiste Lully, New York City Center George Balanchine's Danses concertantes George Balanchine's Song of Norway, set to the music of Edvard Grieg, New York City 1945 George Balanchine's Pas de Deux (Grand Adagio) Coppélia, set to the music of Léo Delibes 9 September — George Balanchine's Concerto Barocco, set to Johann Sebastian Bach's Concerto in D minor for Two Violins, New York City Center[20] 9 September — Vaslav Nijinsky's L'Après-midi d'un faune, New York City Center[20] 17 September premiere — Tod Bolender's Comedia Balletica, set to Igor Stravinsky's Pulcinella, New York City Center[20] 1946 George Balanchine's La Sonnambula and The Night Shadow Balanchine and Alexandra Danilova's Raymonda, set to the music of Alexander Glazunov 1947 Valerie Bettis' Virginia Sampler[21] Legacy Many of the company's principal dancers and corps de ballet founded dance schools and companies of their own across the United States and Europe, teaching the Russian ballet traditions to generations of Americans and Europeans. Choreographers and principal dancers George Balanchine — founded the School of American Ballet (SAB) and New York City Ballet, for which he created works for 40 years. Alexandra Danilova — taught for 30 years at SAB. Leon Danielian — served as the director of SAB from 1967–1980.[22] Nicholas Magallanes – charter member of the New York City Ballet who performed roles created for him by Balanchine with the troupe from 1946–1976.[23] Maria Tallchief — danced with the New York City Ballet for years and was featured in choreography Balanchine created for her. Roya Curie — protégé of David Lichine and premier dancer with the Ballet Russe de Monte-Carlo International, she established a school in upstate New York in 1950. Frederic Franklin —became director of the National Ballet of Washington, D.C. Advised Dance Theatre of Harlem, as well as performing into his nineties. Jo Savino — formed the St. Paul Ballet in Minnesota. Robert Lindgren and Sonja Tyven (who danced in the Ballet Russe under the name Sonja Taanila) — opened the Lindgren-Tyven School of Ballet in Phoenix, Arizona (1959–1965). Lindgren also served as the founding dean of the influential dance school at the North Carolina School of the Arts, where Tyven taught ballet (1965–1987). Lindgren left NCSA when Lincoln Kirstein invited him to be his successor as director and president of the School of American Ballet, City Ballet’s affiliate school in New York (1987–1991).[24][25] Corps de ballet Marian and Illaria Ladre — in the late 1940s, they set up the Ballet Academy in Seattle, where they taught students who went on to dance and teach in their turn. Students of theirs who had professional dance careers included James De Bolt of the Joffrey Ballet, Cyd Charisse, Marc Platt, Harold Lang, and Ann Reinking. In 1994 Illaria Ladre was among the first American dancers, choreographers and writers honored by receiving the newly established Vaslav Nijinsky Medal, sponsored by the Polish Artists Agency in Warsaw, for work carrying on the tradition of Nijinsky.[26] Lubov Roudenko — Former soloist for the Ballets Russes in the 1930s, she left in the 1940s and, as Luba Marks, became a successful Coty Award winning fashion designer.