WEBVTT 1 00:00:08.860 --> 00:00:11.080 The sets, everything just went together. 2 00:00:11.520 --> 00:00:12.740 The sets, everything. 3 00:00:14.300 --> 00:00:14.300 4 00:00:15.580 --> 00:00:16.300 I agree. 5 00:00:18.200 --> 00:00:23.420 Not that, the theory of Colman wasn't a perfect value. 6 00:00:23.620 --> 00:00:24.980 It was interesting. 7 00:00:26.140 --> 00:00:29.980 But it wasn't a, I don't know what was wrong with it, but it wasn't a perfect value. 8 00:00:29.980 --> 00:00:32.980 It was a success like the Frankie and Johnny one. 9 00:00:33.780 --> 00:00:34.480 Are we ready? 10 00:00:35.080 --> 00:00:35.620 Just about. 11 00:00:35.840 --> 00:00:37.200 Oh, okay. 12 00:00:45.840 --> 00:00:48.080 Frankie and Johnny were lovers. 13 00:00:48.740 --> 00:00:50.200 Lord and how they could love. 14 00:00:50.340 --> 00:00:52.060 So they be true to each other. 15 00:00:52.220 --> 00:00:58.520 And I love the end where they take up the beer and the Salvation Army sisters drink the beer at the end. 16 00:00:58.900 --> 00:00:59.640 The Saving Susies. 17 00:00:59.640 --> 00:01:00.980 The Saving Susies, yeah. 18 00:01:01.660 --> 00:01:01.780 Okay. 19 00:01:02.040 --> 00:01:02.520 Okay. 20 00:01:04.860 --> 00:01:10.340 You were saying, now let's get it down and take, Frankie and Johnny is an almost perfect ballet. 21 00:01:10.500 --> 00:01:14.640 For what it is, it's not a ballet ballet, but it's a character ballet. 22 00:01:15.060 --> 00:01:16.060 I don't know what you'd call it. 23 00:01:16.560 --> 00:01:19.820 But it's very well put together, I think. 24 00:01:20.460 --> 00:01:21.140 Everything works. 25 00:01:21.260 --> 00:01:22.080 Yes, everything works. 26 00:01:22.240 --> 00:01:22.660 That's right. 27 00:01:22.740 --> 00:01:27.780 The music is just, that really is what pulls it together is the music. 28 00:01:28.540 --> 00:01:28.780 Setting. 29 00:01:28.780 --> 00:01:30.400 The set's excellent. 30 00:01:30.920 --> 00:01:32.360 I think I've ordered that set. 31 00:01:33.580 --> 00:01:34.140 Costumes. 32 00:01:34.540 --> 00:01:35.900 Yeah, they're excellent. 33 00:01:36.080 --> 00:01:38.600 Everything about that ballet is just right. 34 00:01:38.940 --> 00:01:40.340 Sometimes that happens. 35 00:01:41.100 --> 00:01:42.500 We never changed anything. 36 00:01:42.840 --> 00:01:43.200 Really? 37 00:01:43.380 --> 00:01:43.540 Uh-huh. 38 00:01:43.660 --> 00:01:47.080 From the time we did it at the very, nothing's ever been changed in that ballet. 39 00:01:48.800 --> 00:01:49.860 So that's... 40 00:01:49.860 --> 00:01:52.460 And the characters, Ruth, it has wonderful characters in it. 41 00:01:52.540 --> 00:01:55.120 Where did the idea for the characters come from? 42 00:01:55.120 --> 00:01:59.500 Well, it's so obvious from the song what the characters were like. 43 00:01:59.520 --> 00:02:00.840 Oh, not the Saving Susies. 44 00:02:01.240 --> 00:02:03.200 Oh, no, that was different. 45 00:02:03.400 --> 00:02:04.560 I don't know how we got that idea. 46 00:02:04.640 --> 00:02:05.320 I don't remember. 47 00:02:06.500 --> 00:02:11.420 They're very good though, and I love the way they drink the beer at the end. 48 00:02:11.820 --> 00:02:12.340 Plop, plop. 49 00:02:13.980 --> 00:02:14.500 Yeah. 50 00:02:17.020 --> 00:02:19.240 And the tap dance with the coffin. 