Tag: Agnes de Mille

Agnes de Mille and The Dream Ballet in Oklahoma

JoAnne Tucker / / Dance History, Dance in Film, Musical Theater, Personal Life

Much to my surprise and delight I found that Disney+ was streaming the 1955 movie of Rodgers and Hammerstein’s musical Oklahoma (that duo’s first musical, created for the stage in 1943).  When the movie first came out I wasn’t a big fan, as I didn’t like the casting of the main leads. I loved the original Broadway cast album of Oklahoma that featured Joan Roberts, Alfred Drake and Celeste Holmes. None of them were in the movie so I did not see the movie until many years later.  What attracted me to watching the movie this month was that it is one of the few examples of Agnes de Mille’s choreography that we can see today.  Since I was a teenager and read Dance to the Piper (published 1952) I had always admired de Mille, who despite being discouraged by her parents from becoming a dancer, and facing numerous struggles as a dancer and choreographer, achieved success through her sheer determination.  

De Mille choreographed the movie just as she did the Broadway show. She was hired by Rodgers and Hammerstein following the 1942 success of the ballet Rodeo which she choreographed for the Ballet Russe de Monte Carlo. She asked Aaron Copeland to create the score for the piece.  It premiered in the fall of 1942 at the Met in New York City with deMille dancing the lead cowgirl.  She received 22 curtain calls, and the ballet’s success led to her choreographing the Broadway show which changed the use of dance in musicals.  For her, dance was not just an entertainment but rather a way to advance the emotions of the characters and the plot. 

The original lead dancers in the dream ballet were Marc Platt, Katherine Sergava and George Church.  They doubled for the leading actors, and John Martin in a review in The New York Times wrote that Ms. Sergava, dancing the alter ego of heroine Laurey, “with her strangely remote quality of beauty becomes the ideal heroine of a rather terrifying dream.” Neither Katherine Sergava nor George Church was in the movie.  Marc Platt was, but not in his original role of Curly.  Instead he had a role dancing and speaking as one of Curly’s pals.  The dance leads in the movie were Bambi Linn as Dream Laurey and James Mitchell as Dream Curly.  Bambi Lynn made her debut in Oklahoma as a dancer and later went on to a career as a ballroom dancer with her husband Rod Alexander.  James Mitchell began as a modern dancer and for 25 years was an assistant to de Mille.  

In the movie there is a very graceful transition from the actress Shirley Jones to the dancer Bambi Lynn where for just a moment they mirror each other and then the dream ballet really begins as Laurey runs into and is lifted by Curly and the two dance a very lovely duet.  A chorus of women soon joins in and it is a celebration with Laurey imagining her wedding, with a veil that floats down and is put on her head.  The scene builds as townspeople gather and an imaginary wedding is about to take place.  Curly begins to lift Laurey’s veil when suddenly instead of Curly it is Jud. Laurey flees from Jud and ends up running into a scene of women dancers (women of the night) doing the cancan as Jud watches and at times joins in with them.  Laurey continues to be a part of the scene, confused, sad and bewildered, and at times even trying to dance with them.  One of the dancers puts Laurey into Jud’s arms and Laurey flees from him and up an open stairway that dramatically is a dead end into open space. 

A transition within the ballet is then made with sound effects and lighting suggesting a thunderstorm or tornado, and a trio with Curly, Jud and Laurey begins.  Following their struggle, townspeople enter as the energy builds, ending with Jud killing Curly and lifting and carrying Laurey off.  This is where the dream ballet ends and the actor Jud appears ready to take the actress Laurey to the party as she awakens from her dream terrified!

As I watched the ballet several times I was struck by what a beautiful ballet de Mille created and what a wonderful score Richard Rogers created using melodies from all different songs in the musical.  The dancing is well executed and the way it was filmed added to the richness of the choreography.  I also

noted that it was danced on a good soundstage so the dancers could be at their best.  We are so lucky to have this available to watch, and I hope I have whet your appetite and you might watch this very well done sixteen minutes of dance.  I think that Disney+ still might have a 7-day free subscription trial.

There are other good dance moments in the movie too.  One comes about 24 minutes into the film, beginning with a kind of two-step which becomes a vigorous tap dance solo building into a full ensemble dance taking place at the train station. The ending is fun as three of the dancers end up on the roof of the train and two women dancers jump off the train into the arms of waiting men as the train leaves with the male dancer still dancing on the train’s roof!!  Another lovely moment is a women’s ballet to the song “Many A New Day.”  A square dance in Act II to the “Farmers and the Cowboys Should be Friends” is lively and is used to point out the tension that exists between the cowboys and the farmers, ending with a well choreographed full stage brawl!

While I have to point out that the story doesn’t really work for me anymore the dances sure do, along with the songs!  I grew up listening to the music and also remember my Mom mentioning how she had seen the show shortly after it opened with my Dad, who was in the army about to be shipped overseas. She had loved it and talked about the enthusiasm of the audience.  I wanted to know more about Oklahoma’s impact at the time related to World War II and found two excellent pieces online related to this.  In a blog written by Ryan Raul Banagale he points out that “Oklahoma can be seen as a work that captures an optimistic vision of America at a moment when its future remained very much up in the air.”  (https://theconversation.com/oklahoma-at-75-has-the-musical-withstood-the-test-of-time-94110 )

In an article in The New York Times, Todd S. Purdum mentions that “at every performance, there were rows of men in uniform, sitting in seats especially reserved for them, or taking standing room before shipping out overseas. 

Both of these articles clearly point out how Oklahoma changed musicals and how the show remains relevant today. I am thrilled we have this example of de Mille’s choreography to watch today.  Reading her book, and learning about her, strongly impacted my decision to be a dancer.  

