WEBVTT 1 00:00:06.920 --> 00:00:07.240 I'm sorry, I'm not good at this. 2 00:00:07.240 --> 00:00:07.260 I'm sorry, I'm not good at this. 3 00:00:08.020 --> 00:00:08.180 I'm sorry, I'm not good at this. 4 00:00:09.440 --> 00:00:09.760 I'm sorry, I'm not good at this. 5 00:00:11.680 --> 00:00:12.000 I'm sorry, I'm not good at this. 6 00:00:12.000 --> 00:00:16.140 I'm sorry, I'm not good at this. 7 00:00:16.140 --> 00:00:16.140 8 00:00:22.000 --> 00:00:22.720 I'm sorry, I'm not good at this. 9 00:00:25.420 --> 00:00:26.820 I'm sorry, I'm not good at this. 10 00:00:27.200 --> 00:00:28.600 I'm sorry, I'm not good at this. 11 00:00:28.600 --> 00:00:33.140 I'm sorry, I'm not good at this. 12 00:00:33.140 --> 00:00:33.160 I'm sorry, I'm not good at this. 13 00:00:39.100 --> 00:00:41.200 I'm sorry, I'm not good at this. 14 00:00:44.680 --> 00:00:46.080 I'm sorry, I'm not good at this. 15 00:00:48.600 --> 00:00:48.940 I'm sorry, I'm not good at this. 16 00:00:48.940 --> 00:01:05.340 This is a tape of voiceovers for a Ruth Page documentary at stage number 17, the Eiffel Lom productions. 17 00:01:05.960 --> 00:01:15.360 This will be on channel 2, the lavaliers from the actors and actresses, and on channel 1 will be the boom mic, and we're recording them together. 18 00:01:15.360 --> 00:01:18.320 You'll hear it, here we go. 19 00:01:20.360 --> 00:01:20.940 Take one, Becky. 20 00:01:23.720 --> 00:01:27.000 Why don't I just lay them here, okay? 21 00:01:28.360 --> 00:01:29.000 Okay. 22 00:01:39.900 --> 00:01:41.520 A little more excited. 23 00:01:42.080 --> 00:01:42.640 Okay. 24 00:01:45.760 --> 00:01:48.200 First, number one, take two. 25 00:01:51.540 --> 00:01:51.920 Go ahead. 26 00:01:52.300 --> 00:01:58.120 Japan, 1928. She was the only American invited to dance at the coronation of the Emperor Hirohito. 27 00:02:00.400 --> 00:02:00.480 Okay. 28 00:02:01.620 --> 00:02:02.700 Take three. 29 00:02:03.280 --> 00:02:05.400 First, number one, take three. 30 00:02:05.920 --> 00:02:06.420 Japan. 31 00:02:06.740 --> 00:02:07.240 I'm sorry. 32 00:02:10.300 --> 00:02:16.700 Japan, 1928. She was the only American invited to dance at the coronation of Emperor Hirohito. 33 00:02:17.120 --> 00:02:17.120 34 00:02:18.000 --> 00:02:18.620 That's fine. 35 00:02:19.240 --> 00:02:19.240 36 00:02:20.540 --> 00:02:21.940 Let's go on. 37 00:02:22.740 --> 00:02:24.680 First, number two, take one. 38 00:02:26.880 --> 00:02:28.520 Where is this tune? 39 00:02:29.580 --> 00:02:31.580 Okay, okay, I just wanted to make sure. 40 00:02:32.420 --> 00:02:33.240 Excuse me. 41 00:02:33.240 --> 00:02:33.240 42 00:02:34.360 --> 00:02:46.640 Ruth Page was the first American prima ballerina to dance at the Met, one of a series of firsts in her remarkable 75-year career. 43 00:02:48.120 --> 00:02:48.840 One more time. 44 00:02:50.240 --> 00:02:55.540 One of a series of firsts in her remarkable 75-year career. That's the one to foot. 45 00:02:56.580 --> 00:02:56.580 46 00:02:56.580 --> 00:02:56.580 47 00:02:57.420 --> 00:02:59.280 First, number two, take two. 48 00:02:59.840 --> 00:03:08.120 Ruth Page was the first American prima ballerina to dance at the Met, one of a series of firsts in her remarkable 75-year career. 49 00:03:08.160 --> 00:03:09.900 I guess I'm still on that. 50 00:03:10.180 --> 00:03:11.720 One of a series of firsts. 