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Pre-Presidential Papers of Richard M. Nixon
General Correspondence
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NATIONAL ARCHIVES AND RECORDS SERVICE
WITHDRAWAL SHEET (PRESIDENTIAL LIBRARIES)
FORM OF
DOCUMENT
CORRESPONDENTS OR TITLE
DATE
RESTRICTION
Photos
Photos -five (5)
FILE LOCATION
series 320- General Corres pondence
SAN FRANCISCO BALLET
RESTRICTION CODES
(A) Closed by Executive Order 11652 governing access to national security information.
(B) Closed by statute or by the agency which originated the document.
(C) Closed in accordance with restrictions contained in the donor's deed of gift.
GENERAL SERVICES ADMINISTRATION
GSA FORM 7122 (7.72)
Reproduced at the Richard Nixon Presidential Library and Museum
INTERNATIONAL SERVICE
DOMESTIC SERVICE
Check the class of service desired
$
otherwise this message willbe
WESTERN
Check the class of service desired;
1211
otherwise the message will be
sent at the full rate
sent as a fullrate telegram
S
DAY LETTER
E
UNION
FULL RATE
FULL RATE TELEGRAM
LETTER TELEGRAM
X
Night Letter
SHIP RADIOGRAM
NIGHT LETTER
W. P. MARSHALL PRESIDENT
NO. WDS.-CL. OF SVC.
PD. OR COLL.
CASH NO.
CHARGE TO THE ACCOUNT OF
TIME FILED
BOOK WIRE
OB February 13, 1957
Send the following message, subject to the terms on back hereof, which are hereby agreed to
Reyr inquiry concerning San Francisco Ballet it is my understanding that
San Francisco Ballet
action now being taken by State Department reinstates original itinerary
three weeks beyond Ceylon, beginning February 25. This extension includes
performances in Bombay, Karachi, Abadan and Tehran. Success of tour
to date is gratifying. Regards.
Richard Nixon
x-day file
folder
SEND ABOVE NIGHT LETTER TO FOLLOWING: (5 people)
J.F. Sullivan, Jr.
Crocker-Anglo National Bank
One Montgomery Street
San Francisco 4, California
Mark Schorer
68 Tamalpais Road
Berkeley, California
Rita Kelley
2291 Fifteenth Avenue
San Francisco, California
Mrs. William Bayless, President
San Francisco Ballet Guild
645 Stockton
mm-State Feb 13, 1957
San Francisco, California
Mrs. Dante Casolari
801 West Madill Street
Antioch, California
mm ok'd by Miss Mary Tsouvalas (code 191 x5664)
Reproduced at the Richard Nixon Presidential Library and Museum
CLASS OF SERVICE
WESTERN UNION
SYMBOLS
This is a fast message
DL=Day Letter
unless its deferred char-
NL=Night Letter
acter is indicated by the
TELEGRAM
1220
(R 11-54)
LT=
International
proper symbol.
Letter Telegram
W. P. MARSHALL, PRESIDENT
The filing time shown in the date line on domestic telegrams is STANDARD TIME at point of origin. Time of receipt is STANDARD TL
(50).
destination
DB292
1991 FEB 11 PM 7 20
O SFP321 LONG DL PD=WUX SANFRANCISCO CALIF 11 242PMP
=HONORABLE RICHARD M NIXON, VICE PRESIDENT OF THE
UNITED STATES=SENATE OFFICE BLDG WASHDC=
=THE SAN FRANCISCO BALLET SPONSORED BY THE UNITED STATES
INTERNATIONAL EXCHANGE PROGRAM OF THE AMERICAN NATIONAL
THEATRE AND ACADEMY HAS BEEN ON WORD TOUR SINCE JANUARY
6 IT HAS BEEN ENTHUSIASTICALLY RECEIVED IN ALL COUNTRIES
so FAR VISITED. THE SAN FRANCISCO BALLET GUILD WHICH
MADE THE INITIAL APPROACH REGARDING THIS TOUR HAS NOW
BEEN ADVISED THAT BECAUSE OF INCREASE IN TRANSPORTATION
RATES AND OTHER UNFORSEEN DEVELOPMENTS, THE TOUR WILL BE
TERMINATED IN CEYLON FEBRUARY 18 IN VIEW OF THE GOOD
WILL OBJECTIVE IN VISITING THESE AREA AND THE DAMAGE TO
UNITED STATES PRESTIGE IF TOUR IS CUT SHORT. IT IS
RESPECTFULLY URGED THAT FUNDS BE MADE AVAILABLE TO COMPLETE
THE COMPANYS ITINERARY AS ORIGINALLY PLANNED:
=SAN FRANCISCO BALLET GUILD MRS WILLIAM BAYLESS
PRESIDENT=
THE COMPANY WILL APPRECIATE SUGGESTIONS FROM ITS PATRONS CONCERNING ITS SERVICE
Reproduced at the Richard Nixon Presidential Library and Museum
NEW YORK HERALD TRIBUNE, THURSDAY, JULY 26, 1956
DANCE
Jacob's Pillow Dance Festival
By WALTER TERRY
LEE, Mass., July 25.-Pro-
phetically, perhaps hopefully,
the San Francisco Ballet pre-
sented its charming ballet, "Con
Amore," on the opening pro-
gram of its first appearance on
the Jacob's Pillow Dance Fes-
tival. And a near-capacity audi-
ence last evening responded in
kind to the lively dancing of
our West Coast visitors, "con
a
amore," with love.
Brought across the continent
for its Eastern debut by Ted
Shawn, founder-director of
c
Jacob's Pillow, the San Fran-
S
cisco Ballet disclosed in fine
measure those particular attri-
butes which had earned for it
popularity, admiration and re-
spect in California. The dancers
W
are all very young, personable,
spirited. But more, they have
J
been beautifully schooled by
cl
their director, Lew Christensen,
ra
for their youthful exuberance
th
has been nicely fused with true
fo
balletic elegance and, as a unit,
Li
they perform with greater ex-
Lew Christensen, director of
W
actitude than any ballet organi-
the San Francisco Ballet.
