WEBVTT

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Take number 7, 3, July 85, Ruth Bates, School of Ballet.

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And like I said, the older you get, you know when they're still young, you can get away

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with not being as right.

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But after you pass 25 and you're starting where the body has set, you know, then you've

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got a really...

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Harder.

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That's it.

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You know, you're through for months and months and months and months and months and months

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and months and months and months and months and months and months and months and months

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and months and months and months and months and months and months and months and months and

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months and months and months and months and months and months and months and months and months

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and months and months and months and months and months and months and months and months and

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months and months and months and months and months and months and months and months and months

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months and months and months and months and months and months and months and months and months

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and months and months and months and months and months and months and months and months and months

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Hello, yours.

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What was your relationship, Pat, with Tom Fisher?

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What did you think of him?

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What did I think of Mr. Fisher?

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Well, at first he was like...

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As I first came into the company, he was always like the god that came in after Ruth created

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her ballet and put the okay on it, like whether it was good enough or bad enough.

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He was always kind of a scary figure at that point.

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But after I started working with Ruth and meeting him more as a human being than just

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that person that came in to give his okay, if we were doing well enough, he was a very

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warm person.

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A few times when I worked with Miss Page in Hubbard Woods, after we were through rehearsing,

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he would read to us at the end of the day and things like that.

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He was very nice and very warm.

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He was tough.

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If he didn't like what you were doing and he thought it was wrong, that was it.

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His word was like it.

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But he would never say anything about the ballets in front of the company.

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If he thought that what you were doing didn't look good, he would let you know.

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If he didn't think you were working hard enough, when you were working with her, if he didn't

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think it was coming out right, he would tell you.

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Did he ever say anything to you?

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Are there instances you can remember?

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No.

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He never said anything to me about not...

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He was the one that said I was the Carmen of the Lakes and he didn't really think that

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I was going to be able to do it because he thought of me as this sweet, young, innocent

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thing too.

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And when I got his okay, that made me feel really good because I knew once he said it

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then Ruth would accept me too.

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How do you think the loss of Tom, what changes have you seen in Ruth since Tom's death?

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Well, I think, I really think that she probably would have had a company a lot longer if it

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hadn't been for his dying.

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He kind of, she was the creator and he was the one that did all the stuff underneath,

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you know, made it possible and she didn't have to worry about it and she didn't have

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to worry about someone else cheating around in this and that and I mean he was there handling

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everything so she was left to the creation which was wonderful.

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After that, I think she had to start learning how to do all that for herself and I think

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as a creative person, it takes its toll because you suddenly have to go into things that to

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you really don't seem to matter because you want to do what you were born to do and those

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menial things that were taken care of before, you know, just aren't anymore and I know that

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if she had wanted to have that second company and he had been around, she would have had

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it and it would have gone because he was behind her to help her.

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She could have been an actress. She would have probably been one of the way out. Someone

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like Angela Lansbury that could do anything, you know, dancing. I think the ballet world

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was lucky to get her that she didn't go into another field, that she decided to just drop

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into this one through her dance. Well, through her dance because she was introduced to dance

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first and loved it. She's a real fun woman. Even now, she's fun. I wish she could still

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create things but I know she's given up because she said when she can't show, she doesn't

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have the heart to do it anymore. But sometimes I think if she would really get some of us

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that know her and she really wanted to do something new, we could still help her along

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with some of those things because we learned to know almost to know what she was thinking

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at times without her actually being able to show exactly what she wanted. The souls kind

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of come together and you get to understand someone when you work with them that closely.

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This will be present inside the dance room, ballet, yellow room, Rose Beach.

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In presence. Rolling. Rolling. Oh. No, that's fine. Go ahead. Charles. Was his name Charles

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something on camera? Charles. One that rubbed your feet. Oh. He rubbed your feet. He rubbed

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your feet. This man paid us off, our paychecks off in 50 and a half dollars. Silver dollars.

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A paycheck. Well, it made holes in your pockets of your clothes. You couldn't carry it in

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your purse. So we all had to go to banks and get all these money changed so that we could

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carry it around. And he thought he was doing us a big favor by doing this. Why were we

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in Las Vegas or something? I don't know. We were getting close to this. We were in Las

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Vegas. And it was supposed to be very good to be paid in souls. His name was Charles

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something. I can't remember. We had so many. Actually, we didn't have so many. We had only

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three that I remember. At the time at the Opera House when poor Ruth fell into the orchestra

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pit, she had a terrible habit of instead of going around, she would try to crawl over

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the pit on a little piece of molding that she would walk across. And one day that molding

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broke and down she went and she ended up landing over the orchestra railing and broke

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her ribs. And I'll never forget Ken Johnson, who was her assistant at the time, said, oh

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my God, we jumped down and were trying to get her out of there. And Ken said, take ten

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to give us our break. And Ruth said, no, don't.

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I remember how it sounded because all of the stands were up for the orchestra. Do you remember?

