Word: nureyev
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...introduced her interpretation of Nathaniel Hawthorne's novel last week to an appreciative New York audience. While Graham Protegee Janet Eilber danced the part of Adulteress Hester Prynne in the classic Puritan story, the role of the Rev. Dimmesdale went to celebrated Russian Expatriate Rudolf Nureyev. "I see no irony in using a Russian to dance the lead in this very American story," insisted la grande Graham. "I choose dancers, not nationalists...
...will W.C. Fields and Me, starring Rod Steiger. Mel Brooks is making a silent comedy, while Peter Bogdanovich is about to start work on a talkie set in the silent era called Nickelodeon. Ken Russell, fresh from destroying Liszt, will now have a go at Valentino, casting Rudolf Nureyev as the screen's greatest lover. Recently, Elia Kazan started to film F. Scott Fitzgerald's own Hollywood novel, The Last Tycoon. Even now, a large German shepherd called Gus is barking his way across the country on a promotion campaign for Won Ton Ton, the Dog Who Saved...
...still No. 1 with the jeté set, but at 37, Ballet Star Rudolf Nureyev may be feeling a bit creaky of knee. Friends report that he has considered an acting career, and the aging dancer has been showing up at a London studio to cut his first record. Nureyev, who defected from the Soviet Union in 1961, read the title role of Stravinsky's L 'Histoire du Soldat (The Soldier's Tale) in lightly accented English. He then described his trepidation at leaving his silent art even temporarily. "I usually don't have the courage...
...nearly 20 minutes of cheers and bravas. For those in search of novelty, there was a first look at a potentially exciting new partnership. Gelsey Kirkland was dancing, for the first time ever, in a showy pas de deux from Le Corsaire, with that ubiquitous guest artist Rudolf Nureyev. All smoldering fire, Nureyev and the ethereal Gelsey, a lass with a very delicate air indeed, looked well together, and the audience loved them...
...what dancing there is! Just as there is grand opera, there is also grand ballet-unfettered by logic, celebrating showmanship and dazzle for their own sake. There were a few opening-night technical mishaps, but Nureyev's Raymonda is so studded with spectacular solos, pas de deux, pas de trois, pas de quatres, stylistic evocations of folk dance and rousing ensemble displays that it is rather like a 19-course meal devised by an overeager master chef. There are almost too many delights to absorb. One of them, certainly, is a revitalized Erik Bruhn, who brings to the secondary...