W
1
zation of comparable size which
I have seen; indeed, they are
deux for Nancy Johnson and Mr.
er
more méticulous technically
Ludlow as the Dryad and a
at
than some of our major com-
hunter. The final tableau was
fa
panies have been on occasion.
also effective, but I'll not tell
he
Three Excellent Soloists
what happens to the elusive
ye
of
Add to these virtues, three
creature of the woods and her
cr
of
excellent soloists-Sally Bailey,
mortal cavalier.
T
at
Nancy Johnson, Conrad Ludlow
th
-who are of star material, some
The closing piece, "Con
to
admirable supporting artists and
Amore," familiar to New York
<-
ci
exquisite taste in costuming and
audiences (as is "Concerto Ba-
da
he
decor, for which James Graham-
rocco") because of its perform-
W
al
Jujan, the artistic director,
ances by the New York City
R
ct
must be praised.
BBallet, was danced with fine
ar
X-
There were, inevitably, some
gusto by the San Franciscans.
p.
ad
debit aspects to this initial per-
In this fast-paced satire on
fa
he
formance. There were thin mo-
eighteenth-century plots-there
on
ments choreographically, espe-
are beautiful Amazons and a
r.
cially in the new "The Dryad;"
handsome thief, an errant wife
'll
11
in pantomimic passages there
and her trio of lovers and the
were touches of gaucheness, of
figure of Love equipped with bow
immaturity, and, through no
and arrow - the dancers let
d
fault of the dancers, there was
themselves go and everyone on
the unfortunate necessity of
both sides of the footlights, had
dancing to two pianos instead of
a marvelous time. Miss Bailey,
y
to orchestral accompaniament.
as the Chief of the Amazons,
g
This last was particularly no-
danced with brilliance and a
ticeable in the opening "Con-
stirring elan; Mr. Ludlow's
a
certo Barocco," set to the Bach
prowess in technical matters
a
Concerto for Two Violins.
was richly exploited and a gift
Despite the thinness and un-
for broad comedy was revealed;
e-
avoidable percussiveness of the
Nancy Johnson was delightful
st,
music, which the pianists, Ray-
as the flirting wife, Mr. Carter
lene Pierce and Dorothy Frank-
was engaging as the duped
ed
lin, played valorously, the
husband and Virginia Johnson
nd
dancers drew the beautiful pat-
was both fleet and winsome as
a
terns choreographed by George
Amore.
er.
Balanchine with marvelous ac-
Well, it was a matter of
n't
curacy and no little style. In
"amore" throughout as the San
ap
fact, interestingly enough, they
Francisco Ballet opened its
follow its original design (if my
three-week stand at Jacob's
memory is accurate) more
Pillow and as the audience
closely than does the New York
demonstrated its approval with
City Ballet directed by Bal-
extended and fervent rounds of
Whah
himself. (However,
applause at the close of each
a right to
offering.
Reproduced at the Richard Nixon Presidential Library and Museum
San Francisco Ballet 1-11-57
Miss
Mary Tsouvalas code 191 x5664
original information State received on cost of 13-week tour was $206, 800
However, Indian internal transportation charge is outrageous (and performances
are being given free by USIA there) -- increased cost not counted upon --
and consequently remainder of tour will have to be curtailed to keep
in the budget allotted for tour.
There are no more funds available, consequently, can't allot any more to
ballet.
(would need $60,000 more to take care of increased Indian costs)
State is gratified at success of tour, and every effort is being made to find
ways and means to allow Ballet group to complete India, and also include
Pakistan
Reproduced at the Richard Nixon Presidential Library and Museum
COPY
May 6, 1957
Dear Mr. Christensen:
This is just a note to thank you for your letter
of April 17, regarding the recent trip of the San Francisco
Ballet to the Far East.
I greatly appreciate your evaluation of this trip,
especially at this time when the U.S.L.A.'s proposed budget
is under such heavy attack. I hope that you will avail your-
self of any and all opportunities to interpret to others the value
of the President's Special International Program for Cultural
Presentations, as well as the work of the U.S.I.A.
The dance, of course, is truly a universal lan-
guage and I can imagine how well-received the San Francisco
Ballet was by people everywhere. As a Californian, I was
indeed proud that your company was chosen to represent the
United States. On the goodwill trips Mrs. Nixon and I have
taken during the last four years, as President Eisenhower's
representatives, we found, just as you did, that the reaction
of the people where we visited was warm and friendly.
With congratulations and my best wishes to you
and all the members of the San Francisco Ballet,
Sincerely,
Richard Nixon
Mr. Lew Christensen, Director
San Francisco Ballet
378 - 18th Avenue at Geary
San Francisco 21, California
AW/gmh
Reproduced at the Richard Nixon Presidential Library and Museum
San Francisco Ballet
378-18th AVENUE AT GEARY
SAN FRANCISCO 21, CALIFORNIA
SKYLINE 1-2141
April 17, 1957
The Honorable
Richard M. Nixon
Vice President of the United States
Washington, D. C.
Dear Mr. Nixon:
Now that the tour of the Orient is over and we have had time
to evaluate the work done, we find that we were not alone, but
part of a huge team.
May I first state that from reports received officially and
unofficially, the San Francisco Ballet was marked as one of the most
effective instruments in the field. This would not have been possible
if you and others like you hadn't supported us at home, nor can we
overlook the untiring work put out by the U.S.I.A. long before we
arrived.
It is our personal observation that the President's Special
International Program for Cultural Presentations is a very effective
means in reaching the people. Through this team we performed as
artists and afterwards spoke to the cultural ministers on down to
the people. We were able to discuss cultural problems on simple
American terms, and their reactions were warm, friendly and cooperative.
With this brief summary, we wish to thank you for your valuable
support on this tour and hope our work was of benefit to our govern-
ment
Sincerely yours,
APR 2 1957
SAN FRANCISCO BALLET
OFFICE OF Int. VICE PRESIDENT
Lew Christensen
Lew Christensen, Director
LC/11
Reproduced at the Richard Nixon Presidential Library and Museum
tai
SAN FRANCISCO BALLET GUILD
645 STOCKTON STREET
SAN FRANCISCO 8, CALIFORNIA
EXBROOK 2-7206
291957
OFFICE MAR OF THE VICE PRESIDENT
March 27, 1957.
