Word: pavlowa
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Dates: during 1920-1929
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...Indianapolis some 14 years ago, a healthy 12-year-old child, free from funny fixations, was taken to see Anna Pavlowa dance. The child had no notions of dancing, was to all appearances just a midwesterner with an eight-letter name?Ruth Page, daughter of Dr. Lafayette Page, now director of the James Whitcomb Riley Memorial Hospital for children in Indianapolis. But she left Pavlowa's recital starry-eyed, went home and practiced pirouettes in the parlor...
...year later when Pavlowa returned to Indianapolis, Ruth was taken to see her, did a toe-dance of her own composition. Pavlowa saw talent and beauty of face and body. She spoke encouragingly, advised Mrs. Page to take Ruth to Chicago to study during the summer with the Pavlowa Ballet. There followed further study in Manhattan under Adolph Bolm while the necessary general education was attended to at a suitable school for girls. Then in 1918, while Dr. Page and a son were with the A. E. F. in France, Ruth met quite by accident Victor D'Andre, husband...
...year and a half the Pavlowa company trekked down the East Coast of South America, across the Andes, up the West Coast to Panama, thence to Cuba, Mexico. When she returned to the U. S., Ruth was given the leading role in John Alden Carpenter's ballet, The Birthday of the Infanta, presented by the Chicago Civic Opera Company, later in Manhattan and other U. S. cities. Engagements and prestige came fast. She was premiére danseuse of the Bolm Ballet Intime, of Irving Berlin's Music Box Revue; she danced with the Chicago Allied Arts productions in Chicago...
...Other new singers will be Sopranos Florence Macbeth and Thelma Votipha. Tenor Theodore Strack (Hungarian) and Basso Carl Bitterl. Conductor Frank St. Leger and Tenor Theodore Ritch have been re-engaged. Naurent Novikoff, onetime partner of Anna Pavlowa, will direct the ballet school...
Unhappily, Miles. Losch and Matthews are not in Manhattan; their subtle postures and cream-smooth notes are sadly needed. Of course, Marjorie Moss and Georges Fontana float through their waltz scene to threaten voidance of Pavlowa's lifelong lease on "incomparable." Madeline Gibson's demure loveliness forestalls unsympathetic accusations of vocal timidity. But with these exceptions there is no competent voice, no dexterous dancing in the entire revue...