WEBVTT 1 00:00:22.120 --> 00:00:24.920 we want. 2 00:00:24.920 --> 00:00:26.440 to what time do you want to come home? 3 00:00:26.600 --> 00:00:27.320 Oh, wait a minute. 4 00:00:28.040 --> 00:00:29.360 Friday's my birthday, isn't it? 5 00:00:29.400 --> 00:00:32.660 And I'm going over to Orrin Cairns first. 6 00:00:33.400 --> 00:00:35.680 So I guess I don't go to class that day. 7 00:00:37.680 --> 00:00:41.080 You have that slide letter one. 8 00:00:42.040 --> 00:00:43.120 That's at Orrin Cairns. 9 00:00:43.240 --> 00:00:44.520 He has to come over and get me. 10 00:00:45.320 --> 00:00:47.320 I'll have to talk to him and ask him what time 11 00:00:47.320 --> 00:00:48.500 he's coming to get me. 12 00:00:49.780 --> 00:00:53.140 Do you want the makeup person to come around? 13 00:00:53.140 --> 00:00:53.240 Yeah. 14 00:00:56.060 --> 00:00:58.100 But I don't have to do it. 15 00:00:58.160 --> 00:00:59.480 I can go here. 16 00:01:00.780 --> 00:01:02.960 You do bar every single day. 17 00:01:03.020 --> 00:01:03.920 Go to class every day? 18 00:01:04.080 --> 00:01:05.500 I try to, you know. 19 00:01:06.320 --> 00:01:06.960 Every weekday? 20 00:01:07.520 --> 00:01:08.440 Every weekday? 21 00:01:09.060 --> 00:01:10.520 Or Saturdays and Sundays, too? 22 00:01:11.100 --> 00:01:11.780 Well, not Sunday. 23 00:01:11.820 --> 00:01:13.180 They don't have a class on Sunday. 24 00:01:13.620 --> 00:01:14.600 But you go on Saturday? 25 00:01:15.040 --> 00:01:16.760 Mm-hmm. 26 00:01:17.560 --> 00:01:18.320 I think you're great. 27 00:01:18.740 --> 00:01:19.600 I like it. 28 00:01:19.620 --> 00:01:20.320 I like it. 29 00:01:20.320 --> 00:01:20.840 I didn't go. 30 00:01:21.780 --> 00:01:26.000 And you've always had, haven't you, a room set up in your house 31 00:01:27.020 --> 00:01:30.720 that was a practice room for you, most of the places 32 00:01:30.720 --> 00:01:31.340 that you've lived. 33 00:01:31.420 --> 00:01:33.700 Well, I had a place for my bar, yeah. 34 00:01:34.980 --> 00:01:37.480 Here and in the house in Hubbard Woods. 35 00:01:37.880 --> 00:01:41.260 We had a whole real studio there because it was an old garage. 36 00:01:41.440 --> 00:01:43.400 It just happened to be on the property. 37 00:01:44.140 --> 00:01:46.940 And so we made it into a studio and had two rooms upstairs, 38 00:01:47.060 --> 00:01:49.280 three rooms upstairs, and a bathroom. 39 00:01:49.280 --> 00:01:53.440 And then the whole downstairs, we made it into a studio. 40 00:01:53.740 --> 00:01:55.080 We had a nice studio there. 41 00:01:55.880 --> 00:01:57.480 And in Santa Pe? 42 00:01:58.100 --> 00:01:58.660 Yeah. 43 00:01:59.800 --> 00:02:01.300 It wasn't in the house. 44 00:02:01.380 --> 00:02:04.460 We rented a big room that just happened to be nearby. 45 00:02:05.220 --> 00:02:07.240 And so we had a nice studio there. 46 00:02:08.580 --> 00:02:13.700 I think there's, even when you first married Tom and moved 47 00:02:13.700 --> 00:02:15.600 into his father's house for a while. 48 00:02:15.620 --> 00:02:18.460 Yeah, we made the living room into a studio. 49 00:02:19.140 --> 00:02:19.920 The living room? 50 00:02:20.180 --> 00:02:22.420 Yes, his father didn't seem to object, so. 51 00:02:24.900 --> 00:02:27.060 He moved a bar in and a mirror. 