Word: performed
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Dates: during 1970-1979
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...Hillenbrand over dinner at Chicago's Bismarck Hotel. In blue jeans and a baggy smock, without her stage makeup and wigs, she bore little resemblance to the ethereal Giselle or the wide-eyed Clara of The Nutcracker. Hillenbrand had watched her perform on a recent evening...
Then came Baryshnikov. Gelsey had met him briefly on a 1972 tour with the City Ballet in Russia, and he had seen her perform there. During the summer of 1974, she went to Toronto to see Baryshnikov dance. At a supper afterward they hit it off. Sizing her up, the 5 ft. 6½ in. Baryshnikov remarked, "Hhmm, good partner, right size." A few days later Gelsey was back in New York, working at the barre, when she got a phone call from a member of Baryshnikov's entourage. Misha had just decided not to return to the Soviet Union...
Gelsey threw herself at the challenge with typical fervor. Joining A.B.T. meant rapidly mastering the classical repertory of story ballets that Balanchine's company did not perform. It meant learning to act as well as dance, an opportunity that she both craved and feared: "I never really felt capable of doing the roles that people seemed to think I could do." Being out from under Balanchine's shadow also meant that she had no place to hide...
Leslie Browne, 20. Soloist, American Ballet Theater. More people have watched the auburn-haired Browne perform in The Turning Point than may ever see her in person. Her lucky casting in the film as an aspiring ballerina who rises to partnership with Baryshnikov not only made her a celebrity but also prompted her to take acting and singing lessons-though only for a while. She is not interested in an acting career and has refused several film offers. Dance remains her passion: "I love the physicality of it all." Like Emilia in The Turning Point, she is the daughter...
...tougher to take than not seeing your name on a list," Amy Aquino '79, who plays a leading role in the production says, adding, "I felt bad about it for a while." Unlike most Harvard productions, where auditions are individual and private, Havergal chose to let everyone perform in front of everyone else. "It was in a lit house where everybody wanted you to fail because they wanted your part," Jon S. Goerner '78, who plays the servant Figaro, says. "You feel terribly guilty if you went there with 40 people and you were the only one who made...