Honorable Richard M. Nixon
Vice President of the United States
Senate Office Building
Washington, D. C.
My dear Mr. Vice President:
The members of the Board of Directors, San
Francisco Ballet Guild, wish to express their deep
appreciation for your gracious assistance in the
matter of a continuance of the San Francisco Ballet's
Far Eastern tour, when it was threatened with can-
cellation in Ceylon.
Thanks in large part to your splendid coop-
eration, the State Department and ANTA arranged for
three additional weeks with performances in Bombay,
Karachi, and Teheran.
The Company is now home again, and the dancers
and staff wish to add their thanks to our own.
Very sincerely yours,
Mrs. BettinBayless- Bayless, President.
I
OFFICERS
Mrs. William Bayless, President
Mrs. John R. Upton, 1st Vice-President
Mr. James J. Ludwig, Secretary
Mr. Lawrence Livingston, 2nd Vice-President
Mrs. Jerd Sullivan, Treasurer
DIRECTORS
Mrs. James Bodrero
Mr. Joseph H. Dyer, Jr.
Mr. H. W. Roden
Mr. Lew Christensen
Mrs. Hugh David Phillips
Mrs. Gene Walker
Mrs. Alfred Crapsey
Mr. Walter Prendergast
Mr. Harold L. Zellerbach
Reproduced at the Richard Nixon Presidential Library and Museum
San Francisco Ballet
378-18th AVENUE AT GEARY
SAN FRANCISCO 21, CALIFORNIA
SKYLINE 1-2141
November 28, 1956
The Honorable
Richard M. Nixon
Vice President of the United States
Washington, D. C.
RECEIVED DEC 3 1956
Dear Mr. Nixon:
OFFICE BE THE VICE PRESIDENT
Thank you sincerely for your support and assistance in
helping to send the San Francisco Ballet on a tour of the Far East
next January. You can well imagine how proud we are to have been
selected to serve as good-will ambassadors for the United States
in the Asian countries.
I have enclosed our tour press book and itinerary to
keep you informed of our activities.
With all good wishes.
Sincerely yours,
SAN FRANCISCO BALLET
Lu-Chruteur
Lew Christensen
Director
LC/11
Encl.
Reproduced at the Richard Nixon Presidential Library and Museum
SAN FRANCISCO BALLET - FAR EASTERN TOUR
1957 - ITINERARY
7 January
Depart San Francisco
9 January
Arrive Tokyo
10 January
Rest - Tokyo
11 January
Depart for Taipei
12, 13 January
Performances - Taipei
14 January
Depart for Manila
15, 16, 17, 18 January
Performances - Manila
19 January
Depart for Hongkong
20 January
Rest - Hongkong
21, 22, 23, 24 January
Performances - Hongkong
25 January
Depart for Rangoon
26, 27, 28 January
Performances - Rangoon
29 January
Depart for Bangkok
30, 31 January, 1 February
Performances - Bangkok
2 February
Depart for Pnom Penh, Cambodia
3, 4 February
Performances - Pnom Penh
5 February
Depart for Saigon
6, 7, 8, February
Performances - Saigon
9 February
Depart for Singapore
10, 11, 12, 13 February
Performances - Singapore
14 February
Depart for Kuala Lumpur and performance
15 February
Performance - Kuala Lumpur
16 February
Depart for Penang and performance
17 February
Performance - Penang
18 February
Depart for Colombo, Ceylon
19, 20, 21, 22, 23, 24 February
Performances - Colombo, Ceylon
25 February
Depart for India
Itinerary for India not yet
26 February thru 23 March
Performances - India
established by Embassy in
New Delhi. Will be announced
as soon as received.
24 March
Depart for Karachi, West Pakistan
25 March
Performance - Karachi
26 March
Depart for Lahore
27 March
Performance - Lahore
28 March
Depart for Dacca, East Pakistan
29 March
Performance - Dacca
30 March
Depart for United States via Japan with possibility
of performance still to be arranged in Japan.
Reproduced at the Richard Nixon Presidential Library and Museum
NEWS
about the
SAN FRANCISCO BALLET
Reproduced at the Richard Nixon Presidential Library and Museum
"America's Most Dynamic Dance Spectacle!"
Reproduced at the Richard Nixon Presidential Library and Museum
SAN FRANCISCO BALLET
I
LEW CHRISTENSEN, Director
LEON KALIMOS, Manager
378-18th AVENUE
SAN FRANCISCO 21
Reproduced at the Richard Nixon Presidential Library and Museum
The New York Times
Newsweek
VARIETY
DANCE:
Ballet Out of the West
dance
When Ted Shawn stepped to the front
of the stage in the Ted Shawn Theater
near Lee, Mass., last week, he had the
air of a man on the verge of a momentous
event. In the last three summers, he told
NEW THE YORKER
the audience, the Jacob's Pillow Dance
Festival (which he founded and now di-
rects) had brought off the U.S. debuts of
the National Ballet of Canada, the Celtic
Ballet of Scotland, and Ten Leading
NEW YORK HERALD TRIBUNE,
Dancers of the Royal Danish Ballet; all
three achieved such hits in the Berk-
shires that they were offered major
American tours. Now, Shawn went on,
Jacob's Pillow had another "first" which,
he felt, compared with its predecessors
THE
Nation
San Francisco Chronicle
in geographical variety and artistic im-
pact. For the first time, an East Coast
audience was to witness a performance
by the San Francisco Ballet.
It had taken the 23-year-old company
all that time to venture across the Rocky
Mountains. When the curtains finally
parted on George Balanchine's "Concerto
Distant Cities Hail S.F.
Barocco," an intricately designed abstrac-
tion to the Bach Double Violin Concerto,
balletomanes in the house recognized
Musicians and Dancers
that Shawn had, once again, picked the
right group at the right time. The danc-
ers had the fresh beauty of youth, a
San-Drancism Examiner
disciplined unity of style, and a remark-
able technique which was apparent even
in the corps de ballet as well as in the
leading stars. The company which had
once been a source of regional pride had
now matured into a national asset.
