18th July 2007, in "Goodbye, Claude..."
Judi Cox Frazier selects Sylvie Vartan filmed live at the Palais des Sports in Paris in 1981, singing Enough is Enough. Judi is the dancer on Sylvie's right (cast list below video) Read Judi's words here!
Judi Cox Frazier writes: Sylvie, had been considering eliminating girl dancers. Claude was against the idea and created this number for us girls. (ed: the above video is a cut version) It is the pen-ultimate ballet of her career. The productions Claude Thompson created for Sylvie from 1976, through 1984, are perceived today as her golden era. The dancers seen here are: Kevyn Morrow, Jim Thompson, Truett Wright, Redha Benteifour, Phil Phillips, Alain Freulon, Derek Almanza, Jean-Marc Chastel, Vicki Ally, Judi Cox, Veronica Newth, Lin Tyson. The singers are: Joniece Jamison, Debbie Davis, Jeanette Jamison.
13th July 2007, in Wild Parties at Caesar's Palace
Shea New selects Frankie Randall singing a song written by Vincent Falcone and Joe Cocuzzo in memory of Frank Sinatra Read Shea's words here!
(ed: a beautiful song with a great rendition by the artist; here's Frankie Randall's website:) www.frankierandall.com
The former "MASON OPERA HOUSE", Los Angeles
Built in the early 1900s and demolished in the 1950s, this theatre on the West Coast of America presented the talents of Isadora Duncan, Sarah Bernhardt and Ruth St. Denis in its day.
This lovingly created video allows a glimpse at its former glories.
Running time: 3 minutes, 21 seconds.
Featured Text:
Yoga in Hollywood or the Royal Opera Ballet: Performers write about their experiences on the boards
Featured Videos Include:
The Mason Opera House Tang Dynasty Warriors Butoh Dancing on a Rugby Pitch The Hollywood Nutcracker The Argentine Tango An Elvis Presley Ballet
English Language Theatre in Europe:
Links at the foot of this page
Welcome to the theatre,
Most of the words on this page are from writers featured in editions of the website newsletter.
The video clips below are my own selection and I have tried in all instances to give essential credits (not always easy). They reflect my view that theatre is not always a performance played out under a proscenium arch (much as I enjoy it) and that highly trained actors and dancers are not the only holders of the title performer.
Links to English Language/Speaking Theatre Companies in continental Europe are at the foot of this page.
Enjoy!
Rodford Barrat
JACK MOORE
ON CLASSICAL TRAINING:
I think classical training (at least then, I don't know about now), is the greatest training for life. The discipline - precisely how to
turn at the barre for heaven's sake, applauding the teacher at the end, no
talking or giggling (of course, Juliet Prowse and I used to giggle a lot
and have fun in Eugene Loring's classes and he was not a humorous man. But
this was a professional class in Hollywood and a tad more relaxed than
company class in New York or Chicago.
(Ed: This artist danced in a number of iconic Hollywood musicals including The Music Man and My Fair Lady; see his entry on The Men's page)
Video: "SWORD BATTLE"
The dance of the warriors.
A dance from the Tang Dynasty performed in Xian in China. Lots of clashing swords and whips from the front line troops.
Video: dgg
Running time: 2 minutes.
LEON DRAPER
ON LIFE AT THE BARRE:
We had the services of Nancy Ivanova from the Lousillio Spanish company to
teach us the Spanish style: an English dancer who had to change her name to a Russian name to work with the Diaghilev company. She was wonderful, and I well
remember when taking a class, her saying "boys face upstage - we were told later, that the elastic in her bloomer had snapped..dropped to her ankles...and she walked out of them...stooped and picked them up...then placed them in her handbag and carried on with her class....what a woman!
(Ed: This artist appeared with Ballet Rambert in the 1960s; see his entry on the Men's page)
Recommended Link:
www.palmspringsfollies.com THE PALM SPRINGS FOLLIES A great theatrical company for former Vegas victims and old Broadway Babes and Blokes. Ageism does not exist here.
If you are over 55 and still in good condition they may want to audition you (see the audition link on the News/Links Page).
One of the showgirls is in her eighties. Break a leg, baby!
Video: "DEAD FEVER"
featuring, RHIZOME LEE
This is the esoteric world of Japanese Butoh. And this international performer dances the method he has created: Subbody Butoh.
Rhizome Lee's aim with this piece was, "...to resonate with the dead, diseased, crazy, handicapped and criminal people who are hidden away from modern society."
Running time: 1 minute, 10 seconds.