51 00:03:11.780 --> 00:03:15.280 One of a series of firsts in her remarkable 75-year career. 52 00:03:15.680 --> 00:03:17.540 First, number two, take three. 53 00:03:18.420 --> 00:03:28.780 Ruth Page was the first American prima ballerina to dance at the Met, one of a series of firsts in her remarkable 75-year career. 54 00:03:28.780 --> 00:03:31.840 Okay, so we still got, let's see if we can just get the second half of it. 55 00:03:32.300 --> 00:03:32.300 56 00:03:32.820 --> 00:03:34.800 Bit of a truck, there's bit of a truck, so the whole thing would be better. 57 00:03:35.060 --> 00:03:36.160 Oh, okay, we'll do it again. 58 00:03:36.460 --> 00:03:39.580 One of a series of firsts in her remarkable 75-year career. 59 00:03:39.740 --> 00:03:43.880 One of a series of firsts in her remarkable 75-year career. Is that better? 60 00:03:43.880 --> 00:03:46.740 The operative words are series and firsts. 61 00:03:46.740 --> 00:03:46.900 Yes. 62 00:03:47.520 --> 00:03:50.080 One of a series of firsts in her... 63 00:03:50.080 --> 00:03:51.300 In her remarkable, okay. 64 00:03:51.520 --> 00:03:53.400 First number two, take four. 65 00:03:57.820 --> 00:04:08.760 Ruth Page was the first American prima ballerina to dance at the Met, one of a series of firsts in her remarkable 75-year career. 66 00:04:09.220 --> 00:04:11.640 I love it with all my hands, that's exactly the way I like it. 67 00:04:12.100 --> 00:04:12.260 Okay. 68 00:04:12.260 --> 00:04:15.740 Okay, let's go on. 69 00:04:17.940 --> 00:04:20.760 Firsts, three, four, five and six, take one. 70 00:04:21.300 --> 00:04:23.340 Ruth Page created the first jazz ballets. 71 00:04:23.480 --> 00:04:30.260 She created the first all-black ballet, the first Americana ballet and the first feminist ballet in 1937. 72 00:04:32.600 --> 00:04:39.540 Okay, a little brighter. It's voiceover. You need to push it in a way that it would be like overacting if you were on camera. 73 00:04:39.540 --> 00:04:39.840 Okay. 74 00:04:39.840 --> 00:04:41.860 It needs to bite through, okay? 75 00:04:41.860 --> 00:04:45.700 First, three, four, five and six, take two. 76 00:04:46.020 --> 00:04:47.900 Ruth Page created the first jazz ballets. 77 00:04:47.920 --> 00:04:53.860 She created the first all-black ballet, the first Americana ballet and the first feminist ballet in 1937. 78 00:04:55.880 --> 00:05:04.300 Okay, one more time, a little cleaner on Ruth Page because we're saying her name again for the first time and not quite so rushed but with that same kind of feeling. 79 00:05:04.300 --> 00:05:04.600 Okay. 80 00:05:04.600 --> 00:05:05.340 You have to feel. 81 00:05:06.900 --> 00:05:09.280 First, three, four, five and six, take three. 82 00:05:10.340 --> 00:05:13.060 Ruth Page created the first jazz ballets. 83 00:05:13.140 --> 00:05:20.640 She created the first all-black ballet, the first Americana ballet and the first feminist ballet in 1937. 84 00:05:21.620 --> 00:05:21.620 85 00:05:23.800 --> 00:05:25.640 First, number seven, take one. 86 00:05:26.560 --> 00:05:30.280 She was the first person to commission a ballet from George Balanchine. 87 00:05:31.300 --> 00:05:34.400 One more time, a little bit, I guess, louder. 88 00:05:35.400 --> 00:05:35.400 89 00:05:35.400 --> 00:05:36.560 A little more push in your voice. 90 00:05:36.860 --> 00:05:38.460 First, number seven, take two. 91 00:05:38.460 --> 00:05:42.460 She was the first person to commission a ballet from George Balanchine. 