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In Memoriam: Lois Smith
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David Adams and Lois Smith in Dark Elegies (1955/56). Photo: Ken Bell. Courtesy: The National Ballet of Canada Archives |
I write about her passing not only because she was our first ballerina, but most of all for her interpretation of great ballets: Swan Lake, Nutcracker, Sleeping Beauty, Giselle, Coppelia... but by far her greatest interpretations were by the works of choreographer Antony Tudor; in Jardin aux Lilas (as Caroline), in Dark Elegies (the pas de deux), in Gala Performance ( as the Italian Ballerina), and in Offenbach in the Underworld (as the Opera Star). Lois danced each of these roles beautifully. She was coached by Tudor himself and National Ballet of Canada's founder, Celia Franca, both of whom were together at Rambert.
Lois truly loved Tudor's choreography and gave each performance of his works incredible respect. How lucky we all were, and we so appreciated what we were given! Lois interpreted Tudor's works with simplicity -- no frills, no chest pounding or dramatic overacting.
I share this memory with the highest regard and respect for Lois, fully appreciating my great luck for knowing her, living with her, and most of all, for the chance to dance with her. What a great experience for me!
Sally Brayley Bliss |
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Donald Mahler Remembers Lois Smith
"As first ballerina of the company she bore an enormous weight on her shoulders. Even so, Lois shared all of our vicissitudes, traveling for long arduous bus trips, dancing under every imaginable condition. Poor stages, slippery hard floors, crowded dressing rooms and almost arctic cold. We often took class in hockey socks, gloves and overcoats! Lois was always right there along side us, sharing all the ups and downs..."
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Memories of Elizabeth Sawyer
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Elizabeth Sawyer at Tudor Centennial |
"Betty was our music mentor, friend, and colleague in fiercely defending Antony Tudor's place in dance history. Whenever we broke bread together, we discussed everything, except what she would like when the time came to leave us. None of us expected that it would be so soon, like this, despite her fragile health." - Emiko and Yasuko Tokunaga
"We all know how important an accompanist is and how rare it is to find the good ones let alone the gifted ones. Elizabeth was one of the rare and gifted ones and she and Tudor certainly worked beautifully together. Only once in four years do I remember that she had difficulty finding what he was wanting for the music - usually it was perfect. They had a unique relationship which was a gift to all of us." - Gary Masters
"Betty Sawyer was my all-time favorite accompanist for ballet classes at Juilliard during my student days, 1955-1959. In Tudor's classes she would often play Offenbach's La Belle Hélène because she knew how much I liked it and it usually inspired everyone to make the most of grand allegro.
Prior to the Tudor Centennial she called me and we had a wonderful chat about 'old times.' It was so wonderful to see her at the Centennial and to hear her remembrances of Tudor. Because I was only there for the first day, we promised that we would keep in touch with each other after the event. But, alas, time has a way of slipping by and we didn't make any additional contact.
And now, she may be gone in body, but her spirit will always be with me and I'm sure many others that were fortunate enough to partake of her great talent."
- Helene Breazeale
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Diana Byer, Artistic Director of NY Theatre Ballet, on Coaching Lilac Garden for American Ballet Theatre:
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Julie Kent, ABT, in Lilac Garden; Photo: Rosalie O'Connor |
"What could be more exciting than getting a phone call from Kevin McKenzie, Artistic Director of American Ballet Theatre, asking me to assist him in restaging and coaching Antony Tudor's Lilac Garden. It was a gratifying experience in every way.
To spark interest in the cast before rehearsals I made a few copies of the 1963 Dance Perspectives two-part series on Tudor as well as a short essay Tudor wrote on Lilac Garden. Once we began rehearsals I also brought in two copies of Stanislavski's An Actor Prepares for the cast to share.
I realized after the first rehearsal that the challenge for me was how to give the dancers insight into their characters, not just work on the overall shape of the ballet, the steps and spacing. ABT's dancers are exquisitely talented with strong, clear ballet skill. How would I encourage them to empty their minds of technique and let only the movement enter, what would I do to get them to become their character rather than act it out? Hugh Laing said in Dance Perspectives: 'You can't be a dancer in Tudor ballets. Everything is based on classical technique, but it must look non-existent.' That's very difficult to achieve."
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Excerpts from Tudor's Essay on Character Development - Lilac Garden:
 ".....The ballet is steeped in the conventions of the beginning of the twentieth century, when young girls of good families were trained in the good manners of young ladies of refinement, with the right social graces and an understanding that a girl remains a virgin until she is married.
...This ballet concerns itself with the hiding of emotions from public display, but still conveying through the performance the emotions that were being concealed. As is the case with the majority of my ballets, the performers must recognize the existence of the audience's presence, and the fourth side of that stage in "Jardin aux Lilas" is as much overgrown with lilacs in the old part of a manor house garden as are the painted scenery on stage; and the proscenium arch is not there in essence. And, the audience is witnessing the action clandestinely."
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Words Spoken by Mikhail Baryshnikov at Tudor Memorial:
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Baryshnikov with Mayor Koch, Tudor, and Bess Meyerson |
"When I first came to American Ballet Theatre I knew within days of working with Tudor, that Tudor was at the heart of this company. All the dancers had a natural, awesome reverence, and something that goes beyond respect. Of course it has been said that everyone was a little afraid of Tudor, but I always believed it was because they knew he represented something very pure and very, very direct; and it is always difficult to face that. |
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Baryshnikov in Tudor's Shadowplay - ABT |
Tudor has affected everyone who worked in the theatre. He was able to articulate and make everyone who worked with him understand the high regard that he had for dance and how high his standards were for us. It was his passion and devotion to his profession that was an inspiration to all of us. Anyone who was in the rehearsal room with him and performed his ballets, and luckily many of our youngest dancers have had that opportunity, took something away with them that can never be replaced: a sense of dignity, beauty; and, the importance of realizing our potential capacity to fuse heart, mind and body in music in a way that no other choreographer has ever asked..."
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 Purchase a Centennial Book/DVD and Support an Endowed Tudor Scholarship at The Juilliard School!
Our 137 page hardcover "coffee table" book features an impressive array of black & white photos of Antony Tudor throughout his illustrious career and dozens of written "remembrances" and photos from Tudor dancers and students. Our 90-minute DVD features interviews, demonstrations of Tudor classes, and more.
All proceeds from sale of these items go toward an endowed Tudor scholarship at The Juilliard School.
REMEMBRANCES IN THE TUDOR CENTENNIAL BOOK INCLUDE:
Pina Bausch, Sylvia Yamada Brown, Yasuko Tokunaga, Roni Mahler, Victoria Leigh, Kirk Peterson, Bonnie Oda Homsey, Mary Ellen Moylan, Dennis Nahat, Lance Westergard, Hilda Morales, Maria Youskevitch, and more!
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Lois Smith Archival Photos
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Lois Smith and David Adams in Lilac Garden (ca. 1954). Photo by Ken Bell, Courtesy of The National Ballet of Canada Archives |
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Mimi Kolzova and Lois Smith in Gala Performance (1953). Photo by Ken Bell, Courtesy of The National Ballet of Canada Archives |
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