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Running Away to Dance in the 40'S

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Running Away to Dance in the 40'S NO DAUGHTER OF MINE IS GOING TO BE A DANCER! Dancing for Agnes de Mille and the Giants of Dance in the 40s By Sharry Traver Underwood Foreword by Deborah Jowitt Table of Contents Foreword by Dance Critic Deborah Jowitt i i Acknowledgements v iii iii Introduction 1 1 Chapter One 3 3 1942 Summer Harrisburg, PA It is my dancing! WWII raging. Dance while others die? Dance at Syracuse University Jungle Rhythms The plan: to go to Jacob’s Pillow University of the Dance My dance training; is there any? Chapter Two 13 1942 Summer Jacob’s Pillow Opening Season of Jacob’s Pillow University of the Dance First day in class with Joseph Pilates, Steffi Nossen Ted Shawn, Bronislava Nijinska, Elizabeth Burchenal. Classes with Anna Duncan, Arthur Mahoney, Thalia Mara, Dr. Margaret d’Houbler, Dr. Anne Duggan A spectacular class with Ruth St. Denis Performance dance artists: Ted Shawn, Barton Mumaw, Helen Tamiris, Asadata Defora, Elizabeth Waters, Miriam Winslow, Marina Svetlova. Comprehension of Dance as A Living Art Ted Shawn proclaims Body, Mind and Spirit inseparable! Ted Shawn’s appraisal of my dancing. Chapter Three 39 1943 Summer Jacob’s Pillow Jacob’s Pillow Dance Festival Scholarship students Classes with Natasha Krassovska, Grant Mouradoff, Joe Pilates, Arthur Mahoney, La Meri, Anne Schley Duggan & Jeanette Schlottman, Thalia Mara Ted Shawn, teaching Denishawn repertory Delsarte Lectures Being Shawn’s partner on Jacob’s Pillow Dance Theatre program. Barton Mumaw’s performance Papa Shawn finds job for me, teaching dance at Brenau College in Georgia Chapter Four 65 1943-44 Brenau College, Gainesville, GA Teaching Modern Dance and Folk Dance at Brenau College Produce student musical for War Bond & Red Cross Benefits Present Solo Dance Recital The Indian Pageant Contretemps with my Physical Education Director My trial BA Degree in Theatre. Chapter Five 83 1944-45 Denton, Texas Tutor at Texas State College for Women MA program: Dance Major English Minor Dr. Anne Schley Duggan, Director (Nancy) Jeanette Schlottman and Mary Campbell on Dance Faculty Modern Dance Group performances Dance at U.S. Air force Base with Anatole Bosovic Ted Shawn’s letter of advice to dancers. World War II ends. Call from New York to audition for Broadway show Oklahoma! Test of character Audition for Starlight Operettas, summer theatre in Dallas Chapter Six 101 1945 Summer Dallas, Texas Starlight Operettas All dance techniques required Join Chorus Equity Pay $35 per week Operettas: The Great Waltz, Countess Maritza, Student Prince, Anything Goes, Three Musketeers, Cyrano, Blossom Time, Firefly Speaking role in Maytime Carolyn George Philosophy of Dance Become engaged to Walt An Untoward Incident A critical conversation: dance and the common man. Chapter Seven 119 1945-46 Denton & Dallas, Texas Year of angst at TSCW Break engagement Contretemps with Dr. Duggan to get Thesis subject approved Thesis: The Development of Ballet on the Concert Stage of America Between 1944 and 1946.. Summer 1946 sign on to second season at Starlight Operettas The Last Waltz, Cat and the Fiddle, Vagabond King, Katinka, Naughty Marietta, Gypsy Love, New Moon, Count of Luxembourg, A Wonderful Night, Rose Marie Carolyn George and I given lead dance roles Thesis stolen New book compromises thesis Dedication of thesis standoff Receive MA Degree, August, 1946 Chapter Eight 131 1946 Fall New York, New York! Arrive with $100. Try dance studios: Gertrude Shurr, Martha Graham, Humphrey/Weidman Audition for Showboat, Oklahoma! and Finian’s Rainbow The New York Unemployment Agency on 8th Avenue. Worthless. Great Northern Hotel waitress Choreographers’ Workshop dance with Talley Beatty Chapter Nine 149 1947 Winter New York, NY Explore New York Lose and regain independence Audition for Bloomer Girl, choreographed by Agnes de Mille Class with Doris Humphrey Called back by Bloomer Girl dance captain Emy St. Just Given one of dance leads in show Betty Jones, Ruth Ann Welch, Virginia Bosler from Jacob’s Pillow Also Carolyn George from Starlight Operettas. Chapter Ten 163 1947 January New York City Center, NY Debut in Bloomer Girl Show and Choreography described. Chosen to understudy the lead dance role Chapter Eleven 173 1947 January-June Canada & USA Bloomer Girl on tour Reaction of parents and friend to show in Rochester Picketed for being bi-racial in St Louis and Kansas City Hubert Dilworth’s philosophy My chance to dance The Girl in Rose in Wichita Show closes in Los Angeles Homeless Chapter Twelve 193 1947 Summer Colorado Springs, Colorado. Hanya Holm’s School at Colorado College Beginning classes with Alwin Nikolais and Hanya Glen Tetley Holm Technique explores anatomy Concepts of space Being “in place in space” Holm’s Circle Study Production of The Insect Comedy I am cast as the Crysalis The death of my Nana Chapter Thirteen 