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And you heard her moan. And you thought, oh God, I don't want to look. She's probably

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in a thousand pieces. Actually, a lot of funny things happened in the theater. Do you remember

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the time we were rehearsing at the Studebaker Theater before tour? And the man died? And

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the bass player dropped dead of a heart attack in the pit. Do you remember that? Yeah. And

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we had to stop. We didn't stop? Well, we did stop. About three seconds. We finally had

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to stop, but Ruth made it a lunch break so we wouldn't lose time. So while they cleared

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the orchestra pit of the dead body, we could take lunch. Do you remember that? Yeah. I

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do. I remember those wonderful years. Do you remember the year we were first doing one

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of the Carmans? This was a wonderful one. Oh, Barbara? Barbara Story? Oh, God, yes. Do

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you remember those platforms? This was in the Remesov Carman. And they had the arches

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that were on platforms. And the platforms were on wheels so they could be rolled on

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and off for different scenes. And somebody had to stop them. And she'd been doing that

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shawl dance for the Chorda Ballet for a long time. Do you remember that? And the girls

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just didn't quite get it right. And they rehearsed and rehearsed. And Barbara started. Her entrance

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would be next as Carmen, you know, rushing onto that platform and taking a pose on point.

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Then she started out waiting and she was all up in the chest and eager to go and her face

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was alive and she was kind of chewing nails over the corner just waiting for her entrance.

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And it almost came to her entrance and Miss Page said, no, wait a minute, girls, do that

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again. Do that again. And so they did it over and over again. Before you knew it, there

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was Barbara Steele. Each time she'd get a little bit more slumped down. Finally she's

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sitting over in the corner like, you know, she's never going to get on. And then all

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of a sudden, Luz said, go on, go on, we're going right on. Barbara tears to the center,

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takes her pose on the platform, the platform's on wheels, rolled out from under, she fell

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on her rear end, flat. And then Miss Page said, oh, all right, take lunch. So that was

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all she did. That was my first year in the company. I'll never remember that. I'll never

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forget that. I don't think Barbara fell on her rump. I think she fell forward. No, because

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she went like that in the platform. Well, do you remember Mr. Long, when you did the

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walkovers? Yes, I do. Ruth loved working with Larry because he could do acrobatics and she

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just thought that was so marvelous. And so she set this whole combination of acrobatics,

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frontovers and walkovers and backovers and flips and I don't know what. And he was flipping

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around the stage and going and going and everybody went Larry. And he just flipped off stage

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and landed upside down over a chair. Chairs, there were a whole row of chairs and they folded.

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That was speaking of moaning. And we thought he had knocked the window and he was hanging

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over these chairs and nobody moved to do a thing. We just looked at him and we thought,

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oh, he's broken his ribs and his knees must be broken because the chair folded and everything

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and he wasn't even hurt. He just knocked the window out of himself. But we all watched

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him just fly into those chairs and moaning. Can we tell the one about when Larry was doing

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the John Q with jam system? Oh, you better not. That's a funny one. It's a funny story.

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Larry was doing a John Q pas de deux and there's a lift. I forget how you say that. There's

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a lift where the girl jumps to his shoulder. And however they managed it, her costume hooked

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onto his jacket and when he put her down they were attached. Him with his face in the clouds.

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And she wouldn't stop moving to let them untangle. She was running around and he was just under

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there running around. So he was bent over in half like his head was attached to the seat

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of her costume. It actually was like my head had disappeared completely. I do remember

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that. I love that. That was awful. I also remember Dolores. That was the first time I'd ever

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done John Q pas de deux. Oh, don't you tell me. That was the first time I'd ever done

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John Q pas de deux. Oh, you have to tell mine. All you other people, boys, guys in the company

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had done it but I'd never done it before. And I was doing it with Janet who was a guest

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of the company and that was something. And I remember Dolores. This happened just before

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the performance and I remember Dolores sitting. You must have been doing that in pop-off after

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because you had this feather in your hair and you had a kind of Chinese roll. Yeah, we had

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all had bought Chinese rolls. And you were sitting in those wings where you looked like

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some kind of lady in New Orleans. This great feather like that and this great flowered

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Chinese roll doubled over with laughter just completely at wit's end. Then I had to do

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the pas de deux knowing you were there. Laughing. No, we dragged her out of the wings. She was

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making too much noise. I remember the time that we were doing Carmen and I changed my,

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I changed into the wrong costume. Oh, that affected already. Wait a minute. That was

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so wonderful. I went into, I found like a, oh what do you call it when people keep their

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cleaning. Cleaning closet. Cleaning closet. To do a fast change. And I had, it was the

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first time I was doing it and I had misjudged the change and I shouldn't have changed my

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costumes. And I ran in this room and there was a lady in there helping me change and

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we changed into the wrong costume. And I came out and I heard the music and realized

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I had changed into the wrong dress and ran back in the room to make the change. And I

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was really sweaty and the costume wouldn't move on my arms and it had sleeves so we were

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having real trouble getting me in and out of it. In the meantime, no one knew where I

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was changing and out on stage they kept playing the same theme over and over again. It was

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like the people would leave the stage. I mean he was doing Escamillo. I did the longest

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solo in the world. And he kept departing, Don Jose kept departing. Everybody was looking

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for me and I was in this closet trying to get in and out of these dresses. It was funny

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because when she first, when she came back, when she finally got back on stage. None of

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the costumes was done. Her costume was undone. And when she got back on stage both of the

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boys, Escamillo and Don Jose, were both gone looking for her. So then she came on and they

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were supposed to be up and it was all down. And finally Orin came back out and he grabbed

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me and I went, don't turn me, don't turn me. We've got to back off. I'm all undone. But

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I remember Neal was so furious because he kept playing that same theme.