51 00:02:19.520 --> 00:02:21.280 Yeah, that's amusing too, I think. 52 00:02:21.440 --> 00:02:22.700 I think that's very amusing. 53 00:02:23.520 --> 00:02:24.500 I think that... 54 00:02:24.500 --> 00:02:28.100 It's sad and it's funny at the same time. 55 00:02:29.180 --> 00:02:29.640 It is. 56 00:02:30.840 --> 00:02:30.840 57 00:02:34.500 --> 00:02:35.160 The... 58 00:02:35.160 --> 00:02:37.080 It's very irreverent. 59 00:02:37.540 --> 00:02:38.700 It certainly is. 60 00:02:39.060 --> 00:02:39.600 Yes. 61 00:02:40.820 --> 00:02:41.280 Very. 62 00:02:41.620 --> 00:02:42.520 And fun. 63 00:02:42.660 --> 00:02:47.480 It is fun, and I love it when Nellie Bly and Frankie throw their arms around each other. 64 00:02:47.900 --> 00:02:49.380 That's very amusing. 65 00:02:50.560 --> 00:02:52.240 It's a delight, really. 66 00:02:52.540 --> 00:03:00.460 At the time, it looks like, when you watch it today, it looks like it was fun creating it. 67 00:03:00.720 --> 00:03:02.120 It was. It was lots of fun. 68 00:03:03.620 --> 00:03:06.400 And that's a very juicy part, your role. 69 00:03:06.500 --> 00:03:07.240 Oh, yes. 70 00:03:07.760 --> 00:03:09.060 I made that for me. 71 00:03:10.780 --> 00:03:13.700 But everybody else who's done it has been good in it, I think. 72 00:03:13.700 --> 00:03:15.700 It's a surefire... 73 00:03:16.700 --> 00:03:19.720 It's an easy role to make successful. 74 00:03:23.260 --> 00:03:24.300 It requires... 75 00:03:24.300 --> 00:03:29.620 It's a ballet that has an enormous amount of dance with an enormous amount of flair to it. 76 00:03:29.820 --> 00:03:30.080 You know? 77 00:03:31.640 --> 00:03:33.460 Audiences loved it right from the beginning. 78 00:03:35.200 --> 00:03:36.480 Nobody gasped and shot. 79 00:03:36.480 --> 00:03:38.900 Well, they were very shocked in Paris by it. 80 00:03:39.540 --> 00:03:43.680 It took a long time for it to catch on over there because they'd never seen any ballet that was... 81 00:03:43.680 --> 00:03:44.840 Not a ballet. 82 00:03:44.920 --> 00:03:47.140 They said, what is this? This isn't a ballet. 83 00:03:47.780 --> 00:03:48.160 You know? 84 00:03:48.480 --> 00:03:49.540 And who was it? 85 00:03:49.600 --> 00:03:56.880 It was Larianna and Gunterova who first recognized how amusing and fun what a really wonderful ballet it was. 86 00:03:57.100 --> 00:03:58.780 And they put it over. 87 00:03:58.880 --> 00:04:00.100 They really told everybody. 88 00:04:00.900 --> 00:04:07.100 And that helped me an awful lot because when we first started, nobody came and it was awful. 89 00:04:08.060 --> 00:04:13.220 Opening night, when you opened with it in Paris, the audience was... 90 00:04:13.220 --> 00:04:15.480 It really must have been a shock for you because... 91 00:04:15.480 --> 00:04:18.140 Well, yes, they booed and hissed and... 92 00:04:18.140 --> 00:04:19.000 It was wonderful. 93 00:04:20.060 --> 00:04:22.480 To create a scandal in Paris is not easy. 94 00:04:26.220 --> 00:04:28.140 We did it without even thinking. 95 00:04:31.840 --> 00:04:37.060 And who would have thought that Paris would be scandalized by what was really sort of an American body? 96 00:04:37.060 --> 00:04:38.120 It was American. 97 00:04:38.460 --> 00:04:40.660 You see, they had never seen anything American before. 