52 00:02:27.480 --> 00:02:29.880 We didn't have a mirror, just a bar. 53 00:02:30.120 --> 00:02:32.380 We just opened space, you know. 54 00:02:32.880 --> 00:02:35.300 You have to have space to dance in. 55 00:02:36.520 --> 00:02:37.860 He didn't want it. 56 00:02:37.880 --> 00:02:38.380 No. 57 00:02:38.820 --> 00:02:39.680 I think that's fine. 58 00:02:39.800 --> 00:02:40.660 I think that's great. 59 00:02:40.960 --> 00:02:42.200 Yeah, it was wonderful. 60 00:02:45.580 --> 00:02:48.740 We were talking about the Balinese dances, 61 00:02:49.420 --> 00:02:54.240 and really the Japanese and the Oriental dances, 62 00:02:54.640 --> 00:02:59.040 and the influence that they had on you right 63 00:02:59.040 --> 00:03:02.900 after you came back from your trip to Japan. 64 00:03:05.720 --> 00:03:08.260 Even before you left, though, Ruth, it does seem 65 00:03:08.260 --> 00:03:13.920 that there was a lot of Oriental dances with Oriental themes. 66 00:03:14.060 --> 00:03:16.380 I mean, there are lots of pictures of you in Oriental costumes. 67 00:03:16.380 --> 00:03:18.160 Yeah, I was always interested in the Oriental. 68 00:03:18.200 --> 00:03:19.300 That's true. 69 00:03:20.900 --> 00:03:25.300 Did your style, in what ways, did your style of dancing, 70 00:03:25.960 --> 00:03:28.780 interpreting Oriental dancing, change 71 00:03:28.780 --> 00:03:31.100 after you'd been to the Oriental? 72 00:03:33.060 --> 00:03:34.400 I don't think it changed. 73 00:03:34.400 --> 00:03:39.900 No, I just was more intellectual about it. 74 00:03:39.940 --> 00:03:42.520 I knew what they were really doing. 75 00:03:43.680 --> 00:03:47.280 Before, I just tried to imagine, looked at pictures all the time, 76 00:03:47.800 --> 00:03:48.600 and art. 77 00:03:51.480 --> 00:03:55.680 Well, in Egypt, you see pictures of dancers all over Egypt. 78 00:03:57.280 --> 00:04:02.220 And Angkor Wat also, they're all statues of the Buddhas. 79 00:04:02.220 --> 00:04:08.040 And if you look at books, there was a man named Kumarswami 80 00:04:08.040 --> 00:04:11.660 who was married to a dancer. 81 00:04:11.900 --> 00:04:16.020 He wrote a book about Indian dancing, 82 00:04:16.260 --> 00:04:17.920 and the pictures in it are marvelous. 83 00:04:19.140 --> 00:04:21.700 There's been so much written on Oriental dancing, 84 00:04:22.000 --> 00:04:27.900 Japanese, Chinese, Balinese, Siamese, Indian. 85 00:04:28.500 --> 00:04:30.400 Everything has been done. 86 00:04:31.280 --> 00:04:34.980 You can tell a lot, too, can't you, just by looking at a picture? 87 00:04:35.260 --> 00:04:36.220 Of course. 88 00:04:36.540 --> 00:04:38.360 Tell everything by looking at a picture. 89 00:04:38.740 --> 00:04:41.980 When you look at a picture, say, when you were at Angkor Wat, 90 00:04:42.700 --> 00:04:46.280 when you look at the statues there? 91 00:04:46.720 --> 00:04:51.040 What does it tell you about movement from the still to the statue? 92 00:04:51.880 --> 00:04:54.860 They're all pictures of the Buddhas, how they're sat, 93 00:04:55.700 --> 00:05:00.260 how they, the expression in the face, you know. 94 00:05:01.560 --> 00:05:05.400 All those things are very, very revealing. 95 00:05:07.060 --> 00:05:09.600 A whole different civilization from ours. 96 00:05:11.480 --> 00:05:14.420 Do you think that you can get a sense of the way 97 00:05:15.480 --> 00:05:19.460 they move from looking at a still photograph or a statue? 98 00:05:19.720 --> 00:05:21.340 Yes, of course. 