[27] In popular culture A feature documentary about the company, featuring interviews with many of the dancers, was released in 2005, with the title Ballets Russes. The Original Ballet Russe (originally named Ballets Russes de Monte-Carlo) was a ballet company established in 1931 by René Blum and Colonel Wassily de Basil as a successor to the Ballets Russes, founded in 1909 by Sergei Diaghilev. The company assumed the new name Original Ballet Russe after a split between de Basil and Blum. De Basil led the renamed company, while Blum and others founded a new company under the name Ballet Russe de Monte-Carlo. It was a large scale professional ballet company which toured extensively in Europe, Australia and New Zealand, the United States, and Central and South America. It closed down operations in 1947. Contents 1 History 1.1 Dissolution of Ballets Russes and formation of Ballets Russes de Monte-Carlo 1.2 Massine and Balanchine join 1.3 Blum leaves, Nijinska joins 1.4 The company splits 1.5 During World War II 1.6 Disbandment 2 In popular culture 3 Works 4 References 4.1 Notes 4.2 Sources consulted 4.3 Further reading History Dissolution of Ballets Russes and formation of Ballets Russes de Monte-Carlo The company's name is derived from the Ballets Russes of impresario Sergei Diaghilev. The last season of Diaghilev's Ballets Russes was 1929, during which it toured and performed in both London, England, and Paris, France. During the final season, it produced the new ballets The Prodigal Son and Le Bal. The company performed for the final time in London at the Covent Garden Theatre on July 26, 1929. Diaghliev died of complications from diabetes a month later, on August 19, 1929. In 1931, with the help from financier Serge Denham, René Blum and Colonel Wassily de Basil formed Les Ballets Russes de Monte-Carlo. One of the new company's board members was American businessman Jim Thompson. Massine and Balanchine join The company hired Leonide Massine and George Balanchine as choreographers. The majority of the works performed had previously been staged by Diaghilev's company, but other new works were commissioned, such as Jeux d'enfants, with music by George Bizet and sets by Joan Miró. Featured dancers included David Lichine (who soon began choreographing ballets for the company), and the "baby ballerinas" Irina Baronova, Tamara Toumanova, and Tatiana Riabouchinska. The company conductor was Efrem Kurtz,[1] who stayed until 1942, touring with them extensively, and the librettist was Boris Kochno. The company gave its first performance in Monte Carlo in 1932. Without consulting Blum, Col. de Basil dropped Balanchine after one year[2] – ostensibly because he thought that audiences preferred the works choreographed by Massine. Librettist Kochno was also let go, while dancer Toumanova left the company when Balanchine was fired. According to historian Katherine Sorley-Walker, however, Balanchine and Kochno left of their own volition, because they found Blum and De Basil "dictatorial."[3] Blum leaves, Nijinska joins Col. de Basil and Blum had an acrimonious relationship,[2] which ended in 1934 with Blum breaking up the partnership. Col. de Basil renamed his company Ballets Russes de Colonel W. de Basil.[4] In April, 1934, Bronislava Nijinska directed the company's season at the Théâtre de Monte-Carlo,[5][6] presenting her ballets Bolero, Variations, Etude, and Les Comediens Jaloux.[7] Nijinska created Les Cent Baisers for the company's London season in 1935.[8] The company struggled financially in the wake of the Great Depression, and was on the verge of bankruptcy. Sol Hurok, an American, took over the management of the Ballet Russe[9] and brought the company to the United States. The company splits In 1937, Massine left, joining with Blum to form their own company,[10] recruiting several dancers from their previous group. However, the ballets which Massine had choreographed while under contract with Col. de Basil were owned by his company. Massine sued de Basil in London to regain the intellectual property rights to his own works. He also sued to claim the Ballet Russe de Monte-Carlo name.