Tudor in Chair
Antony Tudor Ballet Trust eNewsletter
www.antonytudor.orgSpring 2012
In This Issue
Sally Bliss Remembers Mark Goldweber
News from the Tudor Trust
Donald Mahler returns to France to set Lilac Garden
In Memoriam:
Mark Goldweber
Mark Goldweber headshot from Ballet West
Mark Goldweber
1958-2011

 In 1974 I was adjudicating the Southeast Regional Ballet Festival for the National Association of Regional Ballet now called Regional Dance America.  I was in Miami at the studios of the late Thomas Armour, one of the most respected teachers in the US at that time.

What I remember most was a very good showing of "Ramonda Variations" after Balanchine, with a very young boy, approximately 15 years old, dancing.  He was so talented and sweet.  Then I discovered he had staged the "Raymonda."  That blew me away.  He was so young and a fine dancer with integrity in his staging.  At that time I was the Director of the Joffrey II Dancers and of course I hired him immediately.

Joffrey II, founded in 1969 by me and Jonathan Watts (both former Joffrey dancers) was a training company of 12 dancers that developed into a touring company.  We trained not only dancers, but choreographers, costume, set and lighting designers, composers for dance, administrators, and stage managers.  It was a great training ground for all of the above.  It was the first "second" company, closely followed by Ailey II.  Ninety five percent of the dancers went on to the first company as soloists and leading dancers, not only in the Joffrey but major companies all over the world, and many are Artistic Directors now.  It was a program I'm very proud of.

Mark Goldweber as Blue Boy
Mark Goldweber as Blue Boy in Ashton`s Les Patineurs

Mark joined Joffrey II in 1974/5.  Jonathan had left and I was the Director with Maria Grandy as my Associate Director.  As soon as I became Director, I asked Tudor if we could have his "Continuo" and "Little Improvisations." I was thrilled he said yes, and he came to set both works on the dancers.  Mark was cast in both works, and how lucky all those young dancers were to be taught and coached by this great choreographer.

Mark spent four years with Joffrey II, longer than the two years most of the dancers spent.  The Joffrey Ballet was preparing to do "Les Patinieurs" by Frederick Ashton; it was staged by Brian Shaw and Michael Somes, two great dancers from Britain's Royal Ballet.  The main part is the "Blue Boy." Mark, still in Joffrey II, was picked for that part.  Mark danced in the opening performances of this ballet and it seemed that having these two famous dancers pick him for this important role was the "Good Housekeeping Seal of Approval," and finally, Robert Joffrey picked Mark to dance with the first company.  He went on to dance many principal and important roles with the Joffrey Ballet.

Mark retired from dancing in 1988, remaining with the Joffrey until he became Ballet Master with the newly founded Oregon Ballet Theatre, directed by former Joffrey II & Joffrey Ballet dancer, James Canfield.  He came back to the Joffrey Ballet as Ballet Master in 1996, a year after the Joffrey's move to Chicago.  He went on to join Ballet West under the direction of another Joffrey II and Joffrey dancer, Adam Sklute.  Mark was again Ballet Master and Director of Ballet West's second company.

Here are special reviews of Mark as a dancer with the Joffrey Ballet:

Jennifer Dunning, The New York Times :  "... he brought to ballet a vivid intelligence and a gift for seemingly effortless razzle-dazzle technical feats." 

Arlene Croce, The New Yorker :   "His phrasing is already compelling.....  he shines with innocence and talent, and the audience eats him up."

Anna Kisselgoff, The New York Times:  "No degree of virtuosity could faze him - the changes in direction, the multiple turns, the butterfly jumps were all superb."