99 00:05:23.460 --> 00:05:24.660 Don't you think so? 100 00:05:25.180 --> 00:05:26.100 I think you can. 101 00:05:26.240 --> 00:05:27.540 Do you think everybody can? 102 00:05:28.100 --> 00:05:30.260 Well, I don't know what everybody like. 103 00:05:30.760 --> 00:05:31.720 I can. 104 00:05:33.380 --> 00:05:36.620 It's clear you can, but I guess what I'm saying is, 105 00:05:36.620 --> 00:05:38.780 I think it's a special gift to be able to see that. 106 00:05:38.900 --> 00:05:43.540 It seems as though you were on this trip and on subsequent trips 107 00:05:43.540 --> 00:05:52.680 a very, very, very close observer of movement and attitude of body. 108 00:05:53.340 --> 00:05:58.520 And you watched it every place you could, I would guess. 109 00:05:58.640 --> 00:06:01.260 Whether you were walking down the street or you were visiting a museum 110 00:06:01.260 --> 00:06:03.660 or watching it at a formal dance. 111 00:06:04.120 --> 00:06:04.800 Is that right? 112 00:06:04.940 --> 00:06:05.280 Yes. 113 00:06:07.240 --> 00:06:12.600 What about what you saw in Egypt in the, you know, the poses, 114 00:06:12.600 --> 00:06:14.040 you know, the very rigid... 115 00:06:14.040 --> 00:06:15.280 It's stylized, yes. 116 00:06:16.820 --> 00:06:18.980 Did those make their way into any of your dances? 117 00:06:20.020 --> 00:06:21.960 Did they help you at all with the opera? 118 00:06:23.300 --> 00:06:23.800 No. 119 00:06:24.240 --> 00:06:24.620 No? 120 00:06:24.900 --> 00:06:25.400 No. 121 00:06:26.900 --> 00:06:29.600 Because you can't do those and they're... 122 00:06:32.300 --> 00:06:34.020 I don't think that's the way they moved. 123 00:06:34.120 --> 00:06:35.960 I think that's the way the artist interpreted it. 124 00:06:35.980 --> 00:06:36.720 Right, yeah. 125 00:06:36.720 --> 00:06:38.120 So that they didn't... 126 00:06:38.120 --> 00:06:41.080 You can't really do this and that at the same time. 127 00:06:41.080 --> 00:06:41.780 Well, you can. 128 00:06:41.920 --> 00:06:42.640 It's very interesting. 129 00:06:44.360 --> 00:06:47.480 Nijinsky did it in La Bremédière and Fon. 130 00:06:48.220 --> 00:06:49.720 Sideways and forward at the same time. 131 00:06:50.060 --> 00:06:51.460 Yeah, well, that was freeze-like. 132 00:06:52.300 --> 00:06:54.740 But it was a very short little ballet. 133 00:06:55.060 --> 00:06:56.660 And it was a beautiful ballet, actually. 134 00:06:56.860 --> 00:06:57.900 Very creative. 135 00:06:58.240 --> 00:06:58.860 Oh, indeed. 136 00:06:59.200 --> 00:07:00.680 Very famously creative. 137 00:07:02.140 --> 00:07:02.620 Sensational. 138 00:07:03.260 --> 00:07:04.080 Quite a...close to quite sensational. 139 00:07:04.100 --> 00:07:04.940 Yes, it was. 140 00:07:07.140 --> 00:07:09.360 You never met Nijinsky? 141 00:07:09.360 --> 00:07:10.340 He was by that time in London. 142 00:07:10.340 --> 00:07:11.460 No, I never saw him. 143 00:07:11.800 --> 00:07:14.720 He was gone at that time. 144 00:07:15.800 --> 00:07:15.920 Yeah. 145 00:07:20.540 --> 00:07:27.340 In 1929, you also, at the Guild Theatre in New York City, performed something called 146 00:07:28.500 --> 00:07:33.760 Sentimental Melody in a joint recital with Edwin Strawbridge, which is the music of Aaron 147 00:07:33.760 --> 00:07:34.360 Copeland. 148 00:07:35.300 --> 00:07:36.020 What's it called? 149 00:07:36.820 --> 00:07:37.880 Sentimental Melody. 150 00:07:38.480 --> 00:07:39.680 I don't remember that at all. 151 00:07:39.680 --> 00:07:45.500 I gave Aaron Copeland his first job as a...writing a ballet. 