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Oh, is that drum roll? Remember? It was the longest drum roll when I was in the theater,

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aren't you? It was wonderful. Do you remember when Effie used to walk across between the

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two of us? She would come to pack things up. Effie was Ruth's maid. Oh yes. But the best

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story about Effie was when she came on tour with us and she missed the bus in the morning

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and took a taxi and followed us in a cab. 200 miles. But not only that, she and the

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cab driver stopped in the same city for lunch, that the company stopped in for lunch. So

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the bus was over here having lunch and Effie and her cab driver was over here having lunch

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and then instead of getting to the bus, the bus left and she got back in the cab and went

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the rest of the way in the cab. It was wonderful. Ruth almost killed her. She was such a sweet

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old lady. She used to, when we first started, when we were really young and we used to come

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after school to rehearse with Miss Paige, of course Miss Paige didn't realize that young

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kids needed something to eat when they came out of school. And Paige didn't realize that.

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So Effie would think of it and she would go, come here, I've got cookies in here, I've

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got an apple in here. And she would feed us so we all loved her tremendously. Except when

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she made rutabaga mold. Nobody liked rutabaga mold. And that was a big one of Effie's.

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So when Effie came on tour, she was really an old lady and she couldn't carry all those

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heavy costumes so we would all help her when we'd see her carrying a load of costumes,

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we'd grab it out of her arms. But she'd walk into the sets of the ballets and she appeared

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in Mary Widow many times carrying costumes. We had a stagehand who did that too. Our stagehands

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for a long time came from Denver. And there was one man who was called Injun Joe and he

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wore one of those black hats with the feathers stuck in it. And he always picked a pot of

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dune to make an appearance carrying something. You wouldn't realize he wasn't behind the

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curtain but in between. And he would walk out during some pot of dune and you'd be dancing

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something dramatic or romantic and you'd hear the audience laugh. Sure enough you'd turn

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your head and there he was trucking through there carrying something with that feather

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in his hat. Real character.

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Didn't you ever make any boo-boos?

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Me? No. The funniest thing was when I almost killed you for laughing at me when I was

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in the set, I whipped my beautiful costume right across my face and went off the stage

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in flight of mouse. Now when you have the long, what do you call it? The negligee, the

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panoir. And I went off and I went to put it around my neck and it went over my head. And

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this fool was laughing at me. I was ready to kill him.

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What do you remember in bullets when, now, when you guys used to come through the window

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and the set always fell when you came through the window, every time they made an entrance

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through the window, the scenery, that came with them.

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Don't you remember mass ball at the opera?

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Oh, that was the best.

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We had a cue when the tenor got killed, we were all supposed to unmask, whip off these

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masks, and we were wearing stupid wigs.

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Yeah, they were wearing Prince Valiant wigs.

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And the tenor got it and we all went, and I went like this and my wig just went whoop

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right around my face. And I ended up looking straight at Dolores and she was, I luckily

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had my back to the audience.

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He shoved me to face the audience.

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And I just looked at her and she went, oh.

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And pushed me to face the audience so I was the one that was laughing, of course, in quite

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hell.

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Do you remember us doing stock, Patricia?

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Oh, yeah.

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Now I'm kind of sure, I think Patricia's kind of told you. Remember this, we were doing

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that lift in Tom Sawyer.

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We were supposed to be at Grand Chete and that theater was very big in stock.

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And I was supposed to do a Grand Chete with me carrying Patricia up clear across that

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stage, you know, at arm's length.

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I couldn't get her, I could get her up there, but I couldn't keep her up there.

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So we got to this way of doing it. Do you remember that?

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I'd do a Grand Chete like that and run under her and put my head under her rug and then

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sit her right on my head and carry her across with her legs open. Do you remember that?

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She didn't make any boo-boos, but she had to suffer with a lot of them, didn't she?

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Well, how come it didn't hurt? Because do you remember the time we did it by accident?

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No, that was no accident. She wanted to do that.

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We went assembly and he was supposed to lift me, but I wound up taking my legs in second

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and I wound up on his head.

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Ruth asked us for that.

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She asked us?

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That was in Flater Mous, yeah. And she did this big as well. She said, now pick her up

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instead of putting her on your shoulder, put her, so she's sitting on your head.

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And she was like, I'm going to take you off of a bicycle.

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I picked her up and I went, and my neck went down like this.

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And I hurt those two bones that you've got in the rear end there.