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A Conversation with Francis Mason Summer 2011 Ballet Review From the Summer 2011 issue of Ballet Review A Conversation with Francis Mason On the cover: NYCB’s Teresa Reichlen in Balanchine’s Rubies. 4 Auckland – Marianne Schultz 5 Paris – Peter Sparling 7 Stuttgart –Gary Smith 8 New York – Sandra Genter 10 Chicago – Joseph Houseal 11 Toronto – Gary Smith 12 Paris – Peter Sparling 14 Toronto –Gary Smith 15 Saratoga Springs – Jay Rogoff 17 London –Leigh Witchel 21 Paris – Peter Sparling 80 22 Chicago – Joseph Houseal 25 Tanglewood – Jay Rogoff Joseph Houseal 28 A Conversation with Wendy Whelan Ian Spencer Bell 36 Basic Black Victoria Phillips Geduld 40 This American Manifestation 50 Ballet Review 39.2 Francis Mason Summer 2011 50 Helen McGehee on Martha Graham Editor and Designer: Carla DeFord Marvin Hoshino 54 A Conversation with James Whiteside Managing Editor: Roberta Hellman Joel Lobenthal Senior Editor: 58 Sallie and Joe Don Daniels Associate Editor: Rebecca Hadley Joel Lobenthal 67 Nature Shows 28 Associate Editor: Jay Rogoff Larry Kaplan 72 Renaissance Fare Copy Editor: Barbara Palfy Elizabeth McPherson Photographers: 80 Labanotation as Teacher Tom Brazil Costas 88 London Reporter – Clement Crisp Associates: 92 Robert de Warren – Joseph Houseal Peter Anastos 94 Apollo’s Angels – Elizabeth Zimmer Robert Gres kovic 95 Music on Disc – George Dorris George Jackson Elizabeth Kendall 54 Paul Parish Nancy Reynolds James Sutton David Vaughan Edward Willinger Sarah C. Woodcock Cover Photo by Paul Kolnik, NYCB: Teresa Reichlen in “Rubies.” Francis Mason in Yugoslavia. 40 ballet review This American turing.Nonsense,butwithbeautifulcostumes and scenery by Christian Bérard, no less. I Manifestation thought it was pompous. Hated it. I swore I’d never go to the ballet again. Fast forward eleven years. I’m working in Victoria Phillips Geduld New York and I was seeing old friends of mine from St. John’s College, one of my teachers, Francis Mason: I was in the U.S. Navy during William Gorman, an Aristotelian and a Thom- the Second World War. I participated in the ist, and his wife Natalie Bodanya, who was a D-Day Invasion of Normandy in France and soprano with the Met. came back and got a job teaching in Annapo- After Lincoln Kirstein got back from the lis, Maryland, at St. John’s College, where I war, he and Balanchine started a thing called had gone to school. The best college in Amer- Ballet Society in 1946. They did TheFourTs [The ica for me, and, I think, still the best college in Four Temperaments] at the Central High School America. ofNeedleTradesdowntown.Ididn’tknowany- At St. John’s, I fortunately knew a number thingaboutthat.ButBillandNataliedid.They of people who were later very important in were members of Ballet Society. my life, in the dance world. Nicolas Nabokov, One day in the spring of 1948 I said to them, the old Russian composer, was a friend of Bal- let’s get together again next week. And they anchine’s, who used to visit him in Annapo- said, “Why don’t you come to the ballet with lis. I didn’t know Balanchine in those days, I us?” I said, “That’s a stupid thing to do. Why just knew about him from Nicolas. are you doing that?” And they said, “Francis, I hadn’t been to the ballet. Oh, I’d been to you can’t talk like that, that’s an uncivilized theballetonce,in1937,whenIwasahighschool remark from a person like you.” I said, “But kidinPhiladelphia.IusedtogotothePhiladel- I’ve seen the ballet and I thought it was non- phia Orchestra every Saturday night. I would sense!” They asked, “What did you see?” I told standinlinetwo,three,four,fivehours,some- them the Massine story and they said, “You’re times in the bitter cold, to get a fifty-cent tick- right! Massine is crap, but this is Balanchine.” et for what was then the greatest orchestra in I said, “Oh, Balanchine, I know all about him.” America. It was Leopold Stokowski’s last sea- They said, “But you just said you don’t know son there. anything about the ballet.” I told them, “I saw I was in line when my friend said, “Fran- The Goldwyn Follies.” cis, you know it’s not the orchestra tonight. When Balanchine and his company The It’s the ballet.” I said, “What’s that?” He said, American Ballet were at the Met, or just af- “It’s dancing. Stay,you may like it.” Well, I had terwards, Sam Goldwyn, the movie producer, been in line for hours so I stayed. The curtain went out on a limb and asked Balanchine to went up. David Lichine was in Afternoon of a Hollywood. Goldwyn was making a