98 00:04:40.660 --> 00:04:43.620 Well, people didn't do American things in those days. 99 00:04:44.080 --> 00:04:46.340 That was about the first one, I think, maybe. 100 00:04:47.760 --> 00:04:56.140 It's a very forthright statement of all the relationships there, perfectly clear. 101 00:04:56.160 --> 00:04:57.160 Yeah, they certainly are. 102 00:04:59.520 --> 00:05:02.480 And it's shocking. You get involved with the characters. 103 00:05:02.560 --> 00:05:04.020 I mean, when that gun goes off... 104 00:05:04.020 --> 00:05:05.700 Yes, it's very exciting. 105 00:05:06.600 --> 00:05:07.280 It is. 106 00:05:08.040 --> 00:05:09.100 Frankie, don't shoot. 107 00:05:10.940 --> 00:05:16.500 Then when he comes down, the banister on his stomach lands on his head, that's amusing, too. 108 00:05:16.980 --> 00:05:17.700 That's terrific. 109 00:05:18.200 --> 00:05:22.280 How did Bentley Stone feel about it? Did he love the role? 110 00:05:22.300 --> 00:05:23.740 Oh, yes, sure. 111 00:05:24.880 --> 00:05:26.660 Nobody ever did it as well as he did. 112 00:05:27.140 --> 00:05:30.340 Greg Begley did it very well in the film, but he was too small. 113 00:05:30.820 --> 00:05:32.280 He danced it beautifully. 114 00:05:33.620 --> 00:05:36.440 But it makes a taller man... 115 00:05:36.440 --> 00:05:38.480 There should be a bigger man, more important. 116 00:05:38.480 --> 00:05:42.100 Greg, he doesn't dance anymore, unfortunately. Something happened to him. 117 00:05:42.340 --> 00:05:44.880 I don't know what. He was a marvelous dancer, marvelous. 118 00:05:45.640 --> 00:05:46.480 But he was very small. 119 00:05:48.800 --> 00:05:52.660 And so the film of it isn't as good as it should be, really. 120 00:05:53.200 --> 00:05:56.760 I think it would be better if you had been dancing it in the film. 121 00:05:57.020 --> 00:05:59.300 Yes, but I was too old to dance it. 122 00:05:59.460 --> 00:06:02.160 I would imagine that your interpretation of the role... 123 00:06:02.160 --> 00:06:06.840 It's interesting that you should say Bentley danced Frankie, Johnny, better than anybody ever danced. 124 00:06:06.840 --> 00:06:07.460 Yes. 125 00:06:07.580 --> 00:06:11.360 But everyone else who's danced Frankie has done it just as well as I have. 126 00:06:12.100 --> 00:06:12.580 True. 127 00:06:13.180 --> 00:06:13.660 Ruth. 128 00:06:13.900 --> 00:06:16.440 I think so. They've all been very good. 129 00:06:16.800 --> 00:06:20.840 That girl from Cincinnati, Cynthia Ann Rosas, did it very well. 130 00:06:22.280 --> 00:06:26.300 Ruth Anaboros did it very well. She did it in the Valley Rich to Monte Carlo. 131 00:06:27.020 --> 00:06:29.920 And she did it very well. She understood exactly what I wanted. 132 00:06:30.520 --> 00:06:31.400 I thought she was fine. 133 00:06:32.460 --> 00:06:38.820 When I see pictures of you and Bentley Stone in the Frankie and Johnny costumes, 134 00:06:41.740 --> 00:06:44.460 and other pictures I've seen of you and Bentley together, 135 00:06:44.540 --> 00:06:48.500 it seems as though he was really the ideal partner for you at this point in time. 136 00:06:48.500 --> 00:06:50.460 He was. Well, we were so used to each other. 137 00:06:50.580 --> 00:06:53.920 We just melted together. He was a marvelous partner for me. 138 00:06:54.400 --> 00:06:56.160 I adored dancing with Bentley. 