A recent comment posted on this website spoke of the differences between the styles of three major ballet companies visiting Australia in the mid-decades of the twentieth century: de Basil’s Ballets Russes, Ballet Rambert and New York City Ballet. The comment went on to note that perhaps the most enthusiastic attendees at New York City Ballet performances when that company first visited Australia in 1958 were those interested in stage and film musicals. The full remark about the attendees can be read in the comments section at the end of the post at this link, and it prompted me to post the small picture gallery below.
Most of the repertoire brought to Australia by New York City Ballet was by Balanchine although works by Jerome Robbins and Todd Bolender were also included. But even looking at the small number of images in the gallery, it is clear that the range of works was diverse. The gallery includes images of some of Balanchine’s works that might be seen as redolent of musical theatre, along with others from some of his most glorious pared-back, abstract creations.
New York City Ballet did not receive the attention in Australia that it deserved and the company was disappointed with its reception, according to Valrene Tweedie. Tweedie was a close friend of several of the dancers as a result of her decade of dancing in the Americas. She believed that New York City Ballet’s repertoire and style of dancing were way ahead of Australian audiences’ expectations at the time. Tweedie also noted that there were financial issues that caused the dancers some unhappiness. She has remarked in an oral history interview that the dancers were not able to take their salary, paid to them in Australian dollars, out of the country but had to spend it in Australia. It was the reason, she maintains, that Andre Eglevsky came but stayed only a week or so. He had a family to support in America and could not afford to spend his money on frivolous items such as souvenirs.
All the images in the gallery were taken during performance by Walter Stringer, an enthusiastic amateur photographer based in Melbourne. His photographic record of almost every dance company that performed in Melbourne between about 1940 and 1980 is of inestimable documentary value, especially given that his archive is now in public hands and so available to all for research.
Further comments, including identification of dancers in the Stringer images, are welcome. All photos are reproduced with the permission of the National Library of Australia.
Michelle Potter, 17 December 2009
New York City Ballet in Western Symphony. Melbourne, Australian tour, 1958