Word: fonteyne
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Dates: during 1960-1969
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...Nureyev and Fonteyn dance their first Giselle, Covent Garden...
...roles, making Romeo, Petruchio and even Onegin believable and remarkably affecting. The marvel, though, is Marcia Haydée. Experts correctly point out that she is not a great dancer technically. Most would turn puce at the thought of mentioning her in the same breath with Margot Fonteyn. But few dancers within memory have projected the rangi of whims and wishes or invoked the delicate interplay of emotions that flow from the least gesture of Haydée's body, the slightest tilt of her head. Her Juliet is funny, touching and finally heartbreaking. Her Tatiana melds waif with...
Both of the Royal's new works, appropriately, were created by Sir Frederick Ashton, the company's director since 1963 and, with Balanchine, one of the world's two finest living ballet choreographers. "If Fred is in the English tradition," says Dame Margot Fonteyn, "that is because he is the one who made it." Like Balanchine, though, Ashton began in the Russian tradition. Born in Ecuador, the son of a British businessman, he began studying ballet at the age of 18. Two years later, he worked with the company of Marie Rambert, for whom he produced...
...after-hours bash at Bonwit Teller's department store in Manhattan was Lauren Bacall, who held court with her left leg propped on a dainty gilt chair. She had torn a cartilage at another party honoring still another designing guru, Yves Saint Laurent. "I thought I was Margot Fonteyn on the dance floor and promptly slipped," said Lauren. "And now as I go spreading joy through New York, I'm paying for it every step...
Freudian Mud. In a special way, it was Nureyev's season. He performed at least three nights a week-most often in tandem with Margot Fonteyn, still a ballerina of faultless style at the age of 49. Nureyev also had a hand in the choreography of three productions that the Royal brought with it. The best were derivative-works restaged from the repertory of his former company, Russia's Kirov Ballet. By far the worst was his muddied Freudian version of The Nutcracker, in which Drosselmeyer, with a Humbert-Humbert lurch, is transformed into the prince who pays...