[9] The jury decided that de Basil owned Massine's ballets created between 1932 and 1937, but not those created before 1932.[11] It also ruled that both successor companies could use the name Ballet Russe – but only Massine and Blum's company could be called Ballet Russe de Monte-Carlo. Col. de Basil renamed his company again, calling it the Covent Garden Russian Ballet[4] and bringing on Michel Fokine as resident choreographer. Sol Hurok ended up managing Blum and Massine's company as well. The Ballet Russe de Monte-Carlo and the Original Ballet Russe often performed near each other. Under its new name, the company's first season, starting May 1938, was at the Royal Opera House, Covent Garden. Massine's Ballet Russe de Monte-Carlo had a season at the Theatre Royal, Drury Lane a few hundred yards away,[9] and this season was known as the "London Ballet Wars". After London, Hurok booked both of the companies to perform in New York (with de Basil's company playing the Hollywood Theatre), for a total of fifteen weeks, making it the longest ballet season of New York.[citation needed] Along with management, the two companies also shared dancers. Hurok continued to have the companies perform near each other; he hoped to reunite the companies,[citation needed] but ultimately was unsuccessful. The company then spent some weeks on a "whistle stop" tour of America, sleeping on the special train hired to transport them. In 1939, the company spent a six-week season at Covent Garden. English ballerina Mona Inglesby danced with the company that season. Finally, in 1939, Col. de Basil gave the company its final name, the Original Ballet Russe.[4] The company toured extensively throughout Europe and Australia, visiting Australia in 1936–37, 1938–39, and 1939–40.[12][13][14]During his visit to Australia, de Basil commissioned work from Australians, especially from designers, who included Sidney Nolan and Kathleen and Florence Martin. He also instigated a design competition for an original Australian ballet, which was won by Donald Friend with designs for a ballet based on a fictitious event in the life of Ned Kelly.[citation needed]. A number of dancers stayed in Australia,[15] including Kira Bousloff, who went on to found the West Australian Ballet. During World War II Soon after they returned to the United States in 1939, World War II broke out. The company suffered financially, but was able to book an entire cast of dancers on tour to Havana, Cuba, in 1941. Alberto Alonso and his first wife Patricia Denise danced all the principal roles on the Havana tour. The company could not pay the dancers adequately, and some took second jobs in nightclubs to survive. Principal dancers were forced to take roles that were not solos.[16] While in Cuba, David Lichine and Tatiana Leskova appeared in Conga Pantera at the Cabaret Tropicana. Other dancers included Tamara Grigorieva, Nina Verchinina, Anna Leontieva, Genevieve Moulin, Tatiana Leskova, Anna Volkova, Your Lazowski, Dimitri Romanoff, Roman Jasinski, Paul Petroff, and Oleg Tupin. Disbandment In 1947, the Original Ballet Russe gave its last season in London before disbanding.[17] The company was revived in 1951 by family members G. Kirsta and the Grigorievs, after Col. de Basil died.