139 00:06:56.880 --> 00:06:58.620 What was it that made him... 140 00:06:58.620 --> 00:07:02.540 I mean, he was certainly different from your other partners. 141 00:07:04.820 --> 00:07:09.040 Your partner immediately preceding Bentley, or the one that you've done a good deal of dancing with, 142 00:07:09.180 --> 00:07:11.980 was Harold Kreutzberg, hardly being more different. 143 00:07:12.420 --> 00:07:16.580 Oh, yes. Kreutzberg was sort of an interlude in there. 144 00:07:16.900 --> 00:07:18.800 He was after Bentley. 145 00:07:18.900 --> 00:07:21.620 Right. Well, during and in between. 146 00:07:21.620 --> 00:07:22.920 Yeah. Yeah. 147 00:07:23.300 --> 00:07:26.300 But Bentley was... What was there about him that made him... 148 00:07:26.300 --> 00:07:28.620 Well, we'd always worked together. That's the reason. 149 00:07:29.020 --> 00:07:32.660 He was here, I was here, and he taught here. 150 00:07:32.760 --> 00:07:35.080 He had a class, a ballet class every day. 151 00:07:35.620 --> 00:07:36.820 He was a very good teacher. 152 00:07:37.880 --> 00:07:40.720 And we just got used to each other, you know. 153 00:07:42.460 --> 00:07:45.080 Have you ever thought about being a teacher, teaching ballet? 154 00:07:45.380 --> 00:07:47.880 I would love to teach ballet, but I don't know. 155 00:07:47.880 --> 00:07:52.980 My teachers at my school are all so good, and they don't want their jobs taken away from them, 156 00:07:52.980 --> 00:07:55.040 so I don't dare teach. 157 00:07:57.040 --> 00:08:00.800 I'd love to teach. I'd like to be just a ballet teacher. I'd love it. 158 00:08:02.160 --> 00:08:03.500 That's the reason I don't. 159 00:08:04.200 --> 00:08:05.260 I mean that. Seriously. 160 00:08:05.380 --> 00:08:06.600 Really? They won't let you? 161 00:08:06.600 --> 00:08:11.660 Well, they're all my... They're my old dancers. 162 00:08:11.760 --> 00:08:11.880 Right. 163 00:08:11.880 --> 00:08:12.940 They were too old to dance. 164 00:08:12.940 --> 00:08:16.860 And they wouldn't have a job if I didn't give them that school. 165 00:08:17.900 --> 00:08:20.160 So I can't take it away from them. 166 00:08:20.820 --> 00:08:22.320 It's as simple as that. 167 00:08:23.700 --> 00:08:26.240 Maybe I wouldn't like it if I had to do it. 168 00:08:26.480 --> 00:08:28.820 Maybe I wouldn't, but I think I would. 169 00:08:28.900 --> 00:08:30.700 I think I'd love nothing else better. 170 00:08:32.020 --> 00:08:37.340 In a way, when you work with the ballet company, when you're choreographing something, 171 00:08:37.500 --> 00:08:39.320 is that a little bit like being a teacher? 172 00:08:39.700 --> 00:08:40.920 Yes, of course. 173 00:08:41.640 --> 00:08:43.720 So you've had experience with that, and you like that? 174 00:08:44.160 --> 00:08:45.240 Oh, yes, of course. 175 00:08:45.600 --> 00:08:48.740 I can't dance anymore, you know, on my hips, 176 00:08:49.200 --> 00:08:53.200 so it's very hard for me to put on any of my ballets now. 177 00:08:53.280 --> 00:08:57.960 Somebody else has to do it because I can't show the steps, which is very frustrating. 178 00:08:59.160 --> 00:09:02.620 I know how they should be done, but I can't do them and show them. 179 00:09:03.380 --> 00:09:05.040 And so that is frustrating. 