movie and Faun. I didn’t, mind you, know anything about he didn’t know what he was going to do in it. this. I loved it. For a seventeen-year-old, Faun Balanchine didn’t like Goldwyn, but he saw was a cinch, you understand. I did that in thatinHollywoodhecoulddoanything,things my bed every night in a way.But then they did that he couldn’t do in the theater. a big ballet to the Beethoven Seventh Sym- GoldwynFollieshadVeraZorina,whobecame phony. My Seventh Symphony? I knew the Balanchine’s wife around that time, and she Beethoven, from the Philadelphia Orchestra. did something called the Waternymph ballet, I was outraged. Massine! All of this silly pos- in which she rises out of a pool – soaking wet. Francis Mason was the editor of Ballet Review from Then the pool becomes a mirror, she’s dry, 1980 until his death in 2009. This article is based on and she dances off with the American Ballet alengthyinterviewfromApril2006. full force, men and women, and a huge de ©2011EstateofFrancisMason,VictoriaPhillipsGeduld 41 Chirico-esque white horse in the background. sals. I began to watch him make pieces. I saw Well, I adored it. I thought Zorina was ex- him do Bourrée Fantasque. I saw him revive Pro- traordinary, so I said, “That’s Balanchine!” digal Son with Jerry Robbins and Maria and They said, “But, Francis, this is a Balanchine other things. I was there all the time watch- ballet live on the stage. You have to see.” I said, ing. “Okay, maybe I’ll be there.” I began to write about it in the Hudson Re- I turned up, the next week – late, the last view in 1950. Frederick Morgan, the editor of second. They were furious with me and the magazine, was terrific. I took him and his dragged me to my seat and said, “Sit down and wife, Connie, to the City Ballet one night and shutup.ThisiscalledOrpheus,youknowabout said, “Look, I want to write about this.” They Orpheus.” I indeed did know all about him. said, “Please do.” So, I began to do that. I did not know it, but Stravinsky was in the Then a couple of years into that, one of pit that night. I saw this performance, with the students I’d had at St. John’s when I was Noguchi’s great setting, the great silk curtain teaching there, Lawrence Sherman, a New that Balanchine had paid so much for. I was Yorker, had a job at Doubleday. He called me: overwhelmed,reallystunned.Fromthatpoint “Look we’ve just signed a contract with Bal- on, I was interested in the subject. anchine to do a book of stories of the ballet.” The company started as the New York City Doubleday had done a book that sold like hot- Ballet in, I think, November [it was October cakes called Milton Cross’s Complete Stories of the 1948]. I went to lots of performances. I was Great Operas. Milton Cross was the radio an- captivated. nouncer for many years for the Met Saturday NicolasNabokovhadstoppedworkingatSt. broadcast. People around the country knew John’s and moved to New York, working for all about opera because of Cross, so that book the State Department, at the Voice of Ameri- took off. ca, the International Broadcasting Division. Doubleday wanted to do a book about the He was living around the corner from me and ballet with Jacques Fray, who was a French was then married to Patricia Blake. I said to pianist and a music commentator on WQXR them one day, “Look, would you ask Balan- radio. He was a friend of George’s and sug- chine and Maria Tallchief to dinner, so I can gested to Doubleday that he do this book. At meetthem?”Mariawasmyheroineinthisbal- first it was going to be called “Balanchine’s let matter. They said, “Sure.” Complete Stories of the Great Ballets by NabokovtoldBalanchinethatIwasawriter Jacques Fray – with Jacques Fray,” but Jacques and writing reviews for the Hudson Review, a couldn’t write. new literary magazine. I said that indeed I My friend Sherman said, “Somebody’s got was and interested in the ballet, chiefly in towritethisbook.Francis,whydon’tyouwrite his work, and would like to know more. Bal- it?” I said, “Well, that’s not for me to say,that’s anchine said, “Well, come to the School. Can for Balanchine to say.” He said, “I’ll tell you you dance?” I said, “I’m hopeless, I’m twenty- what. Why don’t you write up a history of the eight.” I don’t think I could move at all. I tried ballet as you would do it, and then I’ll get a but I couldn’t. couple of other people to do it also. We’ll show I began to go to the School of American Bal- it to Balanchine and see which one he wants.” let, every Saturday – I was working.
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