Mark passed away from lymphoma on December 9th in Salt Lake City.  The entire ballet world is sad but none as sad as me.  He was so special, dedicated, intelligent; such a beautiful dancer, funny, funny, funny, sensitive, a perfectionist.  For him to have left us so early in his short life - he had so much more to give!  I had such great respect for him.  I loved him with all my heart.  I will never forget him. - Sally Brayley Bliss  

News from The Tudor Trust
Tudor Beaton photo 

 

  • Kirk Peterson, Trust Répétiteur, has completed setting Dark Elegies in its entirety for Webster University, St. Louis.
  • Amanda McKerrow and John Gardner, Trust Répétiteurs, will be setting Leaves are Fading at Ballet Sodre in Uruguay.
  • JKO School at American Ballet Theatre preformed Soiree Musicale in March, 2012.
  • American Ballet Theatre will perform Leaves are Fading in their Fall 2012 season at NYC City Center.

Visit www.antonytudor.org news page for a complete listing of recent and upcoming performances!

"THE RETURN"
Donald Mahler, Trust Répétiteur, Returns to France to set Jardin Aux Lilas for Ballet du Rhin
Lilac Garden - Ballet du Rhin
Jardin Aux Lilas, 2012 - Ballet du Rhin. L-Alexandre Van Hoorde. R-Christelle Daujean-Molard Photo: Jean Luc Tanghe
Some twenty years ago my telephone started to ring. This ringing proved to be the harbinger of something which actually changed my life in a very big and entirely unexpected way.

Sally Bliss had a proposal for me. A request by a company in France for Dark Elegies had come in. Because both of the Tudor Trust's Répétiteurs Sally Wilson and Airi Hynninen were already engaged and unavailable, would I go over and stage it? Well, would is not could!!

I had up until that time not staged any of Tudor's works. Over the years, I had danced in a number of them - principal roles in Jardin Aux Lilas (Lilac Garden), Offenbach in the Underworld, Echoing of Trumpets and lesser parts in Dark Elegies and Gala Performance. But all this, plus years of watching performances, many with the finest Tudor interpreters, including the great man himself, did not automatically give me the ability to stage these masterpieces. To be an honest player in this time honored profession, I felt that I needed to have a great deal more knowledge of these works than I had. Even to coach these works requires much more than a passing acquaintance with them. "Fools rush in where angels fear to tread." That is what I believed then and honestly, what I still believe.

Dark Elegies - Ballet du Rhin
Laurence Rollet in Dark Elegies, 1991. Photo: Laurent Phillipe.

So, my answer to Sally's proposal was a strong no. Sally, being the ever positive person she is, wouldn't take no for an answer and phoned me for a second time with a variation on her theme. If she sent a notator to actually teach the "steps," would I then agree to go there and coach the ballet? The notator would go there for two weeks and then, after she left I would arrive and continue the work. With much trepidation, knowing that I would be working on my own, I at length, agreed to this proposal.

This agreement changed the course of my life.

Lilac Garden - Ballet du Rhin
Claude Agrafiel and Sylvain Boruel in Jardin, 1992. Photo: Laurent Phillipe.

First, I set to work with Sally Wilson to try to fill in what I did not know. Then, working with the dancers on what the notator had already set, I had to correct numerous errors and develop the inner meaning and intent of the choreography, a massive task and a responsibility which I did not take lightly! As things turned out, eventually, I wound up staging the entire 5th Song on my own. This process, working together with my own memories and experience, enabled me to start with small baby steps down the road along which I have traveled ever since.

I arrived in the small town of Mulhouse to begin working with Ballet du Rhin on Dark Elegies. I immediately fell in love with the company. They were basically classically trained with a very interesting repertoire. On the same program and rehearsing at the same time as I, was Anna Markard, the daughter of the famous German choreographer, Kurt Joos. She was staging his masterpiece, The Green Table.