152 00:07:45.720 --> 00:07:46.940 It was called Hear Ye, Hear Ye. 153 00:07:47.740 --> 00:07:50.160 I don't remember the sentimental journey at all. 154 00:07:50.800 --> 00:07:56.020 Aaron Copeland, yes, I gave him his first chance to write a ballet. 155 00:07:56.660 --> 00:07:58.140 He's a very interesting composer. 156 00:07:58.960 --> 00:08:01.500 Yes, for Hear Ye, Hear Ye, which we'll talk about later. 157 00:08:04.580 --> 00:08:08.660 There was also something on the same program with that Balinese Rhapsody, which was something 158 00:08:08.660 --> 00:08:12.660 called Gershwiniana Prelude No. 1. 159 00:08:13.380 --> 00:08:14.260 What was that? 160 00:08:14.500 --> 00:08:16.500 Well, those were the Gershwin Preludes. 161 00:08:17.400 --> 00:08:22.020 I called it Gershwiniana because there were three or four of them, different ones, and 162 00:08:22.020 --> 00:08:25.460 I danced them, and so I just gave them a general title. 163 00:08:26.060 --> 00:08:27.780 You were changing the titles of your ballets. 164 00:08:27.780 --> 00:08:29.420 You would do that rather frequently. 165 00:08:29.620 --> 00:08:30.000 Yes. 166 00:08:30.000 --> 00:08:30.340 Uh-huh. 167 00:08:33.540 --> 00:08:36.600 What was the look of those Gershwin ballets? 168 00:08:36.780 --> 00:08:38.760 I know you can't remember the steps, but... 169 00:08:38.760 --> 00:08:39.960 Well, there are pictures of them. 170 00:08:39.960 --> 00:08:45.720 You can see them in the white little white short dress with black pleated skirt, white 171 00:08:45.720 --> 00:08:47.480 pleated skirt and heels. 172 00:08:48.420 --> 00:08:50.760 They were very bluesy, as I told you. 173 00:08:54.300 --> 00:08:59.980 Did you ever get the sense from anybody, or were people in Chicago at that time sophisticated 174 00:08:59.980 --> 00:09:06.980 enough so that they were accepting on the same program two Balinese, authentic Balinese 175 00:09:09.020 --> 00:09:11.360 dances and Gershwinian ballets? 176 00:09:11.360 --> 00:09:13.920 I don't think I ever did them here. 177 00:09:14.440 --> 00:09:15.700 Chicago Women's Club, actually. 178 00:09:15.800 --> 00:09:17.980 You did them together on the same program in 1929. 179 00:09:18.800 --> 00:09:18.800 180 00:09:18.800 --> 00:09:23.660 I mean, I guess you wouldn't have done them if you remembered all the audience having 181 00:09:23.660 --> 00:09:25.760 a problem and saying, well, that's not really dance. 182 00:09:25.760 --> 00:09:27.300 No, I don't remember. 183 00:09:28.420 --> 00:09:35.120 On the whole, you've tried, always tried, a lot of new things, a lot of different things 184 00:09:35.120 --> 00:09:41.000 other than setting apart Frankie and Johnny in Paris, which is a separate issue because 185 00:09:41.000 --> 00:09:43.680 it was Paris after all and the time that it happened. 186 00:09:44.520 --> 00:09:49.940 But did you have the sense as you tried these new things and you were always trying something 187 00:09:49.940 --> 00:09:56.440 new that you were pushing against the tide, that you were encountering resistance in terms 188 00:09:56.440 --> 00:09:59.480 of what you were doing, that audiences weren't ready to see it? 189 00:09:59.760 --> 00:10:03.560 Oh, I never paid any attention to the audience if they accepted it all right. 190 00:10:03.560 --> 00:10:08.680 If they didn't all right, I wasn't going to cramp my style just because of the audience. 191 00:10:11.740 --> 00:10:12.880 What about the critics? 