'Indecently Young: Although the
San Francisco Ballet, through its contin-
'Filling Station'
NEW YORK CITY BALLET
ual association with the San Francisco
opera, is the oldest ballet ensemble in
TONIGHT 8:30: New-
the United States, the average age of its
est Hit CON AMORE;
members is, as Igor Stravinsky once put
also Scotch Symphony;
Comic Triumph
Metamorphoses; Fanfare.
it, "indecently young"-19 this season.
TOM'W EVE. 8:30: Swan
LAST
6
Lake: Filling Station:
PERFS.
Its leading ballerinas, Nancy Johnson
Prodigal Son; Metamor-
phoses.
(24) and Sally Bailey (23), are practi-
(Air-Cond.)-POPULAR PRICES $3.60 TOP
N.Y. CITY CENTER 131 W.55 St., Circle6-8989
cally matrons. Conrad Ludlow, the en-
semble's brilliantly promising first male
dancer, is all of 21. Three of the eighteen
dancers who appeared last week are only
Laugh Filling Station'
16. Most are San Francisco born and
have had their training at. the San
THE DANCE:
Francisco Ballet School.
This intimate relationship between the
SUMMARY
school and the performing company,
Christensen's Ballets Take
Gas by Peddles Gallon
commonplace abroad, is particularly close
in San Francisco, for the school is led
by one brother, Harold Christensen, and
the company by his brother Lew. Most
The Chief Honors
of the troupe's repertory is his, including
the delightful "Con Amore," and
BY JOHN MARTIN
'Con Amore' Is
the tragic "Jinx." A third dancing
Christensen, elder brother Willam, de-
F
ROM the standpoint of the
veloped the company as an entity nearly
repertory, the New York
City Ballet should circle the
genial brow of Lew Chris-
2d Fine Ballet
twenty years ago and today teaches at
the University of Utah at Salt Lake City.
tensen with a laurel, for his two
He is the only full professor of ballet
new works were both great fun
By Christensen
in the nation.
and unquestionable hits. and:
definite bright-
Newsweek
6
8/6/56
Reproduced at the Richard Nixon Presidential Library and Museum
SAN FRANCISCO BALLET
OVERSEAS TOUR -- 1957
****
CONTENTS
1. SAN FRANCISCO BALLET TO PERFORM HERE (Basic Story)
2. SAN FRANCISCO BALLET IS USED TO MAKING HISTORY (Short History)
3. LEW CHRISTENSEN -- A THUMBNAIL BIOGRAPHY
4. THE DANCERS
5. REPERTOIRE
6. WHAT THE CRITICS HAVE SAID ABOUT THE SAN FRANCISCO BALLET
****
Note: These stories contain the facts about the San Francisco Ballet and
are intended to serve as source material for the press and critics of
countries to be visited on the 1957 overseas tour. Although the stories are
written in what might be called "newspaper style, " they should by all means
be suitably edited, revised and re-phrased before presentation to the press,
to conform with the style and preference of each particular country to be
visited. All the details concerning performances, programs, times and
places, of course, remain to be added.
Additional stories of strong local interest will suggest themselves. For
instance, arrival and departure of the company, what the company is doing
around town between performances, interviews with various personalities
involved, etc. Stories of local dance groups and the like will also be
timely -- especially on those occasions when members of the San Francisco
company have the opportunity to see local dancers perform. Members of
the company will be as helpful as possible in supplying additional details
and material when they arrive.
Reproduced at the Richard Nixon Presidential Library and Museum
SAN FRANCISCO BALLET TO PERFORM HERE
The San Francisco Ballet, one of the most celebrated of America's
classical ballet companies, is coming to (city)
.
The famous troupe, it was announced today, will visit our city on the
first Far-East tour ever undertaken by an American ballet company.
The tour, which extends to 11 countries throughout the Far East, was
made possible by the International Exchange Program of the American
National Theatre and Academy -- a private, professional organization
which, in co-operation with the United States Government, enables
American performers to tour abroad, and assists performers from
other countries in making tours in the United States.
The troupe, sponsored locally by the (local sponsoring organization)
in co-operation with the American National Theatre and Academy, will
perform at the (theatre)
on
(dates)
.
A Remarkable Reputation
The reputation of the San Francisco Ballet which precedes its arrival
here is a remarkable one.
The company, founded in 1933, has the distinction of being the oldest
performing ballet organization in the United States.
Although it is a resident civic organization of a kind nowadays to be found
Reproduced at the Richard Nixon Presidential Library and Museum
San Francisco Ballet to perform here -- Page 2
in almost every large American city, it has been so highly acclaimed by
American critics that it has come to be regarded as an asset to the
entire nation.
Directed by the distinguished American choreographer Lew Christensen,
it has won fame for both its superb artistry in performance and its color-
ful, imaginative repertoire.
The Charm of Youth
The troupe is noted for its scrupulous adherence to the classical idiom.
Yet, like every good ballet company anywhere -- or any individual dancer
-- it has its own distinctive personality.
Its charm is the charm of youth.
As one critic expressed it: "The San Francisco Ballet is alive with youth,
color, comedy, drama and music. It also has an abundance of beauty
Its female dancers are slender and lissome, while its male dancers are
handsome young men with more than ordinary athletic ability. "
The average age of the dancers, just about 20, is perhaps the youngest
for any professional ballet troupe in the world. (According to a leading
American news magazine, the composer Igor Stravinsky once called the
company "indecently young. ")
In performance, these young people dance with an exuberance of which only
Reproduced at the Richard Nixon Presidential Library and Museum
San Francisco Ballet to perform here -- Page 3
youth is capable. Their trade-mark is joy, a pure style, and that effort-
less precision which comes only with long years of rigorous training.
Youth notwithstanding, their technical mastery has been praised in superla-
tive terms by critics on both sides of the North American continent.
The Finest Tradition
The company's repertoire is composed of works in the finest American
tradition.
Lew Christensen, who created most of the ballets, has an honored place
among America's foremost choreographers, a group which has received
international credit for bringing new vitality to their centruies-old art.
Christensen's ballets have captivated audiences with their imagination and
ingenuity, and their stories of love, laughter, tragedy, or sheer delightful
nonsense. Those of his works which do not tell a story shine with the
beauty of pure dance. Through an exchange arrangement with the New
York City Ballet, the company also includes in its repertoire examples of
the work of George Balanchine, who perhaps has been more of an influence
on American ballet than any other choreographer.