201 1947 Fall New York, NY Homeless again New roommate Anita Dr. Wilhelm Reich’s Orgone Box The Weidman Company class Asked to join The Charles Weidman Dance Company Auditions for the Slave in House Divided The mutiny by regular company over Emily Frankel Charles’s plans for National Tour Learning Fables for Our Times. Chapter Fourteen 217 1948 Winter/Spring 1948 NY & USA tour Charles Weidman and Dance Company Company morale and Charles’s morale And Daddy Was A Fireman House Divided Panamic Suite My first Burlesque Important concert in Los Angeles Charles’s Definition of Modern Dance on program Lynch Town A review in Chico Dr. Duggan and Mary Campbell at TSCW concert On My Mother’s Side Company gives Broadway performances at the Mansfield Theatre Good revues: Charles can make it without Doris Chapter Fifteen 249 1948 Spring New York, NY The American National Theatre Association (ANTA) Auditions for Experimental Theatre production, Ballet Ballads Book by John LaTouche, music by Jerome Moross. Three choreographers: Katherine Litz, Paul Godkin and Hanya Holm Katie casts me in her Susanna and The Elders. Hanya casts me in her Davy Crockett. I am featured in Susanna and Davy Paul Godkin, choreographer for Willie The Weeper. Dancer Sono Osato, our star. Reviews good Mentioned in New York Herald Tribune & Variety reviews Show moves to The Music Box on Broadway Included in Theatre World 1947-1948. A friend is not a friend. Graham Dancer Margaret (Maggie) Cuddy Cuddy new roommate Show closes midsummer Chapter Sixteen 287 1948 Summer New York, NY Callbacks for new Michael Kidd show Audition for Finian’s Rainbow at 46th Street Theatre Kidd’s exuberant choreography My solo in Come’n’Get It Day Mixed cast Finian’s to go on National Tour. Hanya casting for Kiss me Kate. Touring Finian’s in Philadelphia and Boston Back in New York, Hanya casts ballet dancers in KMK Chapter Seventeen 305 1948-49 Winter/Spring New York, NY Both Maggie and I work in Concert Dance 92nd Street YM/ YWHA -- Choreographer Virginia Johnson cast Maggie and me in her new modern dance work, The Invisible Wife Break-in into our apartment. Alwin Nikolais and the Henry Street Settlement House Dancing for Peter Hamilton Louis Horst and Alfred van Duyme come to breakfast My own choreography Guest on Make Mine Manhattan CBS/TV program. Gloria Swanson Hour at WPIX/TV with Alexander Calder’s Mobiles. Hanya asks me to manage New York Studio during summer Take dance teacher summer job in Vermont Chapter Eighteen 327 1949 - Summer Camp Birchwood, Sudbury, Vermont Dance counselor for Jewish girls from New York Free studio to complete my Women’s Suite : Woman Working--my teaching, demanding; the teenage dancers, advanced Woman Waiting--waiting through camp quarantine during Poliomyelitis epidemic Woman Wanting-- to be with Wynn Underwood the rest of my life. Marry Wynn Underwood Boston Dance League Teaching and dancing in Boston 1949-52 Chapter Nineteen 343 1952 Summer Middlebury, Vermont 1952 The Lions’ Club Annual Dance Starting over again Quote: Epidaurus Coda 349 297 Addenda 353 Notes & Resources 357 Bibliography 359 Suggested Readings 361 Index 363 1 INTRODUCTION “The cup contains; the fountain overflows,” wrote William Blake. Dancers are fountains. It is not enough to know something; we have to dance it out body, mind and soul. So it is exciting to know how these flowing spirits from two strong women dancers changed the art of Dance in America. In 1910, the great Russian Ballerina Anna Pavlova brought Ballet to America as the American Isadora Duncan brought her free-spirited dance across America to Europe. Dance as an art form took decades to evolve in American theaters. It grew primarily from individual dancers’ strong dissatisfaction with the status quo. Desire for change grew stronger after World War I. Rejecting dance as spectacle or entertainment, a nucleus of dancers determined to dance about aspects of their own lives. The 20s and 30s were years of ferment and experimentation in dance as a voice for humanity. Dancer Agnes de Mille brought the influence of Modern Dance to Broadway. Modern Dance slowly became an art on the concert stage. By the 1940s, American Modern Dance was being introduced into college athletic programs. During this time, however, only the sensational stars in movies or vaudeville received a patronizing respect. Otherwise it was immoral to be a dancer. Nevertheless, American girls and boys began to run away to be dancers. I was one of them. Halfway through the 20th century, I danced with the earliest icons of American Dance: Ted Shawn, Ruth St. Denis, Anna Duncan, La Meri, Charles Weidman, Doris 2 Humphrey, Martha Graham, Hanya Holm, Elizabeth Waters, Alwin Nikolais, Agnes de Mille, Michael Kidd and others. The riches in originality in dance technique and philosophy these artists shared with their dancers and their audiences provided the roots for the development of our own American Theatre Dance.
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