Word: directors
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Dates: during 1950-1959
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...Charles E. Buckley, director of Manchester, N.H.'s Currier Art Gallery; John P. Coolidge director of the Fogg Art Museum; Andrew C. Ritchie, director of the Yale University Art Gallery...
Tough Damn Job. From this moment on, Paar is assured, professional, unfaltering. During each station break, after every commercial, whenever he is off camera, he finds a moment to lean over to chat with a guest, give instructions to an assistant director, and check the time schedule. The peering cameras, the prodding teleprompters, the signaling technicians seem not to bother him; he is at home. With Jack Douglas, head writer of his show, whom he puts on as a guest from time to time, he ad libs quickly and surely. With other guests, he is gentle, humble, anxious...
...apressing a pile of old Sylphides costumes. The British Festival Ballet's Anton Dolin, a Ballet Theatre alumnus, sent whatever odds and ends he could spare. Ballet Theatre's Erik Bruhn phoned fellow Danes in Copenhagen, who rushed to pack Sylphides and Graduation Ball trappings (the vacationing director had to be run to ground for an O.K.). French Dancers Pierre Le Cote and Claude Bessy appeared in Cannes with tutus and tunics. A cowed secretary at London's Ballet Rambert was talked out of a Giselle score; a second score was produced by an operative...
...Paris, the ballet troupers scoured Parisian shops for all the shoes, Pancake Make-Up, eye shadow, nets, Kleenex, false hair, powder puffs and bobby pins they could carry. Wardrobe Master Leslie Copeland flew to London to buy white shirts for the men. Upon his arrival in Brussels, well-heeled Director Lucia Chase and company members cut off the incongruous pockets. The U.S. embassy in London scissored red tape to arrange immediate funds for air-freighting costumes, put the Rambert Giselle score in a Brussels-bound diplomatic pouch. In Brussels itself, one especially vital consignment arrived at the airport with such...
Curtain Up. Day before the Brussels opening, Music Director Samuel Krachmalnick set about rehearsing a pickup orchestra of phlegmatic Flemings. A Brussels milliner, working from a photograph, in six hours ran up helmets for The Combat. At the scheduled time, in the U.S. Pavilion theater, the curtain rose on the Ballet Theatre. The first work on the bill was Theme and Variations, but variations predominated: girls in Sylphides tutus and men in tights, which had just arrived from New York, leaped and twirled against a backdrop from Gala Performance...