DEBRA STEFAN
ON CLASS IN HOLLYWOOD:
On the subject of dance studios in Hollywood: who remembers the "Falcon"
Studio? I attended a variety of classes there while a resident instructor for
the Integral Yoga Institute. Of course, I was soon advised of the conflict of
interest toward my worldly pursuit and the austerity of ashram life. After two
years of pursuing the evasive spiritual enlightenment available through the
indentured servitude benefiting only the swami, I headed for Vegas and the big production shows. There, I was told, my stature
would be advantageous. In those days a tall dancer found little work in LA.
From yogini to Follies Bergere showgirl...
(Ed: This artist, is a former MGM Girl; read her entry in Old Comrades and view her website on Artistes)
BOB TURK
ON ETHNIC DANCE:
Falcon Studio's? I would go up there quite often if there was a visiting teacher who taught
some form of character dance, such as Spanish etc. It always seemed terribly
antiquated but the moment one walked in, you were in a temple of dance,
whatever style, or kind. If I remember, all famous teachers would stop there
if they were on tour or if they spent the summer/winter in Hollywood. The
word would get around that "so and so" was giving class and away we would go.
I found Spanish dance to be the most difficult to learn as most of the good
teachers had learned it by being around other spanish dancers who would pass
it on to the next generation. If you asked a very specific question regarding
a count or an exact placement of the arms, you were given a "sort of" type
answer.
I was a very close friend of Ernie Flatt who not only choreographed many,
many, television shows, but taught a form of free-style dance at Loring's. He
would call me and say to meet him there for some ethnic class like dances of
the British Isles etc. And we were always confused by not being able to
really break it down in counts but, rather by osmosis!!! Of course we were
never there long enough to accomplish this. Great great fun!
(Ed: This artist conceived, directed and choreographed many international revues; see his entry in The Old Boys' List)
LESLEY ANNE BANDY
ON GREEK DANCE:
Ah, the Greek dancing - I remember a "Pandora's Box" in competition at about age 11-mmmm, drama- danced to "The Unfinished Symphony"! Crikey!!
(Ed: This artist made her debut with the Royal Opera Ballet at Covent Garden before appearing at the Paris Lido; see her entry in Old Comrades and view her websites on Artistes)
LIZ ELLIOTT LIEBERMAN
ON DANCE COMPETITIONS:
I loved Greek and actually won a cup in some dreadful dance competition in St. Albans, Herts. I had never had a Greek dance lesson in my life, but it was basically ballet without the turn out! I think I was called 'Ruth Meets Boaz at The Well'...or was that my Character piece? It was very Isadora Duncan and great fun!
(Ed: This artist was Principal Dancer at London's, Talk of the Town, before a career in Las Vegas and Reno)
Recommended Link:
www.jskompani.no JO STROMGREN KOMPANI I like this website: the words used to describe the Norwegian, choreographer/director's (Jo Stromgren's) work are refreshingly honest, and at times, in articles that Stromgren himself has written: brave.
Original Norwegian theatre, methinks.
Video: "THE HAKA"
If this isn't theatre on the rugby field, what is? Another depiction of the haka from the land of the Kiwi in a stylish black and white film.
A personal note: one of the guys on this website felled a former member of the All Blacks in a school "old boys" rugby match back in the 1960s. His classmates then gave him the nickname, Killer, after the All Black was rushed to hospital.
Killer later went on to perfect his dance skills at the Royal Ballet School. Was there fear at the barre? It remains a mystery.
TEH MITE, CREATED BY DYNAMITE
Running time: 1 minute, 59 seconds
RONALDO NAVARRO
ON ISADORA'S INFLUENCE:
My first contact with Isadora Duncan was about 17 years ago when I read her
biography " My life ". I was still in the ballet school in Sao Paulo. I read
the book once again when I was already working as a ballet dancer in Germany
exactly when I was unhappy with my career and asking many questions about it?
To know her life, her thoughts, and the way she danced, helped me quite a lot
to open my mind. She became a kind of idol for me at that time...but I think dancers who are against classical ballet have minds as closed and blocked as those who think that the only pure dance is the classical one.
I love Pina Bausch! I love Mats Ek! I so enjoy working with Kresnik (a very
eccentric, politic, aggressive, choreographer and director) and yesterday I watched Vladimir Malakhov dancing Swan Lake at the Saatsoper in Berlin. And I loved it!!!