180 00:09:05.560 --> 00:09:07.940 That's traditionally the way it goes, too, isn't it? 181 00:09:07.940 --> 00:09:11.640 I mean, I think that the choreographer shows. 182 00:09:11.800 --> 00:09:15.640 Yes, but now with Balanchine's Ballets, he's got about 14 or 15 dancers 183 00:09:15.640 --> 00:09:17.360 who know them and can go around the stage. 184 00:09:17.540 --> 00:09:20.140 And he doesn't go on stage, and he puts them on at the beginning, 185 00:09:20.440 --> 00:09:24.500 and then his pupils or whoever's in the company take them over 186 00:09:24.500 --> 00:09:29.980 and learn them from him so that they say that they're all good 187 00:09:29.980 --> 00:09:32.300 at putting on his ballets because they've worked with him. 188 00:09:33.200 --> 00:09:35.960 Now, to a certain extent, Larry... 189 00:09:37.220 --> 00:09:40.240 Larry knows a lot of my ballets. He puts on the Mary Widow beautifully. 190 00:09:40.560 --> 00:09:41.400 He can do that for you. 191 00:09:41.460 --> 00:09:44.640 Oh, yes. He doesn't know Frankie and Johnny, unfortunately. 192 00:09:45.400 --> 00:09:49.640 Freddie Franklin knows it. He's dancing it a lot, and he can do that one. 193 00:09:52.620 --> 00:09:54.220 And Larry's going to learn Flautermouse. 194 00:09:54.400 --> 00:09:57.220 We're putting that on soon in this fall. 195 00:09:58.160 --> 00:10:01.260 He can learn it from the film, and he danced in that. 196 00:10:01.600 --> 00:10:03.000 Oh, so he remembers some. 197 00:10:03.000 --> 00:10:03.720 Oh, yes. 198 00:10:03.720 --> 00:10:07.360 Now, when you go to re-stage that with Larry, you'll have Larry 199 00:10:07.360 --> 00:10:11.080 and you'll have the film, and then what role will you play, Ruth, 200 00:10:11.140 --> 00:10:13.980 when you do Flautermouse? You'll sit and watch... 201 00:10:13.980 --> 00:10:17.040 Oh, I won't go until he gets it on, then I'll go and see what's wrong 202 00:10:17.040 --> 00:10:21.200 and tell him how to dance. Tell them. I can't show them, 203 00:10:21.200 --> 00:10:24.980 but I can say, you know, this is a funny... 204 00:10:24.980 --> 00:10:28.880 It's a strange reality, Flautermouse. It's sort of a little bit tongue-in-cheek, you know. 205 00:10:29.400 --> 00:10:31.480 So is the Mary Widow quite tongue-in-cheek. 206 00:10:31.480 --> 00:10:31.880 Yes, right. 207 00:10:32.760 --> 00:10:38.340 So sometimes you have to explain. Sometimes dancers bring so much... 208 00:10:38.340 --> 00:10:41.480 It's helpful, but usually you have to tell them. 209 00:10:42.060 --> 00:10:45.820 Alicia Markova was a marvelous Mary Widow, and I didn't have to tell her a thing. 210 00:10:46.360 --> 00:10:49.200 She just naturally... I think she was the best of all. 211 00:10:49.660 --> 00:10:52.920 But she was not your first choice for the role. 212 00:10:53.080 --> 00:10:55.100 Oh, well, wait a minute. I don't remember who did it first. 213 00:10:55.160 --> 00:10:56.940 I think Sonia Rova did it. I'm not sure. 214 00:10:56.940 --> 00:10:58.380 I think so. I remember... 215 00:10:58.380 --> 00:10:59.820 Sonia was marvelous in it. 216 00:11:01.360 --> 00:11:03.100 Everybody who's done it has been good in it, 217 00:11:03.100 --> 00:11:05.820 but I think my favorite, I think, was Alicia Markova, 218 00:11:06.780 --> 00:11:09.280 because it was so unexpected for her to do a thing like that. 219 00:11:09.300 --> 00:11:12.540 That's what I mean. She actually did dance at First Roots. Your memory is right. 