[17] The company proved to be financially unstable, and folded while on tour in Europe in 1952. In popular culture A feature documentary about the company, featuring interviews with many of the dancers, was released in 2005, with the title Ballets Russes. A Thousand Encores: Ballets Russes in Australia was a documentary screened on ABC Television on November 3, 2009, about the company's three visits to Australia between 1936 and 1940. The documentary claims that there is more footage of the Ballet Russes in Australia than anywhere else in the world. Some film was in colour, a rarity for that time. Works 1932 George Balanchine's Cotillion, Le Bourgeois Gentilhomme, La Concurrence, and Suites de Danses[18] Léonide Massine's Jeux d'enfants[18] Boris Romanoff's Chout (Le Bouffon) Pulcinella, and L'Amour Sorcier[19] Lev Ivanov's Le Lac des Cygnes (Swan Lake), act II Michel Fokine's Petrouchka, Les Sylphides, and The Polovtsian Dances from Prince Igor 1933 David Lichine's Nocturne (set to the music of Rameau)[18] Leonide Massine's Les Présages (set to Tchaikovsky's Symphony No. 5), Le Beau Danube, Beach, Scuola di Ballo,[19] and Les Matelots 14 September — Michel Fokine's Carnaval (set to Robert Schumann's Carnaval, Op. 9), London, UK 24 October premiere — Leonide Massine's Choreartium (set to Brahm's Fourth Symphony), Alhambra Theatre, London, UK Vaslav Nijinsky's L'Après-midi d'un faune[20] 1934 Leonide Massine's Le Tricorne, Chicago Leonide Massine's Union Pacific,[18] Philadelphia Leonide Massine's La Boutique Fantasque Leonide Massine's Les Contes Russes David Lichine's Les Imaginaires Bronislava Nijinska's Bolero Bronislava Nijinska's Variations Bronislava Nijinska's Étude Bronislava Nijinska's Les Comediens Jaloux Marius Petipa's Le Marriage d'Aurore (arranged by Nijinska) Michel Fokine's L'Oiseau de feu 1935 Leonide Massine's Jardin public, Chicago Leonide Massine's Le Bal, Chicago Leonide Massine's Union Pacific Leonide Massine's Les femmes de bonne humeur Leonide Massine's Le Soleil de Nuit Bronislava Nijinska's Les Cent Baisers Michel Fokine's Schéhérazade, Thamar, and Le Spectre de la Rose 1936 David Lichine's Le Pavillon, 24 July premiere Leonide Massine's Symphonie Fantastique (set to Hector Berlioz' symphony), Covent Garden, London, UK, 13 October Léonide Massine's La Boutique fantasque, Theatre Royal, Adelaide, Australia[21] Leon Woizikovsky's L'Amour Sorcier[20] Leonide Massine's Cimarosiana Michel Fokine's Cléopâtre and Papillons Bronislava Nijinska's Danses slaves et tziganes and Les Noces Helene Kirsova stars in Petrouchka, Theatre Royal, Sydney, 11 January 1937. Photo from the Sam Hood collection. 1936-1937 Australia tour Marius Petipa's Aurora's Wedding Leonide Massine's Le Beau Danube Leonide Massine's La Boutique Fantasque Michel Fokine's Carnaval Leonide Massine's Les Contes Russes George Balanchine's Cotillon Michel Fokine's L'Oiseau de Feu Bronislava Nijinska's Les Cent Baisers Leon Woitzikowsky's L'Amour Sorcier Vaslav Nijinsky's L'Après-midi d'un faune Leonide Massine's Le Soleil de Nuit Michel Fokine's Petrouchka Leon Woitzikowksy's Port Said Leonide Massine's Les Presages Michel Fokine's Prince Igor Michel Fokine's Schéhérazade Leonide Massine's Scuola di Ballo Michel Fokine's Le Spectre de la Rose Lev Ivanov's Swan Lake, Act II Michel Fokine's Les Sylphides Michel Fokine's Thamar 1937 11 January — Michel Fokine's Petrouchka, Sydney Michel Fokine's Le Coq d'or (set to the music of Nikolai Rimsky-Korsakov) David Lichine's Francesca da Rimini, Le Lion amoureux, and Les Dieux mendiants 1938 Michel Fokine's Cendrillon David Lichine's Le Fils Prodigue and Protée 1939 Michel Fokine's Paganini 1940 Serge Lifar's Le Danube bleu[20] 1940 Australia