- Additional Authors
- Description
- 2 streaming video files (81 min.) : digital, stereo.
- Alternative Title
- Popular Balanchine collection.
- Subjects
- Genre/Form
- Dance.
- Video.
- Interviews.
- Nonfiction films.
- Note
- This interview was created for the Popular Balanchine Collection.
- This interview relates to the Popular Balancine dossiers (Box 35. Courtin' Time) (1951) [Dance Division call number: *MGZMD 146, boxes 35-36, Courtin' time], compiled by Camille Hardy. Binder 1. Inventory, overview materials by Camille Hardy and Jack Lawrence, background materials (prints and photocopies of scene designs by Ralph Alswang, photocopies and typescripts from published and unpublished sources), programs (originals and photocopies), notices and reviews, photocopied images from the press, photographs (rehearsal and performance prints, negatives from photo montage in Tab, September 1938). Binder 2. Transcripts of interviews with Hubert Bland, Saul Bolasni, Peter Deign, Harvey Brown Drake (Mrs. Alfred Drake), Michael Ellis, Audrey Keane, Jack Lawrence, Patricia Poole, Herman Raucher, Theodor Uppman, and Billie Worth. Also includes original souvenir program, oversize print of Carmen Mathews in "Golden Moment," photocopy of stage manager's script, music (photocopies and/or originals of partial conductor's score and piano music), and original music folder entitled "Theresa" with manuscript scores for "Golden Moment" and "Masculinity."
- Access (note)
- Patrons can access streaming video files online only onsite at the Library for the Performing Arts.
- Event (note)
- Videotaped during an interview at the Balanchine Foundation, New York, N.Y., on Aug. 16, 2002.
- Source (note)
- George Balanchine Foundation.
- Contents
- Disc 1 (40 min.). Mike Ellis discusses being a producer for the Broadway show Courtin' time; how he became involved with the production; how lucky he felt to get George Balanchine as the choreographer; Ralph Bellamy being the first choice for the lead farmer in the production, and subsequently hiring Lloyd Nolan; Nolan getting great reviews and having good chemistry with Billie Worth; Ellis asking Alfred Drake to direct this production while in the men's room at Sardi's; Billy Worth having lunch at Sardi's and being told by Dick Rodgers that she would not be the replacement for the lead in South Pacific which is when Alfred Drake ask her to be the lead in Courtin' Time; the need to pretty up the chorus by changing the costumes; story of Balanchine playing percussion when the new number was shown to Ellis; talking about Johnny Ride the sky; Nolan losing his voice in Philadelphia with Drake then doing show in Philadelphia and Joe E. Brown being hired for the role; getting a short list of available male lead replacements; the plot and costumes for the hoedown at the end of Act I; description of the Garden party scene with a deer being painted on the backdrop by designer Ralph Alswang, who was also the architect that designed the Palace and Uris Theaters; Oklahoma being a rival for this production even though it had been playing for eight years already; Ellis didn't realize that Balanchine was very busy with opening of New York City Ballet concert also; changes being made to the show in Boston; how orchestra changes were made by hand back then; Balanchine working with Dorothea Freitag to create dance numbers; Courtin' time being important as Balanchines first experience choreographing homespun Americana dances; the union allowing a delay in the opening date with an extra tryout in Pittsburgh due to Lloyd Nolan leaving show; changing theaters due to a more ideal location in the heart of the theater district.
- Disc 2 (41 min.). Continuing the discussion about the venue change with the new theater being about the same size but hoping to draw in more people due to location; Ellis thinking the show didn't make it because of its wholesomeness and losing its momentum due to Nolan leaving; discussion of the Johnny Ride the sky number; Ellis suggesting changes to the book; his big disaster with Betty Davis production of Two's company; discussion of the Sensible thing to do number with Balanchine making the choreography comfortable for Billy Worth; description of the Maine remember the Maine number and the Hat in hand number with Ellis reciting some of the lyrics; his overall assessment of Balanchine; Balanchine not having an assistant; Balanchine going to out of town tryouts which he didn't do with other shows; an out of town story from the show The play's the thing; Camille Hardy not finding any Pittsburgh reviews; how Alexander H. Cohen became an associate producer; Ellis being the second person to receive the Margo Jones Award in 1963 for his work at the Bucks County Playhouse; his work and selecting plays at the Bucks County Playhouse; how producers retained the rights to shows back then by it needing to run for at least 21 performances or else the rights revert back to the author; how it would be difficult to revive this production; and his thanks to Hardy and the George Balanchine Foundation.
- Call Number
- *MGZIDVD 5-7312
- OCLC
- 809198823
- Title
Interview with Mike Ellis [electronic resource] / interviewed by Camille Hardy ; [presented by] The George Balanchine Foundation.
- Imprint
c2002.
- Country of Producing Entity
U.S.
- Original Version
Original format: 2 DV-CAM cassettes.
- Restricted Access
Patrons can access streaming video files online only onsite at the Library for the Performing Arts.
- Performer
Interviewee, Mike Ellis; interviewer, Camille Hardy.
- Event
Videotaped during an interview at the Balanchine Foundation, New York, N.Y., on Aug. 16, 2002.
- Source
Gift; George Balanchine Foundation. NN-PD
- Connect to:
- Added Author
Balanchine, George, choreographer.
Ellis, Michael. Interviewee
Hardy, Camille. Interviewer
George Balanchine Foundation.
George Balanchine Foundation. Donor
- Added Title
Popular Balanchine collection.
- Research Call Number
*MGZIDVD 5-7312