220 00:11:12.720 --> 00:11:14.000 Did she dance the first time? 221 00:11:14.180 --> 00:11:16.820 Yep, I think so. She was the first one, and you created... 222 00:11:17.620 --> 00:11:21.620 She came to Santro Pari, and you created, and she refused to practice. 223 00:11:21.760 --> 00:11:23.760 Yes, she scared me to death. 224 00:11:24.360 --> 00:11:28.040 Well, she was certainly very, very talented, but I didn't think she was the first... 225 00:11:28.040 --> 00:11:28.800 Maybe she was. 226 00:11:28.800 --> 00:11:31.440 She was an unlikely choice, you said, for the role. 227 00:11:31.660 --> 00:11:35.600 Yes, she certainly was. And Nureyev danced it also. 228 00:11:35.880 --> 00:11:38.600 He danced it with Sonia Rova. That was the way it was. 229 00:11:40.300 --> 00:11:42.900 When he first came over here, that was the first thing he danced. 230 00:11:43.720 --> 00:11:47.100 Those are terrific roles, the roles that you see in Mary Beth. 231 00:11:47.100 --> 00:11:50.140 Oh, yes. You'd be an idiot if you couldn't make a success of those roles. 232 00:11:51.060 --> 00:11:55.100 In the same way, I think the roles in Frankie and Johnny are terrific roles. 233 00:11:55.100 --> 00:11:57.620 Yes, they're very good for anybody who wants to dance. 234 00:11:57.620 --> 00:12:00.040 They are. They're wonderful. 235 00:12:01.220 --> 00:12:03.060 Totally different, of course, from the Mary Widow. 236 00:12:03.520 --> 00:12:03.980 Oh, yes. 237 00:12:04.380 --> 00:12:06.900 Harder? Which is harder? Frankie and Johnny or the Mary Widow? 238 00:12:06.940 --> 00:12:11.180 Not technically, but for a dancer to interpret? 239 00:12:11.180 --> 00:12:13.820 Oh, I don't know. I have no idea. I think the Mary Widow is harder. 240 00:12:14.740 --> 00:12:15.900 Because it's technically harder. 241 00:12:15.960 --> 00:12:20.920 No, it's just so simple. It's simple. 242 00:12:21.060 --> 00:12:24.320 And that's the hardest thing in the world in dance, is to be simple. 243 00:12:24.960 --> 00:12:29.780 You can make wonderful choreography with millions of steps, and people can do them. 244 00:12:30.280 --> 00:12:34.140 But to do something and have it right, it has to be simple. 245 00:12:34.200 --> 00:12:37.800 That's the hardest thing in the world, is to learn to be simple and right. 246 00:12:42.060 --> 00:12:43.160 That's what you've got to be. 247 00:12:43.920 --> 00:12:45.060 Simple and right. 248 00:12:45.480 --> 00:12:46.800 Those are the least time for the birthday cake. 249 00:12:46.980 --> 00:12:49.540 Yes, I do. How much time do we have left? 250 00:12:50.980 --> 00:12:51.560 Eight minutes. 251 00:12:51.780 --> 00:12:53.320 That's okay. We can stop. 252 00:12:53.320 --> 00:12:54.940 We can go on for eight minutes if you want. 253 00:12:54.940 --> 00:12:55.820 You want to go on for eight minutes? 254 00:12:55.940 --> 00:12:56.400 If you like. 255 00:12:56.620 --> 00:13:00.660 I would love to hear some more anecdotes about Frankie and Johnny, 256 00:13:02.120 --> 00:13:13.240 and the people who danced it, and the response to it after the initial performance. 257 00:13:14.980 --> 00:13:17.320 Where did we do it first? Was it the Great Northern Theatre? 