tour David Lichine's Graduation Ball[22] (set to the music of Johann Strauss II), Melbourne Igor Schwezoff's La Lutte eternelle, Sydney Mikhail Obukhov (after Petipa, Saint-Leon)'s Coppélia, Sydney Nina Verchinina's Etude (The Quest) Serge Lifar's Icare and Pavane (Las Meninas) 1941 Havana tour[23] Michael Fokine's Les Sylphides, Le Coq d'or, Paganini, Prince Igor, Carnaval, Petrushka, Sheherazade, and Le Spectre de la Rose Leonide Massine's Symphonie Fantastique, Les Présages, and Le Beau Danube Marius Petipa's Le Marriage d’Aurore George Balanchine's Cotillon and Balustrade Bronislava Nijinska's Les Cent Baisers 1942 Vania Psota and S. Pueyrredón de Elizalde's Fue una vez 1943 Vania Psota's El Malón 1944 Vania Psota's La isla de los ceibos 1945 Vania Psota's Yx-kik 1946 spring — David Lichine's Cain and Abel, Mexico City[24] John Taras' Camille William Dollar's Constantia Anton Dolin's Giselle (after Coralli) and Pas de Quatre Antonia Cobos' Mute Wife Edward Caton's Sebastian Vania Psota's Yara 1947 Jerome Robbins' Pas de Trois Bronislava Nijinska's Pictures at an Exhibition spring — Giselle, Metropolitan Opera House, New York[25] spring — Swan Lake, Metropolitan Opera House, New York Boris Kniasev's Piccoli and The Silver Birch summer — David Lichine's Graduation Ball, London, UK[18] 1948 Anatole Joukovsky's Danzas eslavas Nina Verchinina's Suite choréographique Nina Verchinina's Valse triste Names René Blum and Col. de Basil Ballets Russes de Monte Carlo Ballet Russe De Monte Carlo People Artistic Director Colonel de Basil René Blum Léonide Massine Director Sergei Denham Performer Aaron Girard Adda Pourmel Alan Banks Alan Howard Aleck Zybine Alexander Goudovitch Alexandra Nadal Alexandra Uzzell Alexis Kosloff Alexis Kotynski Alfredo Corvino Alice Aycock Alice Murer Alicia Alonso Alicia Markova Ana Roje André Eglevsky Andrea Vodehnal Anita Dyche Ann Barlow Anna Michailova Anna Scarpova Anton Vlassoff Armand Picon Arthur Karol Arved Ozoline Arvo Martikainen Audrée Thomas Audrey Ross Barbara Barrie Barbara Ferguson Barbara McGinnis Barbara Steele Barth Cummins Beatrice Lismore Beatrice Tompkins Bernice Rehner Betsy Herskind Betty Orth Betty Tallchief Betty Vallentin Bill Tremaine Carol Hines Carole Kroon Carolyn Martin Carolyn Wells Casimir Kokitch Charles Dickson Chris Vokoff Christine Hennessy Claire Pasch Constance Garfield David Tihmar Delfino Larrosa Deni Lamont Diana Coon Diana King Diane Rhodes Dick Johnson Donn Driver Dorothy Daniels Dorothy Etheridge Dorothy Matsie Duncan Noble Dzinta Vanags Edward Pfeiffer Edwina Seaver Eleanor D’Antuono Eleanora Marra Elena Kramarr Elena Lane Eleonore Treiber Emily Byrne Erik Kristen Eugene Collins Eugène Gabay Eugene Slavin Eugénie Delarova Eugénie Melnitchenko Evelyn Giles Fedja Markoff Felicity Watt Felix Piotrovsky Fernando Schaffenburg Franca Baldwin Frank Hobi Franklin Yezer Gail Israel Galina Razoumova Gene Marinaccio George Alexandroff George Verdak George Zoritch Georges Tomin Gerard Leavitt Gertrude Svobodina Giaconda Filippini Gilbert Reed Glenn Olson Grant De Laney Grant Mouradoff Gwenn Barker Harald Horn Harding Dorn Harold Lang Harriet Toby Héleène Trailine Helen Murielle Helena Seroy Herb Kummel Herbert Bliss Hester FitzGerald Hillel Markman Howard Sayette Howard Spurling Howard White Ian Gibson Igor Egoroff Igor Youskevitch Irene Drosdova Irène Fabergé Irène Litvinova Irene Minor Irina Baronova Irina Borowska Irina Kovalska Irina Semochenko Irma Sandre Ivan Youroff Jack Kauflin James Brusock James Capp Jan Orwiroff Jane Wallis Janice Roman Jean Vallon Jean Yazvinsky