What a wonderful experience! Two of the most historic and artistically important dance works in the Dance Repertoire! Both created in the 1930's in Europe and still pertinent and being performed then and today! The dancers took to Tudor's work right away and happily, to me as well, with great warmth and friendship. They helped me to enter into the process and overcome my self doubts. There was a great deal of work to be done. My efforts to really learn the ballet proved to be the correct way to go and over the course of time, bore fruit. The period spent with these dancers turned out to be a wonderful learning experience both for me and for them. That my relationship with this company and with Tudor's ballets would be unexpectedly prolonged was beyond my imagining and yet, due to the success of the performance, I was asked back the next year to stage Jardin Aux Lilas

Lilac Garden - Ballet du Rhin
Stephanie Madec and Ramy Tadrous in Jardin, 2012. Photo: Jean Luc Tanghe

The return to a company is always a much sought after experience for me. I will have become familiar with the dancers and they will have gotten to know me. More importantly, they will have become familiar with what Tudor's work is about and with the qualities he asks for. Jardin is however, very different from Dark Elegies. The ability to become a dancer-actor was a big transition for them. The dancers were also puzzled by the music. Its lush romanticism was not at all like the stark music of Mahler. Some time after we had been working on Jardin, one of the dancers told me that, when they first heard the Chausson they hated it. But, after learning the choreography they began to appreciate and even love the music and that was so because of the ballet!

Eventually all this came to an end. Friendly relations became lovely memories. Our lives drifted, as is only natural, apart. Yet, these two productions with Ballet du Rhin were terribly important for me - the start of a wonderful voyage of discovery.   

Now, after 20 years of working on Tudor's works with companies around the world and feeling pretty worn out at that, in a repeat of the past, the phone rang.

Donald staging at Ballet du Rhin
Donald Mahler sets Lilac Garden for Ballet du Rhin, 2012 Photo: Jean Luc Tanghe

There was Sally's voice on the other end. She said that a company in France wanted to do Jardin Aux Lilas and had asked for me to stage it. Which company? Ballet du Rhin! Twenty years later and a return to the place where all this began! How amazing!

In the years which had passed, much of Mulhouse had changed. And yet much had not. Still there were the wonderful old buildings. Still there was the town square with its Cathedral. Now all was bustling with Christmas decorations. Many stalls had been erected with things to eat. Crepes!! Things to drink and lots of noise. Even a giant Ferris wheel. All very reminiscent of the fair in Petrouchka. I set out to find the Theater where the studios are located. Unbelievably, my feet seemed to know where to go and without any difficulty, there I was.

Inside, I found, standing in the office, old friends from my first time with the company. Claude Agrafiel who had danced Caroline and the First Song in Dark Elegies and who is now Ballet Mistress, and Didier Merle who was Ballet Master then and who is Ballet Master now and with whom I was slated to work once again on Jardin. With joy we immediately recognized each other after all these years! During the time I was in Mulhouse, a number of the dancers who worked with me in my first time with Ballet de Rhin also came by to visit. It was a great pleasure to see them.

L-R- Laurence Rollet, Didier Merle, Donald Mahler, Claude Agrafiel - 2012

The company now is much the same as before. A different Director, Bertrand d'At, has brought in a more or less contemporary repertoire but with strictly classical training. A strong sense of musicality and very fluid movement was very much in evidence. I was incredibly impressed by their work ethic. I watched many rehearsals and never saw anyone mark or give less than 100% of themselves - and all in a happy atmosphere! Even with me!

Rehearsals were interrupted by an 11-day Christmas and New Year's vacation. When we all returned I found them in the studio before rehearsals started, going over, on their own, what we had done before the holidays and helping each other to work things out!

I was so thankful for their patience with me. My weird sense of humor and the geriatric nature of my "demonstrating" must have been more than they bargained for! I am grateful also to Didier for his help and friendship. What a lovely way to work! I also want to express my deep gratitude to Bertrand for his support and for sharing so much of his time....  

 

CLICK HERE TO READ DONALD'S FULL BLOG AND VIEW ADDITIONAL PHOTOS.

Thank you to the Jerome Robbins Foundation for their generous contribution to the Antony Tudor Dance Studies Curriculum project!
The Antony Tudor Centennial Book and DVD
Antony Tudor

Our 137 page hardcover "coffee table" book features an impressive array of black and white photographs 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 the sale of these items go toward an endowed Tudor scholarship at The Juilliard School.

 

Purchase a Centennial Book/DVD and Support an Endowed Tudor Scholarship at The Juilliard School! Click here for sneak peek!

 

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