The music to the company's ballets we shall have no trouble in recog-
nizing, for they are scored to the works of major composers: Bach,
Mozart, Rossini, Tschaikowsky, and Stravinsky, to name a few.
Reproduced at the Richard Nixon Presidential Library and Museum
San Francisco Ballet to perform here -- Page 4
Truly Representative
The San Francisco Ballet, in many respects, is typical of ballet companies
to be found throughout America. As a civic institution, it performs mostly
for the enjoyment of its own community and rarely travels very far from
home -- it was not until last year that it travelled, for the first time,
to cities on the East Coast. The product of a culture-conscious community,
it owes its existence in large part to the private gifts of citizens who con-
tribute annually to its support.
The dancers, with few exceptions, are all from homes in San Francisco,
or other nearby communities. Most of them were trained in the San
Francisco Ballet School, a flourishing organization closely associated
with the company, and famous in its own right as one of the finest in
America.
When the company performs here, we shall be seeing ballet that is truly
representative of America's love for the art.
*******
(FILLER)
Leon Kalimos, manager of the San Francisco Ballet, will have a great
many things to pack and unpack and keep organized during the company's
visit here. The group of about 30 dancers and technical assistants is
bringing with it costumes, stage lights, stage sets, sound equipment, and
an electric generator, among other things -- in all, weighing about 15, 000
pounds.
****
Reproduced at the Richard Nixon Presidential Library and Museum
SAN FRANCISCO BALLET IS USED TO MAKING HISTORY
When the San Francisco Ballet performs at (theatre)
on
(dates)
it will be adding a new chapter to local theatre history.
The San Francisco Ballet is the first American company to perform any-
where in the Far East. It is also the first company from any western
nation to perform in this part of the world since the 1920's, when Pavlova
toured the Far East with a corps de ballet.
The troupe will bring to us, for the first time, the magic of classical
western dance as performed in the American national tradition, a
tradition characterized by the beauty of movement in the pure classical
idiom, and internationally applauded for its abundance of imagination,
inventiveness and wit. It will be ballet as Americans love it -- at times
beautiful in it simplicity; at other times filled with spectacle, drama,
comedy or plain merry-making as it tells a story in the universal language
of movement and mimicry.
To the company which is making history by crossing the Pacific to bring
us this experience in theatre, history-making is not a new occupation.
It is almost a habit.
America's Oldest Company
It all began in 1933. In that year the company made history simply by
being founded, for it is the oldest performing ballet organization in the
Reproduced at the Richard Nixon Presidential Library and Museum
San Francisco Ballet is used to making history -- Page 2
United States. Known then as the San Francisco Opera Ballet, it began
as an auxiliary to the San Francisco Opera, its main purpose being
to keep that organization supplied with dancers for opera performances.
At the same time, the San Francisco Ballet School was founded to assure
the new ballet company a permanent source of well-trained talent. The
three organizations are still closely associated. Although it is now a
completely independent company, the San Francisco Ballet still provides
dancers for opera performances.
Even in its first years, the San Francisco Ballet began to make a name
for itself apart from its association with the Opera. Under the leadership
of Adolph Bolm, its first choreographer, it staged many successful
independent productions and established ballet as part of the permanent
cultural scene of San Francisco.
In 1936, Serge Oukrainsky succeeded Bolm as choreographer and con-
tinued to enlarge the company's scope. The future development of the
company was presaged when Oukrainsky appointed William Christensen
as premier danseur. Christensen succeeded Oukrainsky two years later,
and a new era for the company began.
The Christensen Era
Christensen made the company a full-scale organization. To its repertoire
he added the evening-long ballet, presenting such works as Coppelia,
Swan Lake and The Nutcracker in their entirety. The Nutcracker was so
Reproduced at the Richard Nixon Presidential Library and Museum
San Francisco Ballet is used to making history -- Page 3
successful that its presentation at Christmas each year has become a San
Francisco tradition. The company ventured its first tours, taking its
art to many cities in America's western states. Its star performers
went on to larger companies to achieve national prominence.
As the performing company progressed to greater things, the ballet
school did likewise. With Harold Christensen, William's brother, in
charge, the association of the school with the performing company was
remarkably close, as it still is, to the ultimate benefit of both organi-
zations. Harold remains as head of the school. In his able hands, it
has grown to be the second largest of its kind in the nation, and has
achieved a reputation no less important than that of the performing company.
William Christensen remained as head of the company until 1951, when
he made a bit of history on his own by going to the University of Utah
to take charge of the first completely self-contained ballet school ever
established by a university. The name Christensen was to remain
associated with the San Francisco Ballet, however, for William's place
was taken by a second brother, Lew.
Lew Christensen had joined the company some years earlier after
accumulating a wealth of experience with various New York companies
as dancer, choreographer, and director. The present character of the
company results in no small part from his efforts. Carrying on in the
Reproduced at the Richard Nixon Presidential Library and Museum
San Francisco Ballet is used to making history -- Page 4
tradition of progress established by his elder brother, he added bril-
liantly to the company's repertoire with his original ballets and guided
the company to ever greater artistic achievement.
A happy result of Lew Christensen's leadership has been an exchange
agreement made in 1952 between the San Francisco Ballet and the New
York City Ballet, which Christensen, at the time, also served as a director
-- the job, incidentally, kept him busily flying back and forth across the
continent. The exchange agreement enabled each company to perform
works from the repertoire of the other as well as to exchange solo dancers.
The San Francisco Ballet's active repertoire was thus further enriched by
works of the New York City Ballet's renowned choreographer George
Balanchine. The New York City Ballet, in turn, presented Christensen's
work with San Francisco dancers in the solo parts to East-Coast audiences.
Audiences were enthusiastic about what they saw, and the resultant critical
acclaim added greatly to the national stature of the company.
Greatest Triumph
After quietly staying home for most of its life, and touring only in western
states, the San Francisco Ballet scored its greatest triumph in 1956 on
it first tour to the opposit side of the continent.