(Ed: This artist from Brazil has made a successful career on the German stage; view his website on Artistes)
LEON DRAPER
ON PIROUETTES OF OLD:
After sixty years of still learning I am amazed how
satisfying it is to learn something everyday. The
humble pirouette (to turn) for example in the early
Bournonville era was not considered a successful turn
unless a double, was finished en-face (facing the front)
on the demi-point (ball of the foot) and held in balance
in the retire(withdrawn) position.
Video: "THE HOLLYWOOD NUTCRACKER"
With a title like this, and with the number of Hollywood dancers and actors lending their words to Men Who Danced, we just have to include this video.
It's the STATE STREET BALLET of Santa Barbara, founded in the 90s by former American Ballet Theatre dancer, RODNEY GUSTAFSON. This version of The Nutcracker has choreography by Gustafson himself and happily we are able to view some brief excerpts.
Running time: 5 minutes, 50 seconds.
JACK MOORE
ON NEW YORK AUDITIONS:
New York auditions in the late 50s were super because the great
choreographers like Jack Cole, Jerry Robbins and Bobby Fosse gave master
classes as auditions, something we couldn't have afforded if they gave
them! And they always began with ballet. If one couldn't pass that, one
never got to the jazz part. Jerry Robbins walked along beside you making
corrections while you danced; Fosse coached from the orchestra pit, Jack
Cole taught his basic jazz step.
JEFFREY SCOTT ADAIR
ON AUDITIONING IN LAS VEGAS:
For this little 20yr old...lifting topless women, who in heels were taller
than him...well...can we say intimidation??? The girls also knew how to
torture the new boys! I remember when I was hired for the show, I had no
idea what it was about really...other than it was terribly glamorous. I was
20, so I had not seen it. My first night in the light booth watching after
signing my contract...you should have seen my eyes! I went to Fluff (the
company manager) and told her that my mother would not let me appear in a
show like this with no clothes on. Ha! Can you imagine...?
(Ed: This artist's career spanned the Atlantic - from Munich in Germany to Metro Goldwyn Mayer in Las Vegas; view his entry in The Old Boys' List)
Video: "COMPANIA TANGOKINESIS"
Superb demonstration of the Argentine tango by this acclaimed Buenos Aries based company directed and choreographed by Ana Maria Stekelman. Ms Stekelman choreographed on Carlos Suara's film, Tango, and was presented with the "American Choreography Award" by the Academy of Dance on Film in Los Angeles.
The excerpts shown here are from Suite de Tango from 2001, and 4 Piazzollas from 1997. At times the dancers move to the sound of dripping water and dance to a barrage of gunshots. Cool, elegant and original.
Running time: 11 minutes, 51 seconds.
JULIA PARKER
ON THE GIPSY LIFE:
Dancing paid for me to see the world, it opened doors to other cultures. You would think years of
travelling, adapting to new situations, countries, choreographers, stages and
cast members, would leave one tired or jaded? I never was. I lived life in awe,
always excited. I danced professionally from 75 - 92 I believe the discipline
that was instilled in me during the years from R.A.D Grade One Ballet to the
last show I performed in, is the core of my strength today.
When I first came to the States, Shirley MacLaine (just her and about 6
dancers, no special lights, no multi million dollar sets) & Sammy Davis, Jr.
did special late night performances (no charge) for the other gipsies.......
Magical events. I am thankful I experienced "old school" show business.
(Ed: This artist's career encompassed musical theatre in Madrid to revue in Las Vegas; see her entry on Old Comrades)
LESLEY ANNE BANDY
ON BALLET EXAMS OF YORE:
The terrific thing about the ancient RAD exams was the knowledge absorbed about moving in various periods because of the clothing that restricted you or held you in different ways. And the character dances gave one an insight as to the whys, and hows, differing styles arose in differing regions of the world?
LARRY BILLMAN
ON DISCIPLINE IN DANCE:
What role models do our kids have today? Words come in bytes
rather than full essays. We can receive [often incorrect] information on the
Web in a minute. Contemporary Fame is generated by questionable behavior,
breaking the laws or a natural talent in music or sports that is exploited
and then cast aside. How many "Where Are They Now?" TV shows feature
performers or media-stars who were at their height of fame only 5 years ago?
"Chicago" could not be more pertinent. We are never shown Roxie or Velma in
class. They simply "want" - so they "get."
And it is no different in dance. Work is much more plentiful for the Hip Hop
dancer with the rock and roll tours than a ballet company. Music videos eat
'em up and spit 'em out by the hundreds. There are no major summer stock
venues, no vaudeville, no female Star acts in night-clubs across the country
which employed the "Here She Is!" Boys, no movie musicals that required
studio contract dancers, no musical variety TV series. That is where
previous generations learned that technique and adaptability were the key to
success. We were so lucky.