192 00:10:13.260 --> 00:10:14.540 Did you care what they said much? 193 00:10:15.600 --> 00:10:17.740 I knew I never had any trouble with the critics. 194 00:10:17.900 --> 00:10:21.540 They always came along with me, but I was critics as you can see. 195 00:10:21.660 --> 00:10:22.360 Oh, yes, I know. 196 00:10:22.360 --> 00:10:26.740 But by and large they had a pretty clear understanding of what you were doing. 197 00:10:26.760 --> 00:10:32.760 I think they were happy to have somebody who would create new things all the time. 198 00:10:33.540 --> 00:10:38.200 It seems as though, too, you sort of never stood still with the new things. 199 00:10:39.120 --> 00:10:42.380 It's as though you did one new thing after another, after another, after another. 200 00:10:42.460 --> 00:10:44.540 Is that just the way it looks now? 201 00:10:44.640 --> 00:10:46.080 No, it was that way. 202 00:10:48.000 --> 00:10:54.500 Now why do you suppose that you never had the kind of sort of creative dry spells that other people had? 203 00:10:57.760 --> 00:11:00.880 Did you ever make for yourself a series of goals, Ruth, where you said, 204 00:11:01.260 --> 00:11:05.340 well, in terms of the things you were going to create, I write them down on a list? 205 00:11:05.460 --> 00:11:07.280 Or have you just always kept moving forward? 206 00:11:07.280 --> 00:11:10.620 I just kept moving forward. I never made a list. 207 00:11:13.540 --> 00:11:17.920 It's an enormous amount of work that you've done, truly enormous. 208 00:11:20.040 --> 00:11:35.720 Agnes DeMille, I believe, was one of your dancers at Rovinia. Is that right? 209 00:11:35.720 --> 00:11:40.560 Yes, she just came, she kept writing, saying she wanted a place to dance. 210 00:11:40.640 --> 00:11:41.960 She had no place to dance. 211 00:11:42.520 --> 00:11:48.640 Oh, I have a letter, I have the letters now, a long, long letter describing all her dances. 212 00:11:48.820 --> 00:11:51.040 Couldn't she do them someplace with me? 213 00:11:51.460 --> 00:11:54.980 So I let her do them out at Rovinia in those children's programs. 214 00:11:56.520 --> 00:12:00.000 What did you think of her? Did you like her? Did you like her dances? What did you think? 215 00:12:00.160 --> 00:12:01.700 They're interesting, yes. 216 00:12:02.740 --> 00:12:06.800 How were her dances received by the children? They liked them and they were fine? 217 00:12:06.820 --> 00:12:10.860 Oh, I don't remember, I have no idea. She didn't do that many. 218 00:12:12.300 --> 00:12:16.020 I'm trying to remember what she did do. I'd have to see the programs. 219 00:12:17.380 --> 00:12:17.960 I can't remember. 220 00:12:17.980 --> 00:12:21.080 It was for only one season, I think, that she came. 221 00:12:24.380 --> 00:12:27.920 And I think you were quite gracious to let her share the spotlight with you. 222 00:12:28.380 --> 00:12:29.720 I mean, it didn't bother you to have her? 223 00:12:29.840 --> 00:12:31.100 No, I was glad to. 224 00:12:31.100 --> 00:12:32.100 Help her out? 225 00:12:33.000 --> 00:12:33.000 226 00:12:37.580 --> 00:12:43.780 You did a rather major in 1931 children's matinee, Cinderella. 227 00:12:44.860 --> 00:12:45.700 Oh, yes. 228 00:12:46.560 --> 00:12:54.520 It was that, tell us about that. What was the music? Did you use the music from Chattarantillo? 