92 00:05:43.800 --> 00:05:47.360 Is there a way to read that so that, I mean, that is amazing. 93 00:05:48.020 --> 00:05:49.600 We're ready? Okay, Jill. 94 00:05:50.220 --> 00:05:51.940 First, number seven, take two. 95 00:05:52.840 --> 00:05:56.460 She was the first person to commission a ballet from George Balanchine. 96 00:05:57.740 --> 00:05:59.980 Hit the she a little harder, your voice is in the way. 97 00:06:00.000 --> 00:06:00.220 Okay, she. 98 00:06:02.340 --> 00:06:04.080 First, number seven, take three. 99 00:06:04.080 --> 00:06:09.560 She was the first person to commission a balanchine from George Balanchine. 100 00:06:09.560 --> 00:06:11.220 That is true. 101 00:06:11.560 --> 00:06:12.360 What did I say? 102 00:06:12.720 --> 00:06:14.260 A balanchine from George Balanchine. 103 00:06:14.800 --> 00:06:15.440 Take seven. 104 00:06:16.540 --> 00:06:17.200 Take four. 105 00:06:19.380 --> 00:06:22.180 She was the first person to commission a balanchine. 106 00:06:22.560 --> 00:06:22.920 Whatever. 107 00:06:24.940 --> 00:06:26.840 A balanchine ballet is what you want to say. 108 00:06:27.140 --> 00:06:28.940 That's not quite right. It was a little dance. 109 00:06:28.940 --> 00:06:29.420 It's okay. 110 00:06:30.360 --> 00:06:32.300 First, number seven, take five. 111 00:06:33.240 --> 00:06:37.300 She was the first person to commission a ballet from George Balanchine. 112 00:06:38.300 --> 00:06:41.300 A little more excited the way you started to do it the last time. 113 00:06:41.420 --> 00:06:44.600 She was the first person to commission a ballet from George Balanchine. 114 00:06:45.260 --> 00:06:47.040 First, number seven, take six. 115 00:06:48.180 --> 00:06:51.920 She was the first person to commission a balan... shoot. 116 00:06:52.620 --> 00:06:55.680 She was the first person... stop. 117 00:06:56.220 --> 00:06:59.140 Yeah, he was beeping it. So go ahead. Slay it, Jill. 118 00:06:59.320 --> 00:07:01.000 First, number seven, take seven. 119 00:07:02.540 --> 00:07:06.300 She was the first person to commission a ballet from George Balanchine. 120 00:07:07.340 --> 00:07:10.220 One more time, a little more almost reverently. You know who he is. 121 00:07:10.600 --> 00:07:10.940 First. 122 00:07:11.040 --> 00:07:14.100 And it will give the viewer a sense that he must be somebody important. 123 00:07:15.380 --> 00:07:17.200 First, number seven, take eight. 124 00:07:17.980 --> 00:07:21.360 She was the first person to commission a balan... shoot. 125 00:07:22.280 --> 00:07:24.360 She was the first person to commission... 126 00:07:24.360 --> 00:07:29.900 I'm sorry. What's happening, Becky, so that you know, is that he puts a beeper so we can count and fast forward. 127 00:07:29.900 --> 00:07:33.880 So if you make a false start, he's beeping and you're starting again. 128 00:07:34.080 --> 00:07:34.980 So I have to stop. 129 00:07:35.660 --> 00:07:36.900 First, number seven, take nine. 130 00:07:38.840 --> 00:07:42.900 She was the first person to commission a ballet from George Balanchine. 131 00:07:44.140 --> 00:07:44.740 Perfection. 132 00:07:46.780 --> 00:07:50.280 First, number eight, nine, take one. 133 00:07:51.900 --> 00:07:55.720 She commissioned composer Aaron Copeland's first score for a ballet. 134 00:07:55.720 --> 00:08:00.860 Ruth Page presented Rudolf Nereyev in his first performance in America. 