On this tour, the company performed for three weeks at the Jacob's Pillow
Dance Festival at Lee, Massachusetts, the dance festival which attracts
Reproduced at the Richard Nixon Presidential Library and Museum
San Francisco Ballet is used to making history -- Page 5
greater national attention than any other in the United States. There,
the company received the unanimous acclaim of America's most distin-
guished critics.
Ted Shawn, founder and director of the festival, had this to say:
11
this company has a pure style, an esprit de corps, a homogeneity
that does not exist in any other ballet company resident in the U.S. 11
The New York Times characterized the Company as having:
11
the freshness and charm of youth plus many of the virtues generally
associated with greater maturity. "
The New York Herald Tribune said:
"The dancers are all very young, personable, spirited. But more,
they have been beautifully schooled by their director, Lew Christensen,
for the youthful exuberance has been nicely fused with true balletic
elegance and, as a unit, they perform with greater exactitude than any
ballet organization of comparable size which I have seen. "
Newsweek, perhaps, summed it all up by saying:
"The company which had once been a source of regional pride had now
matured into a national asset. 11
Decision to Tour
It was at the Jacob's Pillow festival that the decision was made to send
the San Francisco Ballet on the tour which brings it here. The American
National Theatre and Academy ("ANTA" for short), the professional organi-
zation which, in co-operation with the United States Government sponsors
overseas tours of American performers, had the Far-East tour under
consideration for some time, but no definite plans had yet been made. The
Reproduced at the Richard Nixon Presidential Library and Museum
San Francisco Ballet is used to making history -- Page 6
president of ANTA was reportedly so impressed with the festival perform-
ances that the company's tour was assured.
To the San Francisco Ballet, the news that it would represent its country
abroad was received as the greatest honor in its history, and one which was
singularly fortunate.
Of all the cities in the United States, San Francisco holds the greatest
bond with Far Eastern countries. With its famous Golden Gate, it is known
in America as the "gateway to the East. 11 It is the city, above all others,
in which Americans of Far-Eastern descent choose to make their homes.
It is a city deeply influenced by the art and culture of Far-Eastern peoples.
As Lew Christensen expressed it for the entire troupe, "the tour, in a way,
is our opportunity to acknowledge a gift. 11
****
(FILLER, if appropriate)
Thanks to modern electronics, the San Francisco Ballet will be accompanied
by full symphony orchestra when they perform at the (theatre) on (dates)
.
The company is bringing along its own high-fidelity reproducing equipment,
and tapes especially recorded for the tour.
****
Reproduced at the Richard Nixon Presidential Library and Museum
LEW CHRISTENSEN -- A THUMBNAIL BIOGRAPHY
How do you write a ballet?
Lew Christensen, Director and Choreographer of the San Francisco
Ballet, has a simple answer to the question: "Let the music tell you. "
Christensen, whose ballets are scored to the music of great composers --
all the way from Mozart to Stravinsky -- has been doing that for a long
time, with eminent success. His ballets such as Jinx, inspired by
Benjamin Britten; Con Amore by Rossini, and The Dryad by Schubert,
to name a few of his most popular works, have won for him the reputation
of being one of America's foremost choreographers.
In his 45 years, Christensen has achieved national recognition in America
for his work in every phase of ballet, first as dancer, then as choreographer
and company director. Born in Utah of a musical family, he received
his early training from his uncle, and later studied with such masters as
Mascagno, Fokine, Vladimiroff and Balanchine. Following in the footsteps
of two older brothers, William and Harold -- both of whom also have achieved
national distinction for their work in Ballet -- he first appeared before the
public in vaudeville, before there was such a thing as an American ballet
company. (The San Francisco Ballet, founded in 1933, is the nation's
oldest.) He subsequently danced with various New York companies in-
cluding Ballet Caravan, a forerunner of the New York City Ballet, in which
he appeared as first dancer. As a dancer, he first achieved national
Reproduced at the Richard Nixon Presidential Library and Museum
Lew Christensen -- A thumbnail biography -- Page 2
prominence in 1936 with his performances in Jeux de Cartes and in the
title role of Apollo in a memorable all-Stravinsky series at the New York
Metropolitan Opera.
During his career, Christensen has written more than 60 ballets, some
of which are widely regarded as American classics. His re-creation
of The Nutcracker for the San Francisco Ballet, a work performed every
year to packed houses as a Christmas observance, makes him one of very
few American choreographers to have scored a full-length ballet.
Christensen's work constitutes most of the repertoire of the San Francisco
Ballet, and has contributed greatly to the company's unique reputation.
Some of his ballets are also part of the active repertoire of the New York
City Ballet, thanks to an exchange agreement between the two companies.
Christensen joined the San Francisco Ballet as choreographer in 1948.
In 1951, he also became director, succeeding his brother William, who
had been head of the company for 13 years. Until recently, he was also
a director of the New York City Ballet, a job which has been said to have
made him a favorite of airline ticket agents as he travelled back and
forth across the continent.
Christensen is married, as might be expected, to a ballerina. Mrs.
Christensen, whose professional name is Gisella Caccialanza, divides
her time between teaching in the San Francisco Ballet School and bringing
up a new addition to the ballet world in their young son, Chris, aged 3.
****
Reproduced at the Richard Nixon Presidential Library and Museum
THE DANCERS
Soloists:
Nancy Johnson
Sally Bailey
Christiane Bering
Fiona Fuerstner
Virginia Johnson
Bene Arnold
Constance Coler
Louise Lawler
Gloria Cancilla
Conrad Ludlow
Roy Fitzell
Gordon Paxman
Richard Carter
Two of the most remarkable characteristics of the San Francisco Ballet, as
critics have been quick to note, are its perfect homogeneity and unity of
style. These are not accidental.
The dancers, with one or two exceptions, have lived in or near San Francisco
for most of their lives, and have received almost all of their training in the
San Francisco Ballet School.
They have an additional bond in their youth: their average age is 20. Their
effortless technical mastery, which often has surprised critics who see
them for the first time, is explained by the fact that every member of the
company has had a minimum of ten years' rigorous training. Ballet
training starts at a very early age indeed. Most girls begin at six years
or less; boys at about eight.