229 00:12:54.520 --> 00:13:00.900 No, no, it was written by Marcel Dillonois, I think. It was written especially for that. 230 00:13:02.000 --> 00:13:03.340 Oh, and it's special for Mission Music. 231 00:13:04.080 --> 00:13:11.220 Yes. And it was about an hour long, if I remember it correctly. I'm not too sure. 232 00:13:11.700 --> 00:13:19.700 There's a very nice picture of me in the Ravinia Park, looking in the, have you seen the picture? 233 00:13:20.100 --> 00:13:20.960 I don't know. 234 00:13:20.960 --> 00:13:26.000 It's in the Cinderella costume with my reflection in the pool. 235 00:13:26.360 --> 00:13:27.440 No, I've not seen the picture. 236 00:13:27.580 --> 00:13:30.260 It's a lovely picture. It's a marvelous picture. 237 00:13:31.440 --> 00:13:35.500 And that shows what the costume was like. I can't remember too much about the ballet. 238 00:13:36.200 --> 00:13:44.640 I was sort of ashamed to do something as classical as that at that time because it wasn't the thing to do. I just did it for the children. 239 00:13:46.020 --> 00:13:47.720 It wasn't the thing to do? 240 00:13:47.720 --> 00:13:50.720 No, not to be classical at that time. 241 00:13:51.660 --> 00:13:52.520 Classical was out. 242 00:13:52.740 --> 00:13:54.320 Out, that's right. 243 00:13:56.400 --> 00:14:09.380 Is it true that there was very little classical ballet going on touring in the country at all? Or was it for you that classical was out? You kind of outgrown? 244 00:14:09.380 --> 00:14:19.640 I don't think there was much classical ballet going on around the country. I really don't. I may be wrong. I can't remember that far back. 245 00:14:20.780 --> 00:14:30.040 And the new wave of, really the new wave of what we now call American dance was just really beginning. 246 00:14:30.680 --> 00:14:35.620 Do you think we have to have that light on if we're not, you're not recording anything, are you? 247 00:14:35.800 --> 00:14:36.420 Of course we are. 248 00:14:36.420 --> 00:14:39.520 Oh you are? I didn't know that. 249 00:14:39.540 --> 00:14:40.480 Oh Ruth, of course. 250 00:14:40.500 --> 00:14:42.800 I had no idea you were recording. 251 00:14:42.840 --> 00:14:43.260 Oh yes. 252 00:14:43.400 --> 00:14:45.240 I wasn't paying too much attention. 253 00:14:45.380 --> 00:14:45.880 Oh Ruth. 254 00:14:46.000 --> 00:14:53.620 I'm sorry. I was wondering why you were asking me so many impertinent questions. 255 00:14:53.900 --> 00:14:56.400 Oh Ruth, I'm sorry. No, we were recording with you. 256 00:14:56.500 --> 00:14:58.480 I'm awfully sorry I didn't know that. 257 00:14:58.600 --> 00:15:01.120 Oh no, that's all right. You were answering the questions just fine. 258 00:15:01.220 --> 00:15:02.360 Did I answer them all right? 259 00:15:02.360 --> 00:15:07.620 I think so. I think so. That's why I was asking the impertinent questions to get them down. 260 00:15:08.600 --> 00:15:15.500 I remember Cinderella Ballet though, but I did it for the children's concerts out in Ravinea. 261 00:15:16.380 --> 00:15:23.860 Because I thought Cinderella was something that they were interested in naturally. But I never did it except for the children. 262 00:15:25.920 --> 00:15:35.560 Also, you did some really unusual things for the children the season before that in 1930. You did something called three Russian tea cozies. 263 00:15:36.140 --> 00:15:47.000 Oh yes, that was kind of fun for children. You know there were these great big skirts. And like you put over a teapot. I'd forgotten all about that dance. 