135 00:08:01.360 --> 00:08:03.420 Okay. Put an and in after. 136 00:08:03.600 --> 00:08:04.740 She commissioned... 137 00:08:04.740 --> 00:08:06.560 And Ruth Page. 138 00:08:07.720 --> 00:08:09.400 Eight, nine, take two. 139 00:08:11.380 --> 00:08:19.380 She commissioned composer Aaron Copeland's first score for a ballet, and Ruth Page presented Rudolf Nereyev in his first performance in America. 140 00:08:20.060 --> 00:08:21.040 Okay, a little more... 141 00:08:21.040 --> 00:08:22.820 Good. A little more breath. 142 00:08:23.360 --> 00:08:25.300 I mean, because the thing is building now. 143 00:08:25.300 --> 00:08:25.900 Okay. 144 00:08:26.640 --> 00:08:30.980 Stronger. She commissioned composer Aaron Copeland's... And the way you read the number nine was perfect. 145 00:08:31.640 --> 00:08:34.200 First, eight, nine, take three. 146 00:08:35.320 --> 00:08:36.200 Let's not finish. 147 00:08:37.340 --> 00:08:38.340 Let's not finish. 148 00:08:40.240 --> 00:08:40.520 Good. 149 00:08:42.440 --> 00:08:50.660 She commissioned composer Aaron Copeland's first score for a ballet, and Ruth Page presented Rudolf Nereyev in his first performance in America. 150 00:08:51.480 --> 00:08:54.040 One more time, slightly more excited about both. 151 00:08:54.280 --> 00:08:54.740 Okay. 152 00:08:55.480 --> 00:08:58.160 First, eight, nine, take four. 153 00:08:59.840 --> 00:09:01.960 She commissioned composer... Sorry. 154 00:09:03.000 --> 00:09:03.300 Take five. 155 00:09:05.820 --> 00:09:07.720 She commissioned composer... 156 00:09:08.500 --> 00:09:09.220 It's okay. 157 00:09:09.360 --> 00:09:10.280 Take six. 158 00:09:11.280 --> 00:09:13.980 She commissioned composer... What in the hell? 159 00:09:14.180 --> 00:09:15.880 It's fine. Take a breath. Take a breath. 160 00:09:16.200 --> 00:09:16.560 I'm trying. 161 00:09:16.960 --> 00:09:19.980 First, eight, nine, take seven. 162 00:09:21.320 --> 00:09:27.100 She commissioned composer Aaron Copeland's... Sorry, I'm having trouble with composer now. 163 00:09:27.520 --> 00:09:28.380 Take eight. 164 00:09:29.740 --> 00:09:37.940 She commissioned composer Aaron Copeland's first score for a ballet, and Ruth Page presented Rudolf Nereyev in his first performance in America. 165 00:09:39.040 --> 00:09:39.420 Try it. 166 00:09:40.820 --> 00:09:41.280 Okay. 167 00:09:42.740 --> 00:09:44.900 First, ten and eleven, take one. 168 00:09:45.820 --> 00:09:51.900 Her Earthy Frankie and Johnny Ballet was almost banned in Boston and created a legendary... 169 00:09:53.300 --> 00:09:55.900 First, ten and eleven, take two. 170 00:09:57.640 --> 00:10:06.920 Her Earthy Frankie and Johnny Ballet was almost banned in Boston and created a legendary scandal in Paris. Her Bolero was censored on a college tour. 171 00:10:08.280 --> 00:10:09.080 What do you think? 172 00:10:09.460 --> 00:10:10.340 I think it's fine. 173 00:10:10.860 --> 00:10:10.860 174 00:10:12.180 --> 00:10:14.860 First, number twelve, take one. 175 00:10:16.520 --> 00:10:25.860 For more than thirty years, Ruth Page and her dance companies toured Europe and brought ballet to big cities and small towns. 176 00:10:28.400 --> 00:10:30.540 First, number twelve, take two. 177 00:10:33.040 --> 00:10:36.860 For more than thirty years, Ruth Page and her dance companies toured Chute. 