258 00:13:17.320 --> 00:13:19.020 It was the WPA. 259 00:13:19.020 --> 00:13:21.280 And you did it? 260 00:13:21.640 --> 00:13:26.020 It was the Great Northern Theatre in Chicago, June 19, 1938. 261 00:13:27.000 --> 00:13:33.260 1938. Well, Bessie and I always danced it. Nobody else ever danced it then, except us. 262 00:13:33.500 --> 00:13:35.100 You danced it all over the world. 263 00:13:35.460 --> 00:13:39.920 Yes. And I don't know what to tell you about it. 264 00:13:40.120 --> 00:13:45.280 What is it about it that everybody responds to, forgetting that one unusual thing in Paris? 265 00:13:45.280 --> 00:13:48.980 What is there in it that everyone responds to so fast? 266 00:13:48.980 --> 00:13:53.100 I think it's because it's simple, and they can understand it, and the music is good, 267 00:13:54.420 --> 00:14:00.360 the scenery is good, the costumes are all right. They're what they should be. 268 00:14:02.060 --> 00:14:05.780 And Nellie Bly is a hard role to do, because she should be very matter of fact. 269 00:14:06.400 --> 00:14:12.220 That's sometimes hard to do. Frankie is just very emotional, and just acts out her real feelings. 270 00:14:12.900 --> 00:14:17.000 But Nellie Bly, and it's very amusing. I don't know if most people get the idea. 271 00:14:17.080 --> 00:14:22.660 At the end, where she takes one of the policemen and goes up the steps to her room with the policeman, 272 00:14:23.080 --> 00:14:29.860 that's very naughty. But Nellie Bly was just an ordinary prostitute, you see. 273 00:14:30.700 --> 00:14:33.840 And Frankie was a prostitute too, but she was a prostitute that had feelings. 274 00:14:34.740 --> 00:14:38.480 She only loved one man, but she was still a prostitute. 275 00:14:39.000 --> 00:14:40.560 That's a very naughty ballet, I guess. 276 00:14:41.460 --> 00:14:44.840 It's naughty, and it's wonderful. I mean, he was her man, but he done her wrong. 277 00:14:44.840 --> 00:14:49.420 He was her man, but he done her wrong. That's very sad. That's really a very sad story. 278 00:14:51.480 --> 00:14:56.440 It strikes me that that was, in its way, a perfect role for you to dance. 279 00:14:56.800 --> 00:15:01.860 I love dancing. I adore dancing it. I never liked doing classical roles very much. 280 00:15:01.980 --> 00:15:05.720 I didn't do any. I can't think of any that I ever did, really, did I? 281 00:15:06.180 --> 00:15:09.120 You know a lot about it. Love song was. 282 00:15:09.120 --> 00:15:10.580 Yeah, that was classical. 283 00:15:11.020 --> 00:15:14.080 And you did some white ballets. 284 00:15:15.080 --> 00:15:17.780 Oh, I did in the music press review, I did a straight dance. 285 00:15:18.220 --> 00:15:20.760 Just a pure technical white dance. 286 00:15:21.780 --> 00:15:23.780 Yeah, called Under the Chandelier. 287 00:15:23.800 --> 00:15:28.000 Yeah, it was nothing but a straight dance. I had a quarter ballet around me. 288 00:15:28.420 --> 00:15:31.120 I did a solo, toe solo. That was what it was. 289 00:15:33.400 --> 00:15:37.940 I don't think of any classical, well, those that I did. 290 00:15:38.580 --> 00:15:41.940 But Frankie, Frankie is a character, I mean, just who's... 291 00:15:42.720 --> 00:15:43.860 Yeah, a marvelous character. 