In searching for a picture to include I found this wonderful interview of Agnes de Mille talking about the stage version of Oklahoma.  While it was uploaded to YouTube in 2013 it is actually from a PBS series done in 1979.  We see excerpts from the stage version.  It is curious that she never mentions the movie.  While the choreography in this clip is similar to the movie I think the movie is actually more interesting and stronger.

https://www.youtube.com/watch?v=iW35nQUZdk4&list=RDiW35nQUZdk4&index=1
Screenshot from YouTube interview of de Mille in 1979 PBS program
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Agnes de Mille at Perry Mansfield – Part II

JoAnne Tucker / / Dance History, Musical Theater, Perry-Mansfield

One of the challenges that Linda Kent faced when she was Director of Dance at Perry-Mansfield was to provide really meaningful experiences for the dance students after their concert which was held the fourth week of camp. That meant there were still two weeks left of the six-week program.  She came up with the idea of bringing guest artists to P-M so the students would be exposed to both master classes and a lecture demonstration by an outstanding artist.   

In 2007, P-M faculty member Christina Paolucci arranged an amazing experience featuring Gemze de Lappe sharing work of Agnes de Mille, along with two dancers and a musician.  (At that time I did not know about Agnes de Mille’s history with P-M.  Check out Part I of this blog to learn about it.) I was thrilled that the students would be able to have master classes and a lecture demonstration, and so Murray and I made a contribution to P-M to help fund it.

Christina at the time was Educational Director/Associate Artistic Director at New York Theatre Ballet, and Gemze had been working extensively with NYTB from 2005 until her death in 2017 as NYTB presented many excerpts from de Mille’s ballets.  A highlight of NYTB’s work on de Mille was a production called Dance/Speak.  A description in TheatreMania describes it well:

The New York Theatre Ballet celebrates its 30th Anniversary season with the World Premiere of Dance/Speak: The Life of Agnes de Mille, a dance/drama which tells the story of choreographer Agnes de Mille’s struggle for success in the American theatre. Written by Anderson Ferrell, novelist and director of The de Mille Working Group; Directed by Scott Alan Evans; Staged by Gemze de Lappe (including dances from Oklahoma!, Carousel, Brigadoon as well as Fall River Legend, Three Virgins and a Devil, Rodeo, and Debut at the Opera) with Additional Choreography by Liza Gennaro. All performances are followed by an intimate panel discussion with the creators.  

https://www.theatermania.com/shows/new-york-city-theater/dancespeak-the-life-of-agnes-de-mille_154271
Diana Byer, Sallie Wilson, Gemze deLappe and Paul Sutherland at a post-performance conversation after an evening of de Mille works produced by NYTB. Photo by Christina Paolucci
Elena Zahlmann and Terence Duncan in Oklahoma! Photo by Richard Termine, courtesy of New York Theatre Ballet

An obituary in The New York Times helped me understand better the contribution that Gemze made to the dance world and to keeping the integrity of de Mille’s choreography.  Richard Sandomer described it well in this quote:

Miss de Lappe understood that de Mille’s dancers had to be actors, and that her choreography — which was celebrated for incorporating elements of folk dancing and classical ballet — was as much about forging character as it was about learning the steps. When she recreated de Mille’s choreography, Miss de Lappe used her mentor’s vocabulary, vivid with motivational similes, to inform even the subtlest of movements.

The obituary also pointed out:

Miss de Lappe’s association with de Mille began in 1943 when she was cast in a small part in the first national tour of Rodgers and Hammerstein’s“Oklahoma!”

…“She was the potter’s clay for Agnes and one of her foremost interpreters,” Anderson Ferrell, director of the de Mille Working Group, which licenses performances of de Mille’s dances, said in a telephone interview. “Gemze was her muse.”

Here’s the link to read the full Obituary: https://www.nytimes.com/2017/11/17/obituaries/gemze-de-lappe-95-dies-keeper-of-the-agnes-de-mille-flame.html

Over the course of three days Gemze along with dancers Terence Duncan and Julie-Anne Taylor and music director Ferdy Tumakaka conducted a Repertory class for P-M dancers, held two master classes open to the public and presented an hour-long lecture demonstration. Repertory from Carousel, Brigadoon and Oklahoma were introduced. Christina and Terence remember that Gemze’s master class focused on the breath and very detailed characterization from Carousel.

Gemze (center) teaching at Perry-Mansfield. Photo by Christina Paolucci

Five years later in 2013, to celebrate the 100th anniversary of Perry-Mansfield Linda Kent turned to de Mille’s Rodeo and shared the following with me:

I wanted to celebrate our history and our dance present and future.  Rodeo seemed the most perfect look back. I had great ambition and very little budget!!!  Paul Sutherland and the de Mille estate worked with us and we did an excerpt of the second half of the dance. Paul has been the exclusive restager of Rodeo since 1979 and he gives the dancers so much more than steps!!  It was a miracle to see contemporary 16-21 year olds ransformed into the gals and cowboys of de Mille’s first encounters. Our cowgirl, Cleo Person, was a delight in her awkward mooning over Keil Weiler as our Champion Roper (and fantastic tap dancer).  Paul Sutherland was delighted and I was thrilled that we could bring this back to the community where the inspiration began. 

Murray and I had already moved from Steamboat Springs to Santa Fe in late 2009 and while at first we returned in the summers, by 2013 we were busy sharing our artwork at fairs and didn’t make it up to Perry-Mansfield for the celebration.  We did hear raves from our friends about how well the evening of dance went.

One of the most delightful things of writing the blog posts for Mostly Dance is the interaction I get with other artists sharing memories. I am very grateful to Linda Kent, Christina Paolucci and Terence Duncan for going through notes, photos and memories that made this post possible.

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