264 00:15:47.820 --> 00:15:48.980 And the music was Stravinsky. 265 00:15:49.800 --> 00:15:50.320 Yes. 266 00:15:54.620 --> 00:15:59.120 And you also did something called figure eight. What was that? 267 00:15:59.880 --> 00:16:04.240 I don't know. I don't remember that at all. Figure eight? I don't remember that at all. 268 00:16:04.240 --> 00:16:05.840 Sounds like skating or something. 269 00:16:06.120 --> 00:16:14.660 It could have been. I did a few skating dances among other things. Figure eight. I really don't remember that at all. 270 00:16:15.520 --> 00:16:17.540 I don't have any pictures of it or anything. 271 00:16:19.180 --> 00:16:36.860 And Bolero. You danced that again. With Blake Scott. Who was a partner who was part of the opera company, the Ravinea Opera for a long time or just for that season. 272 00:16:37.560 --> 00:16:44.340 He danced with me all the time. I can't remember whether he was engaged with the season or not. But he probably was at that time. 273 00:16:46.220 --> 00:16:51.940 He wasn't much of a dancer. He was very good in certain things like the story of the soldier of Stravinsky. 274 00:16:52.540 --> 00:16:53.600 His work with the so-called Dancer. 275 00:16:53.620 --> 00:17:02.680 Yeah. And he was the Prince Charming. He was good looking and he was a good partner. 276 00:17:03.880 --> 00:17:06.200 What makes a partner a good partner? What's a good partner? 277 00:17:06.200 --> 00:17:10.460 Oh dear. Let me see. How could you say what's a good partner? 278 00:17:10.720 --> 00:17:23.680 Somebody who's very attentive to you and feel your balance here and there and dance with you and not call it too much attention to himself. 279 00:17:24.560 --> 00:17:26.960 The ballerina should be the whole cheese really. 280 00:17:29.280 --> 00:17:36.240 But like Juskiewicz and Alonso, he was a great partner and a great dancer and he didn't interfere with her at all. 281 00:17:36.280 --> 00:17:41.100 She was a great dancer too. And the two of them together made a wonderful partnership. 282 00:17:42.860 --> 00:17:49.860 Pavel had Mordekin. I didn't see them together but my mother said they were absolutely sensational together. 283 00:17:49.960 --> 00:17:54.800 In fact, I think he was too good for her. She liked to be the whole thing. 284 00:17:56.960 --> 00:18:04.200 Then she had Volini. He was very good looking and he was a good partner. 285 00:18:04.760 --> 00:18:12.460 He had a school in Paris after he stopped dancing. I remember going to the school. He was a very good teacher. 286 00:18:13.420 --> 00:18:27.740 He did a solo dance in her company. I forget what it was. It was the Dvorak's Humoresque. 287 00:18:29.020 --> 00:18:38.480 He was perfectly charming in it. A good partner, well, Dentley Stone was a marvelous partner for me. 288 00:18:39.460 --> 00:18:40.640 Harold Kreuzberg? 289 00:18:41.620 --> 00:18:48.600 Kreuzberg wasn't exactly a partner. He was different from anybody else in the whole world. 290 00:18:48.660 --> 00:18:54.880 Nobody is anything like Harold Kreuzberg. We sort of choreographed the dances together. 291 00:18:55.800 --> 00:19:03.320 They were floating dances. He didn't ever lift me. He wasn't that kind of a partner at all. 292 00:19:04.060 --> 00:19:10.620 He was very, very original and very great. He was a great, great artist. 293 00:19:11.460 --> 00:19:14.960 But I would never call him a partner really at all.