Jeanette Lauret Jeanette Tannan Jeanne Armin Jeanne Elyse Jenifer Heyward Joanna Crist Job Sanders Joe King John Kelly John Schendy Jose Gutierrez Joseph Busheme Joseph Savino Josephine Jeffers Joy Williams Juan Giuliano Julia Horvath June Kantor June Wilson Karel Shook Kari Karnakovsky Katherine Clark Katia Geleznova Keith Allison Kenneth Creel Kenneth Gillespie Lawrence Rhodes Leda Anchutina Leila Crabtree Leon Guerard Leonore Lovering Liane Plane Libby Salerno Lillian Lanese Lois Bewley Lois Kosman Louis Lebercher Lubov Rostova Lubov Roudenko Ludmilla Lvova Ludmilla Rklitzka Luis Trapaga Lupe Serrano M. Bocchino M. Granteff M. Michailoff M. Voujanitch Marcel Fenchel Marcel Perensky Margery Beddow Margery Lambert Maria Zarina Marian Ladre Marianne Vickers Marie-Jeanne Marina Chapman Marina Franca Marina Korjinska Marina Novikova Mario Ignisci Marlene Rizzo Mary Ellen Moylan Mary Haywood Max Kirbos Meredith Baylis Merriam Lanova Mia Slavenska Michael Kelder Michel Katcharoff Michel Panaieff Michele Franchi Miguel Terekhov Milada Mladova Milton Feher Mlle Lidova Mlle Likely Mlle Oleova Mlle Wilcox Moscelyne Larkin Myrna Galle Myron Curtis Nana Gollner Nancie Leonie Nancy Benson Nancy Sklenar Nancy Warrek Naomi Richardson Nat Stoudenmire Nata Lee Natalia Clare Nathalie Kelepovska Nathalie Krassovska Nesta Williams Nicholas Beriozoff Nicholas Ivangin Nicholas Magallanes Nicolas Orloff Nina Boneck Nina Popova Nina Radova Nina Stroganova Nina Tarakanova Nina Tikonova Nina Vyroubova Nora White Oleg Tupine Olga Serova Olivia Cardone Olivia Fiumara Patricia Carleton Patricia Casey Patricia Jennings Patricia Peters Patricia Wilde Paul Godkin Paul Roget Paula Lamonte Paula Tennyson Pauline Goddard Perry Brunson Peter Bonura Peter Deign Pierre Klimoff Ramon Segarra Raven Wilkinson Reynaldo Herrera Richard Tarczynski Richard Thomas Richard Wagner Rita Karlin Robert Hirst Robert Lindgren Robert Steele Robert T. Irwin Roberta Berson Roberta Laune Robin Adair Rochelle Zide Roland Guerard Roman Jasinski Roni Mahler Rosalind Firminova Rosella Hightower Roy Harsh Roy Milton Royes Fernandez Rudi Menchaka Ruth Riekman Ruthanna Boris Sally Seven Salvador Juarez Sascha Rolanoff Serge Ismailoff Shirley Haynes Shirley Weaver Shirley Weishaar Simon Semenoff Simone Grossman Sonia Woicikowska Sonja Tyven Stanislav Egoroff Stanley Zompakos Susan May Sviatoslav Toumine Tamara Chapman Tamara Toumanova Tania Chevtchenko Tatiana Chamié Tatiana Dokoudovska Tatiana Flotat Tatiana Grantzeva Tatiana Orlova Tatiana Semenova Teri De Mari Thatcher Clarke Thomas Armour Tom Adair Unity Grantham Vada Belshaw Vadim Repeskov Valerie Bettis Valerie Smith Valrene Tweedie Victor Moreno Vida Brown Viola Crucil Virginia Rosson Vladimir Dokoudovsky Vladimir Kostenko Wakefield Poole Walda Welch Waldemar Kostenko Wally Adams Walter Sampson William Glenn Yelle Bettencourt Yolanda Lacca Youra Skibine Yurek Lazowski Yvette Chauviré Yvonne Chouteau Yvonne Craig Yvonne Hill Agnes de Mille Alexandra Danilova Anton Dolin Antonia Cobos Argentinita Bentley Stone Edmund Novak Frederic Franklin Igor Schwezoff James Starbuck José Torres Leon Danielian Marc Platoff Nina Novak Nini Theilade Ruth Page Serge Lifar Todd Bolender Val Buttignol Léonide Massine Choreographer Agnes de Mille Alexandra Danilova Anton Dolin Antonia Cobos Argentinita Bentley Stone Edmund Novak Frederic Franklin Igor Schwezoff James Starbuck José Torres Leon Danielian Marc Platoff Nina Novak Nini Theilade Ruth Page Serge Lifar Todd Bolender Val Buttignol Léonide Massine
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