It is only when the culture demands discipline that the young will
understand - or when one teacher strikes a chord in one student to seek and
learn and refine their natural gifts with discipline. Or when one parent
realizes that a scholastic achievement is greater than throwing the ball
through the hoop and hearing the crowd cheer.
As James Kirkwood so beautifully wrote "There's Got to be a Pony,"...We can make a difference!
ERIC BRANDT NIELSEN
ON DANCE CRITICISM:
I feel the natural dancer does exist but...it is
only through discipline and training does this type of dancer come into
full view as a performer. As an educator, director/choreographer and a
former dancer, what troubles me the most is the attitude of this
generation of natural and/or unnatural dancers.
I was always aware, in my performing years, that criticism always
surpassed the compliments... it was part of the beast of showbusiness.
The dancers I worked with in 'Hello Hollywood Hello' and other US ballet companies,
understood that criticism, took it, rolled with it and grew into better
performers because of it. There is a new breed of performer today who
not only demands immediate gratification but would rather quit on you
than take the constructive criticism. I have shared this with other directors/choreographers and they all have come across this
unsettling situation.
(Ed: This artist is the author of an award winning book on dance auditions; read his entry in The Old Boys' List and view his website on Artistes)
Video: "BALLET SAN JOSE"
in BLUE SUEDE SHOES!
A ballet set to the music of Elvis Presley
High energy and an audience that stays with the dancers enthusiasm all the way.
This sets your feet tapping with choreography by DENNIS NAHAT; costumes by BOB MACKIE and the original recordings of "THE KING".
The plot follows the lives of three people from high school to adulthood. And it sounds like it was standing ovation time in San Jose when this was filmed.
Running time: 6 minutes, 27 seconds.
ADRIAN LE PELTIER
ON NATURAL DANCE:
Just a thought about natural Dancers. Yes, they exist. It's part of man's
inherent nature to move to rhythm. Not necessarily to the rhythms he creates
but to the rhythms he hears and the rhythms that course through his body and
invite him to move. Let's look at man's first steps at dance. There was no
training. Dance came out of Man's need to express himself. Then came rules,
regulations and styles. There was someone who excelled, and then he/she was
noted and people wanted to copy, and I am sure they taught and created the
various dance languages that are practised today...it is this thinking that brought technique and discipline.
(Ed: This artist's wide ranging career has spanned American TVs 'Perry Mason' to dancing with Bobbie Gentry; see his entry in The Old Boys' List)
PETE PURDY
ON TECHNIQUE:
Technical display is a dead end you cannot put in what God left out you must
submerge all of you into the activity of Dance. To be with your movement at
all times, to cradle it as important as breath alone. To be whole and
complete.
I choose to Dance, I am the Dance. Radiate in all directions and
fill the space with honesty and true emotion. Taste the Dance, add your own
spice and flavour. Only then can we experience Dance as a universal moment
for all to do and all to watch. Lets applaud it all.
(Ed: This artist who teaches Limon-based technique is a choreographer and director of contemporary dance; view his website on Artistes)
JACK MOORE
ON AN AGNES DE MILLE PREMIERE:
I recall seeing, at the old Metropolitan Opera House the premiere of an Agnes
de Mille ballet. (Name and ballet mercifully forgotten - De Mille did have an
occasional flop!) The dancers were running around the stage breathlessly but audibly counting "one hundred and three-two-three-four, one hundred and
four-two-three-four" and an occasional, as one dancer jeted by another
going in the opposite direction, "What's the count?"...
ALAN BIRD
ON LA MONNAIE, THE BRUSSELS OPERA HOUSE:
A beautiful opera house absolutely ruined
by having the square in which it stood demolished - and a monstrous glass
skyscraper erected directly opposite it. Oh, what horrors the masters of
Brussels have allowed - anyone whoever performed there years ago will
appreciate what I am saying.
Incidentally, I remember seeing a ballet there called 'Gretna Green' in which all the male parts were danced by ladies en travesti. These rather large bosomed ladies embracing less physically developed members of their sex; this must have given young audiences a very weird idea of why couples ran off to Gretna Green?
