Word: ballets
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Dates: during 1950-1959
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...weeks Moscow's world-famed Bolshoi Theater Ballet-scheduled to make its first full-scale appearance outside the Soviet Union-had kept London's ballet fans on tenterhooks. Eighty tons of scenery already rested on a London dock when balletomanes heard that the company would not come unless British authorities dropped charges against Nina Ponomaryeva, the husky discus thrower who is charged with shoplifting (TIME, Sept. 10); the authorities stood pat. When the Russians decided to come anyway, the three jet airliners carrying the troupe found the London airport weathered in, had to land miles away...
...directions," said the round man at the side entrance of the Opera House as he checked our identification. Mr. Nordus, with a spray of flags across the lapel of his tails that made him look like a distinguished veteran of the Pacific campaign rather than the conductor of the Ballet Orchestra, stepped aside as we filed in. He was in the process of greeting Boston friends or relatives in a flurry of Danish, ending up with "I'll see you later...
...turn. Before the curtain went up on the third act of Napoli, the ballet master pointed out our places. We stood just behind a row of ballerinas draped along the edge of the stage. One of the group twirled the end of a rope near a ballerina who was still stationing herself. In a slightly hurt voice and in uncertain English she pouted "a-a. .pl-eese." Four of us practiced pulling a cart decorated with flowers across the stage. This was to be the finale. "Now just relax ourselves," said the ballet master...
Suddenly the ballet master whispered to us from the wing. We backed off the stage and took hold of the cart containing the bridge and groom of the marriage ceremony. As we made the are across the stage, dancers whirled about us. "Hurry up," they whispered. We did not almost sent the cart careening into the orchestra pit. Putting the cart down, we leaned back in our most graceful posture of the evening. The happy couple spread their arms to the audience and the curtain fell...
...obvious advantage of the musical version over its newspaper predecessor is its choreography. Easily handling a stage that is nearly always teeming with hillbillies or, on one occasion, Washington blue bloods, Michael Kidd continually constructs exuberant displays. With wit, ballet, acrobatics, and pantomime as tools, he creates a life on stage that is a pleasure to watch. At his worst, his hand is merely too obvious, owing to the sometimes overprofessional polish of his characters' motion; at his best, as in the very amusing Sadie Hawkins Day chase, his work is a tour de force...