292 00:15:44.940 --> 00:15:54.440 Just tempestuous. I mean, she strikes me as more a projection of Ruth Page, not in terms of her life, but in terms of her style. 293 00:15:54.440 --> 00:15:55.820 Do you think I'm a prostitute? 294 00:15:56.040 --> 00:15:59.500 No, Ruth. I think you're a woman of strong feelings. 295 00:16:00.700 --> 00:16:10.540 You know, if you contrast the heroine of American Patterns with Frankie, which one is more like you? 296 00:16:11.060 --> 00:16:15.640 I don't know. I don't know what I'm like. 297 00:16:16.820 --> 00:16:18.700 Well, in verve and style. 298 00:16:20.820 --> 00:16:22.460 Well, should we have the cake now? 299 00:16:22.460 --> 00:16:25.260 I think it's time for the cake. I think it's definitely time for the cake. 300 00:16:25.540 --> 00:16:25.920 I've done the cake. 301 00:16:26.600 --> 00:16:28.700 I mean, it's time for the cake. 302 00:16:29.060 --> 00:16:32.660 Oh, I forgot about this thing. Take it off. Aren't these pretty? 303 00:16:34.380 --> 00:16:35.180 Mm-hmm. 304 00:16:36.420 --> 00:16:39.720 I don't know what it was. Do you want some more tea or coffee or something? 305 00:16:40.680 --> 00:16:41.480 Maybe with the cake. 306 00:16:42.640 --> 00:16:44.040 Tea with it, all right. 307 00:16:44.420 --> 00:16:45.540 Well, let's have it in the kitchen. 308 00:16:45.980 --> 00:16:50.060 Okay. Get out of this room. Let's get out of this room. Absolutely. 309 00:16:51.500 --> 00:16:53.380 No, we can do the kitchen. Why don't we do that? 310 00:16:54.100 --> 00:16:56.900 Yeah, it will be easier for Carmen to do it in the kitchen. 311 00:16:57.420 --> 00:16:59.380 If you go into the kitchen, we'll take some room. 312 00:17:01.900 --> 00:17:02.340 Carmen? 313 00:17:04.760 --> 00:17:05.100 Oh. 314 00:17:06.440 --> 00:17:07.920 Is that a singing mess out here? 315 00:17:09.520 --> 00:17:09.960 Well... 316 00:17:09.960 --> 00:17:11.080 Yeah, we're all over. 317 00:17:11.100 --> 00:17:11.940 We're all over. 318 00:17:14.720 --> 00:17:15.820 Just a moment. 319 00:17:17.300 --> 00:17:19.260 We should play back a little bit and strike. 320 00:17:19.520 --> 00:17:20.260 Yeah, just show him. 321 00:17:20.260 --> 00:17:21.520 I want to do room tone. 322 00:17:24.520 --> 00:17:24.960 Okay. 323 00:17:26.000 --> 00:17:26.520 Close the door. 324 00:17:27.020 --> 00:17:28.260 Close the door, Thea. 325 00:17:29.180 --> 00:17:32.620 You can come in or out. Go anywhere you want to go. 326 00:17:32.980 --> 00:17:33.620 Stay and breathe. 327 00:17:33.660 --> 00:17:35.640 I'll do this. 328 00:17:36.660 --> 00:17:37.680 We're going to do room tone, okay? 329 00:17:39.400 --> 00:17:40.240 In or out? 330 00:17:41.540 --> 00:17:42.960 You want my breathing, too? 331 00:17:43.260 --> 00:17:44.460 Yeah, part of the present ambience. 332 00:17:46.960 --> 00:17:47.280 Okay. 333 00:17:47.440 --> 00:17:49.500 Oh, we're still rolling, so... 334 00:17:49.500 --> 00:17:50.220 There you have it, presents. 335 00:17:50.780 --> 00:17:51.800 Yeah, we do have some. 336 00:17:53.340 --> 00:17:55.840 This will be ambient track one. 337 00:18:33.020 --> 00:18:34.420 Okay. 338 00:18:53.400 --> 00:18:56.780 End of ambience with some talking in the background. 339 00:18:57.960 --> 00:18:58.900 Some talking in the background. 340 00:18:59.160 --> 00:18:59.860 Some talking in the background.