(Ed: This artist has appeared on the British stage, television and films for several decades)
LEON DRAPER
ON BERIOSOVA AND SWAN LAKE:
I remember well Poul Gnatt(founder of the Royal New
Zealand Ballet) talking about the time that he danced
with Beriosova in Swan Lake at a time she was
suffering severe flatulence, and every time she was
lifted (you know that part with the devlope lift, place
and pirouette>>>>da dum de da,de,da de da) there was a
non orchestrated note at the top of the lift...well
they way he storied it, in his wonderful Anglo/Danish
language...still brings a smile.
NANCY DI LULLO "SHOW DAZE"
Yesterday, we shared a space
A glittering, neon fantasy place
Smiling at the sun
Until it would fade
Night after night of accolade
Top hats and champagne bubbles
We had no troubles
Wearing satin dresses
And jewelled tresses
Tapping those treasures over burning sands
We cooled our pleasure with plum´ed fans…
It seemed to be, that time stood still
As we laughed, and loved
And danced our fill
Oh, those dreams!…
They all came true
But, I’m still me
And you’re still you
Recalling moments
Divinely chosen
Woven from memories
Sweetly frozen
Forever young
Alive in that place
Where you and I
Once shared some space.
Nancy Di Lullo
Written for the 40th year reunion of
"Le Folies Bergere"
Tropicana, Las Vegas
(Ed: This artist had a career on the Las Vegas stage)
Recommended Link:
www.dv8.co.uk DV8 PHYSICAL THEATRE I love the productions of this company (devised under the direction of Lloyd Newsom). Some years ago I auditioned for them when they wanted actors, aged over 40, who could move (still?)for a production entitled, MSM.
Obviously, at the time, I did not move enough! Or perhaps making love to the leg of a chair in the impro session was a mistake. But auditions at the BBC were never like this. No one there had ever asked me to talk for three minutes about any sexual experience I'd ever had. And then timed me with a stop watch.
DV8's productions are always brave, controversial and brilliant. No dainty little feet, let's go for a beautiful line with this lot. They sweat with attitude and inspire their audience. And I'm a fan.
English Language Theatre in Europe:
Austria:
In Vienna: VIENNA'S ENGLISH THEATRE
The oldest English language theatre on the continent. Currently under the artistic direction of Julia Schafranek, daughter of the Austrian director, Franz Schafranek, and his wife, the American actress, Ruth Brinkmann, who both founded the company. Many illustrious names have graced the stage: including in the past, Tennessee William's directing the world premiere of his play, The Red Battery Sign.
Denmark
In Copenhagen: THE LONDON TOAST THEATRE
The English Theatre of Copenhagen was founded in 1982 by Soren Hall and Vivienne McKee and is the largest English speaking theatre in northern Europe. The ever popular Crazy Christmas Cabaret which has become a regular event on the Scandinavian theatrical scene has featured some unusual titles; including in 1999: James Bond in Never Say Bondage Is Not Enough!.
Germany:
In Frankfurt: THE ENGLISH THEATRE OF FRANKFURT
The largest English speaking theatre on the continent. It appears well supported by many of the international financial institutions that are based in Frankfurt.
In Hamburg: THE ENGLISH THEATRE OF HAMBURG
With the aim to present English and American drama in its original language this theatre was founded in 1976 by Robert Rumph and Clifford Dean. They present a varied repertoire each season ranging from the classics through to Noel Coward and Neil Simon.
In Berlin: FRIENDS OF ITALIAN OPERA
The English Theatre in Berlin was founded in 1990 with a name taken from Billy Wilder's classic comedy film, Some Like It Hot. Their repertoire ranges from the classics to comedy through to physical theatre.
Italy:
In Florence: FLORENCE INTERNATIONAL THEATRE COMPANY
With Producing Artistic Director, Bari Hochwald, at the helm, this English language theatre company in one of Italy's most beautiful cities goes into its fourth season in 2009.
In Rome: THE MIRACLE PLAYERS
Based in Rome, this English speaking theatre company was founded by Eric Bassanesi in the 1990s. Popular comic adaptations are their speciality; amongst their repertoire is a piece entitled, The History of Rome with Romulus and Remus, Nero and his fiddle and the actual fall of the empire. All the good bits retained in 40 minutes playing time! Sounds fun.
A thought for tonight...
Dance is our only refuge, awareness of our body of our thoughts feelings and
actions becomes a focus for our lives. Dance into the night of old age and
recognise the importance of staying in touch with our bodies. Pete Purdy, 2003
Information
Further information on some of the above artists can be found by clicking on THE MEN or WRITERS; links to personal websites can be found on ARTISTES.
Copyright
The copyright of each artist's contribution on this page, and throughout menwhodanced.com, belongs to each individual artist.