178 00:10:37.120 --> 00:10:39.320 No, it's okay. You got the tundras right. It's fine. 179 00:10:39.780 --> 00:10:41.120 First, number twelve, take three. 180 00:10:42.640 --> 00:10:50.180 For more than thirty years, Ruth Page and her dance companies toured Europe and brought ballet to big cities and small towns across America. 181 00:10:50.800 --> 00:10:55.540 Okay, a little more. I mean, once you get the... I mean, who can blame you for having trouble reading this? 182 00:10:56.480 --> 00:10:58.440 I'm just doing like Skippenall. 183 00:10:58.660 --> 00:10:59.360 Yeah, I know. 184 00:11:00.360 --> 00:11:02.440 First, number twelve, take four. 185 00:11:02.440 --> 00:11:10.820 For more than thirty years, Ruth Page and her dance companies toured Europe and brought ballet to big cities and small towns across America. 186 00:11:11.840 --> 00:11:12.560 I like that. 187 00:11:13.180 --> 00:11:13.760 Yeah, it's fine. 188 00:11:14.260 --> 00:11:15.080 Okay, wait. Becky? 189 00:11:15.420 --> 00:11:18.980 Okay, dance overview, number one, take one. 190 00:11:20.960 --> 00:11:24.420 Ruth was always doing things like that, always the unexpected. 191 00:11:25.600 --> 00:11:29.240 With a little more liveliness in your voice, a little more isn't it fine? 192 00:11:29.960 --> 00:11:30.440 A little... 193 00:11:30.680 --> 00:11:32.980 Yeah, well, also the laugh. 194 00:11:33.980 --> 00:11:37.000 Dance overview, number one, take two. 195 00:11:37.960 --> 00:11:41.520 Ruth was always doing things like that, always the unexpected. 196 00:11:42.360 --> 00:11:43.440 That's exactly right. 197 00:11:45.140 --> 00:11:46.600 Good, we got it. 198 00:11:47.900 --> 00:11:50.440 Dance overview, number two, take one. 199 00:11:51.640 --> 00:11:56.900 Ruth's known for creating so many different kinds of ballets, it's impossible to pin her down to any one style. 200 00:11:56.900 --> 00:11:59.300 Almost a little more an answer, George. 201 00:11:59.860 --> 00:12:04.980 Ruth's known for creating so many different kinds of ballets, it's impossible to pin her down to any one style. 202 00:12:05.040 --> 00:12:05.700 Let me see. 203 00:12:10.220 --> 00:12:11.900 Dance overview, number two, take two. 204 00:12:14.260 --> 00:12:20.000 Ruth's known for creating so many different kinds of ballets, it's impossible to pin her down to any one style. 205 00:12:20.240 --> 00:12:21.080 A little brighter. 206 00:12:21.660 --> 00:12:21.980 An answer. 207 00:12:23.520 --> 00:12:25.840 Dance overview, number two, take three. 208 00:12:28.520 --> 00:12:34.080 Ruth's known for creating so many different kinds of ballets, it's impossible to pin her down to any one style. 209 00:12:34.600 --> 00:12:36.180 Okay, a little more, not quite so. 210 00:12:37.380 --> 00:12:38.680 That was a cash out, so. 211 00:12:39.200 --> 00:12:41.040 Wait, you need to do something to drink. 212 00:12:41.180 --> 00:12:41.960 I think so. 213 00:12:43.060 --> 00:12:46.160 Okay, dance overview, number two, take four. 214 00:12:48.080 --> 00:12:53.740 Ruth's known for creating so many different kinds of ballets, it's impossible to pin her down to any one style. 215 00:12:53.740 --> 00:12:58.720 One more time, it's any one is the aperture word there. 216 00:12:58.940 --> 00:13:01.080 It's impossible to pin her down to any one style. 