In the tradition of classical ballet, the company does not operate on the
"star" system. The harmony of teamwork is especially developed in the
company, for almost every member performs as soloist on occasion, and
dancers frequently alternate in solo roles.
Following are brief notes on a few of the dancers who will appear most often
in principal roles:
Reproduced at the Richard Nixon Presidential Library and Museum
The Dancers -- Page 2
NANCY JOHNSON: Born in San Francisco, 1931. Professional training:
S. F. Ballet School. She appears regularly as ballet soloist with the San
Francisco Opera. She also has appeared as guest soloist with the New
York City Ballet. The New York Herald Tribune has said of her: "Watching
her leg rise high and free to the peak of a movement phrase, her arm reach
forth and rest gently upon the air, her feet move lightly across the ground
and her slender form ride easily upon the music or watching her control of
swift spins and, the reverse, of legato action, was a joyous experience for
all of us. "
SALLY BAILEY: Born in Oakland, California, 1932. Professional training:
S. F. Ballet School. She also has studied as a guest student with the American
Ballet School in New York; the Sadler's Wells school in London; the Royal
Danish Ballet school in Copenhagen; and Madame Preobrajinska in Paris.
She appears regularly as ballet soloist with the San Francisco Opera. She
also has appeared, with Nancy Johnson, as guest soloist with the New York
City Ballet. The New York Daily News, in review, singled her out with
Nancy Johnson as a "corking" young dancer, adding, "it would be a pleasure
to have them move their dancing shoes eastward and stay with us forever. 11
The New York Times, in typical praise, called her "lovely and lyric."
CONRAD LUDLOW, Premier Danseur: Born in Hamilton, Montana, 1935.
Professional training: S. F. Ballet School. He is also first male dancer
with the San Francisco Opera. He has been widely praised in such publi-
cations as The New York Times, the New York Herald Tribune, Dance
magazine and the San Francisco Chronicle for his prodigious technical
prowess and his gifts for dramatic interpretation and broad comedy.
ROY FITZELL: Born in San Diego, California, 1929. Professional training
under Theodore Kosloff, Simon Semenoff, Michel Panaieff, Eugene Loring,
and others. The newest member of the company, he comes to us with wide
experience as featured dancer in numerous professional dance companies.
He has appeared in several Los Angeles light opera productions, and in a
number of television shows and Hollywood films. He also has been guest
soloist with New York's Ballet Theatre. In 1956, he appeared in the Los
Angeles production of his own bället, The Red Mill. He may currently be
seen in the MGM production of Silk Stockings.
****
Reproduced at the Richard Nixon Presidential Library and Museum
REPERTOIRE
Local audiences will see ballet in sparkling variety when the San Francisco
Ballet Company performs at the (theatre) (tonight, tomorrow night, or
on dates).
There will be the traditional "white" ballet, yes, with all its elegance,
grace and beauty; and much else besides. The troupe has promised, in
addition, a generous offering of spectacle, drama and comedy, with color-
ful costumes and sets which reflect an artist's fancy.
Some of the ballets in the company's repertoire are storyless. Their
beauty is the beauty of pure dance. Other ballets express a story -- in
which anything can happen. Audiences may be transported to the enchanted
world of the thirteenth century; be chilled by weird goings-on among the
Amazons; be caught under the spell of an unlucky circus. Or, they may
watch a vegetable come to life.
Then, of course, there will be music -- by such composers as Bach,
Mozart, Tschaikowsky, Stravinsky, or Benjamin Britten, to name just
a few of the great composers to whose works the ballets are scored.
The ballets in the company's repertoire include works by Lew Christensen,
the company's director and choreographer, and by George Balanchine,
choreographer of the New York City Ballet. The works to be performed
here will be precise in every detail as they are performed in America,
with the same costumes, stage sets, and lighting effects.
Reproduced at the Richard Nixon Presidential Library and Museum
Repertoire -- Page 2
Among the ballets with story which the company will perform on tour are:
CON AMORE: A ballet in three scenes. Music: three Rossini overtures;
Choreography: Lew Christensen; Libretto: James Graham-Luján. The
ballet begins, of all places, in a camp of Amazons -- all of whom, of course,
are ladies of fierce description. A thief intrudes. Captured, he is able to
steal only something he doesn't want: the heart of the Amazon chief. When
he fails to return the love of the fascinated lady, she decides to have him
shot. Before the audience finds out what happens, the scene shifts to Paris,
and the boudoir of a lady who, like the Amazon chief, is predisposed to
love. She entertains a succession of guests, taking the precaution to hide
each one in a closet as each new one arrives. Alas, her husband returns
home and discovers all
Scene three, in the wonderful world of ballet,
brings Amazons (who return as sylphs) and French together, and after some
racy goings-on, Amore descends, and with his magic arrows, resolves all
to everyone's mutual satisfaction.
THE DRYAD: A ballet in two scenes. Music: Schubert's Fantasia in F Minor;
Choreography: Lew Christensen; Libretto: James Graham-Luján. The first
scene is set in the 13th Century, in an enchanted wood inhabited by dryads.
Some hunters appear, and unwittingly harm a tree in which a dryad lives. The
dryad comes out, and with the help of her fellow beings, avenges the wound.
In scene two, five hundred years have passed, but the tree still stands. The
story is repeated, and time seems to stand still as the ballet ends in a chilling
and unexpected climax.
JINX: Music: Benjamin Britten's Variations on a Theme by Frank Bridge;
Choreography and Libretto: Lew Christensen. ("Jinx" is an American
slang term meaning "a cause of bad luck. ") This ballet takes the audience
to a circus replete with bearded lady, tattooed lady, strong lady, and other
circus performers. Two accidents occur, and the superstitious performers
blame them both on an innocent juggler, whom they believe is a jinx. The
circus ringmaster holds to the belief that unhappy events always come in
threes, and in trying to prevent the third, proves himself right in a tragic
twist of irony.
*****
Note: Also included among the ballets is a new one, created especially
for the tour by Lew Christensen, and as yet untitled as these releases
were written.
