My first memories of Elizabeth Sawyer are in the fall of 1962. I had just moved from Toronto where I had been a dancer with the National Ballet of Canada. I had decided it was time to move on to New York and, most importantly, to study with Antony Tudor and Margaret Craske. I had auditioned for the Metropolitan Opera Ballet and was accepted as an extra dancer, and later became a full-time dancer with the company.
I have many great memories from that time. What stands out, intertwined with my hero worship of Antony Tudor's classes is Elizabeth Sawyer -- a very pretty, young red-head, with a turned up nose, a warm smile, and a fine pianist. The Met Opera studio was quite big and because Tudor's classes were packed full, I always stood holding on to the piano. That's where I really got to know Elizabeth, speaking between exercises.
Tudor had chosen her not much earlier to be his accompanist, and she stayed with him both at Juilliard and the Met as long as he remained teaching, which was approximately 18 years.
For me, Elizabeth was always there and I think possibly, she was Tudor's security blanket. She was excellent -- being an accompanist for ballet class is extremely difficult. No one was better equipped than her. Their personalities clicked perfectly and she always knew exactly what he wanted and played it. There never was a hesitation from her. Tudor's classes were difficult. I loved her music and it helped make class a little easier. Those classes were one of the highlights of my life.
Elizabeth taught a music appreciation course at Juilliard. I had the honor of attending her class for a semester. Martha Hill, Director of Juilliard Dance, allowed me to join the class and I loved it. Our final report was on a composer chosen for us by Elizabeth. She picked Chopin for me. It was an eye opening experience and my, how much I learned. Chopin was certainly not who I thought he was. Thank you, Elizabeth, for opening my eyes.
Throughout the years since then we were constantly in touch. She was either asking for information or blatantly criticizing everything I was doing wrong as the Trustee of the Trust. To be honest, she could be very difficult and ornery. Sometimes I agreed and sometimes I stongly disagreed. But you know what, no one knew more about Tudor than Elizabeth.
Her writings about him are very important and must be in a secure place for future students, dancers, teachers, choreographers and directors. All of us can learn from her words, and of course her love and great respect for Tudor.
Elizabeth, thank you once again for giving us his life from your point of view. We will treasure your words forever.
Sally Brayley Bliss