217 00:13:02.040 --> 00:13:02.040 218 00:13:04.520 --> 00:13:07.520 Dance overview, number two, take five. 219 00:13:12.620 --> 00:13:18.640 Ruth's known for creating so many different kinds of ballets, it's impossible to pin her down to any one style. 220 00:13:19.740 --> 00:13:21.080 I think that's perfect, yes. 221 00:13:21.900 --> 00:13:22.380 Okay. 222 00:13:23.740 --> 00:13:24.700 Speak or something? 223 00:13:24.760 --> 00:13:25.640 No, no, no, no, no. 224 00:13:25.980 --> 00:13:27.400 Do you want it three and four together? 225 00:13:27.660 --> 00:13:28.200 No, I don't. 226 00:13:29.220 --> 00:13:32.640 Okay, dance overview, number three, take one. 227 00:13:36.060 --> 00:13:39.000 Here's Ruth in the first ballet she ever choreographed. 228 00:13:39.480 --> 00:13:43.180 A little more, sort of, isn't it amazing in your voice? 229 00:13:43.640 --> 00:13:46.080 Here's Ruth in the first ballet she ever choreographed. 230 00:13:46.540 --> 00:13:47.380 Almost like that. 231 00:13:47.880 --> 00:13:50.320 Dance overview, number three, take two. 232 00:13:52.380 --> 00:13:55.080 Here's Ruth in the first ballet she ever choreographed. 233 00:13:56.600 --> 00:13:58.720 Without the plaza after Ruth, they have to answer right. 234 00:13:58.780 --> 00:13:59.460 Is it really a ballet? 235 00:14:00.340 --> 00:14:01.340 Well, sure, it's a dance. 236 00:14:01.440 --> 00:14:04.120 I mean, they don't understand the distinction between dance and ballet. 237 00:14:04.860 --> 00:14:05.160 Do you? 238 00:14:05.360 --> 00:14:06.040 Yeah, it's a dance. 239 00:14:06.040 --> 00:14:06.900 Is it a dance or a ballet? 240 00:14:06.940 --> 00:14:08.500 No, it's a dance because it's short. 241 00:14:08.880 --> 00:14:09.220 So it's not a dance. 242 00:14:09.300 --> 00:14:10.660 No, it will confuse the viewer. 243 00:14:10.820 --> 00:14:11.340 It's a mistake. 244 00:14:11.720 --> 00:14:12.740 Let's not do that. 245 00:14:14.320 --> 00:14:17.520 First, dance overview, number three, take three. 246 00:14:19.760 --> 00:14:23.840 Here's Ruth in the first ballet she ever choreographed. 247 00:14:23.940 --> 00:14:25.660 OK, one more time, punch the ever. 248 00:14:25.740 --> 00:14:27.660 In the first ballet she ever choreographed. 249 00:14:27.720 --> 00:14:28.520 Maybe like that, OK? 250 00:14:29.580 --> 00:14:31.960 Dance overview, number three, take four. 251 00:14:33.280 --> 00:14:35.520 Here's Ruth in the first ballet she ever choreographed. 252 00:14:36.780 --> 00:14:41.520 You need to punch the Ruth in the first ballet she ever choreographed. 253 00:14:42.760 --> 00:14:45.760 Dance overview, number three, take five. 254 00:14:47.120 --> 00:14:49.760 Here's Ruth in the first ballet she ever choreographed. 255 00:14:50.740 --> 00:14:51.160 Perfect. 256 00:14:55.640 --> 00:14:58.540 Dance overview, number four, take one. 257 00:15:00.480 --> 00:15:05.880 And here's Ruth 31 years later in a modern dance based on a Salvador Dali painting she liked. 258 00:15:07.040 --> 00:15:10.240 You can sort of, a Salvador Dali painting she liked. 259 00:15:11.000 --> 00:15:13.580 And here's Ruth 31 years later in a modern dance. 260 00:15:13.660 --> 00:15:15.420 Sort of hit the modern a little bit, maybe. 261 00:15:17.940 --> 00:15:21.740 Dance overview, number four, take two. 262 00:15:22.400 --> 00:15:24.980 And here's Ruth 31 years later in a modern dance. 263 00:15:27.660 --> 00:15:29.760 Dance overview, number four, take two. 264 00:15:32.500 --> 00:15:37.860 And here's Ruth 31 years later in a modern dance based on a favorite Salvador Dali painting. 265 00:15:38.620 --> 00:15:40.800 A little more, if you could put like a little. 266 00:15:42.340 --> 00:15:45.320 Dance overview, number four, take three. 267 00:15:47.340 --> 00:15:52.660 And here's Ruth 31 years later in a modern dance based on a favorite Salvador. 268 00:15:53.360 --> 00:15:57.160 Oh, it was perfect. It was perfect. All right, so you do it again. 269 00:15:58.340 --> 00:16:00.640 Dance overview, number four, take four. 270 00:16:02.800 --> 00:16:08.760 And here's Ruth 31 years later in a modern dance based on a favorite Salvador Dali painting. 271 00:16:09.680 --> 00:16:11.540 Perfect, yeah, okay. 272 00:16:12.160 --> 00:16:14.480 Dance overview, number four, take five. 273 00:16:16.320 --> 00:16:22.760 And here's Ruth 31 years later in a modern dance based on a favorite Salvador Dali painting. 274 00:16:23.820 --> 00:16:25.000 Is that all right? 275 00:16:25.560 --> 00:16:26.980 Perfect, yeah, okay. 276 00:16:27.520 --> 00:16:30.520 Dance overview, number five, take one. 277 00:16:32.680 --> 00:16:36.540 Modern jazz classical ballet, her range is remarkable. 278 00:16:38.020 --> 00:16:38.700 That's perfect. 279 00:16:39.260 --> 00:16:40.620 Do you want to know the news for safety? 280 00:16:41.300 --> 00:16:44.340 Let's just enjoy the cases of something, whatever, just like that again. 281 00:16:47.720 --> 00:16:51.300 Dance overview, number five, take two. 282 00:16:53.280 --> 00:16:57.220 Modern jazz classical ballet, her range is remarkable. 283 00:16:59.540 --> 00:17:00.660 Tonight, make a... 284 00:17:00.660 --> 00:17:02.760 Number one, take one. 285 00:17:05.320 --> 00:17:10.780 Ruth Page was born on March 22nd, 1899 and grew up in this house in Indianapolis. 286 00:17:11.600 --> 00:17:12.640 A tiny bit happier. 287 00:17:12.640 --> 00:17:13.920 I think you got it. 288 00:17:14.700 --> 00:17:17.440 A tiny bit more zestfully, like you're enjoying time. 289 00:17:18.260 --> 00:17:20.640 Early life, number one, take two. 290 00:17:22.680 --> 00:17:28.080 Ruth Page was born on March 22nd, 1899 and grew up in this house in Indianapolis. 291 00:17:28.860 --> 00:17:33.900 One more time, a little happier in your voice and punch the this again the way you did the first time. 292 00:17:34.360 --> 00:17:35.940 1899 is... 293 00:17:35.940 --> 00:17:38.680 Yeah, maybe in 1899. It's a long time ago. 294 00:17:39.260 --> 00:17:39.260 295 00:17:39.640 --> 00:17:40.240 I see. 296 00:17:40.240 --> 00:17:40.860 You know? 297 00:17:41.340 --> 00:17:44.380 Early life, number one, take three. 298 00:17:45.660 --> 00:17:52.000 Ruth Page was born on March 22nd, 1899 and grew up in this house in Indianapolis. 299 00:17:52.360 --> 00:17:53.340 You got it. Now you got it. 300 00:17:53.360 --> 00:17:56.520 The 1899 is great and grew up in this house in Indianapolis. 301 00:17:58.600 --> 00:18:01.200 Early life, number one, take four. 302 00:18:03.820 --> 00:18:10.340 Ruth Page was born on March 22nd, 1899 and grew up in this house in Indianapolis. 303 00:18:10.920 --> 00:18:12.240 Perfection. Okay, you got the timing. 304 00:18:13.280 --> 00:18:20.860 Okay, then go ahead and read all of two. You may want to rehearse it. It's a lot. 305 00:18:21.380 --> 00:18:22.860 She was the only one who could do it.