Reproduced at the Richard Nixon Presidential Library and Museum
WHAT THE CRITICS HAVE SAID ABOUT THE SAN FRANCISCO BALLET
"The dancers had the fresh beauty of youth, a disciplined unity of style,
and a remarkable technique which was apparent even in the corps de ballet
as well as in the leading stars. The company which had been a source of
regional pride had now matured into a national asset. "
- -Newsweek
"An intelligent man can go to a San Francisco Ballet performance and
come away rewarded. As much cannot be said for many of its more cele-
brated rivals. "
- -Alfred Frankenstein, in Dance
"(The company) showed itself capable of meeting the rigid demands of both
the classical and romantic styles The whole group danced with such
wit and exuberance that it was completely captivating. 11
--Selma Jeanne Cohen, The New York Times
"The dancers are all very young, personable, spirited. But more, they
have been beautifully schooled by their director, Lew Christensen, for
their youthful exuberance has been nicely fused with true balletic elegance
and, as a unit, they perform with greater exactitude than any ballet organi-
zation of comparable size which I have seen
11
11
the audience demonstrated its approval with extended and fervent rounds
of applause at the close of each offering. "
-Walter Terry, New York Herald Tribune
"One does not have to be a balletomane to understand and enjoy the spectacu-
lar entertainment put together by director Lew Christensen. 11
--Joe Hayes, Elmira Star Gazette
"The San Francisco Ballet gave its opening performance of a three week
season at Jacob's Pillow Dance Festival last night before a capacity crowd
The west coast dancers and the choreography of their director, Lew
Christensen, delighted the crowd."
--San Francisco Examiner
Reproduced at the Richard Nixon Presidential Library and Museum
EARL BERNARD MURRAY
When the San Francisco Ballet performs at (theatre)
on
(dates)
,
the young man conducting the (orchestra) will be Earl Bernard Murray,
Associate Conductor of the San Francisco Symphony Orchestra and
Musical Director of the San Francisco Ballet.
Despite his youth -- he was born in 1926 -- Murray's musical career
is already a long one. He began it, in fact, at the age of six. Ten years
later, he was the youngest musician ever to join the San Francisco Symphony
Orchestra. In 1951, he came into national prominence in America when he
won the highest honor of Pierre Monteux' conducting class at Hancock,
Maine -- the "Disciple of Monteux" award. He has subsequently served
as guest conductor with many different orchestras.
In addition to serving as regular conductor for the San Francisco Ballet,
he also has appeared as guest conductor with the New York City Ballet.
As if his two jobs with the Symphony and Ballet were not enough to keep
him busy, he also plays the trumpet in the San Francisco Symphony
Orchestra's regular season performances, conducted by Enrique Jordá.
During the Symphony season, he also conducts a series of Youth Concerts
for school-age children in San Francisco and nearby cities. The concerts,
extremely popular with the children, have won national acclaim for their
educational value.
****
Reproduced at the Richard Nixon Presidential Library and Museum
APPENDIX
Richard M. Nixon Depository
Document Control Sheet PhoTos
Document removed, see entry number
1
on Document Withdrawal Sheet
Reproduced at the Richard Nixon Presidential Library and Museum
Reproduced at the Richard Nixon Presidential Library and Museum
COPY
maf:s
August 23, 1956
8/23/56
x
Mr. Harold F. Christensen, Director
San Francisco Ballet
378 18th Avenue at Geary
San Francisco 21, California
Dear Mr. Christensen:
San Francisco Ballet Co.
Christensen, Harold F.
In the absence of the Vice President from
Washington, I am taking the liberty of acknowledging
your letter of August 13, enclosing a review of the
San Francisco Ballet Company which appeared in
the New York Herald Tribune recently.
You may be sure I will bring your letter
and enclosure to his attention upon his return to the
office, and I know he will appreciate your thoughtful-
ness in writing to him as you did.
We have recently learned that the State
Department, under the President's Special Inter-
national Program, is planning to send the Company
on a tour of the Far East next January, and I know
you are justly proud that the members of your group
have been selected to serve as good will ambassadors
for the United States in the Asian countries.
With all good wishes,
Sincerely yours,
Rose Mary Woods
Executive Secretary
to the Vice President
RMW:
Reproduced at the Richard Nixon Presidential Library and Museum
San Francisco Ballet
378-18th AVENUE AT GEARY
SAN FRANCISCO 21, CALIFORNIA
SKYLINE 1-2141
August 13, 1956
Hon. Richard M. Nixon,
Vice President of the United States,
Washington, D. C.
Dear Sir:
We are enclosing a review of "The San
Francisco Ballet Company," by the New York Herald
Tribune. The entire press have received "The San
Francisco Ballet" with similar enthusiasm.
Sincerely,
Harold F. Christensen
Director
HC/wl
RECEIVED AUG1' 1' 1956
OFFICE OF THE VICE PRESIDENT
Reproduced at the Richard Nixon Presidential Library and Museum
COPY
8/23/56
maf:s S
August 23, 1956
x
Mr. James P. Wilson, Manager
World Trade Department
San Francisco Chamber of Commerce
333 Pine Street
San Francisco 4, California
Dear Mr. Wilson:
Washington, I am taking the liberty of acknowledging
San Francisco Ballet.Co.
WILSON, James P.
In the absence of the Vice President from
your letter of August 13, concerning the proposed
tour of the San Francisco Ballet to Asia.
You may be sure I will bring your letter
to his attention, and I know he will appreciate your
thoughtfulness in writing to him as you did.
We have just recently learned that the
State Department, under the President's Special
International Program, is planning to send the
Company to Asia in January 1957, and I know you
must be pleased that this San Francisco group has
been selected to make a good will tour to the Far
Eastern countries.
With every good wish,
Sincerely yours,
Rose Mary Woods
Executive Secretary
to the Vice President
RMW:maf
Reproduced at the Richard Nixon Presidential Library and Museum
SAN FRANCISCO
SAN PACIFIC SAN FRANCISCO CHAMBERO COMMERCE
CHAMBER OF COMMERCE
INCORPORATED JULY 17.1911.
333 PINE STREET SAN FRANCISCO 4 EXBROOK 2-4511
August 13, 1956
Office of the Vice President
Miss
Senate Office Building
Washington 25, D. C.
Dear Mr. Vice President:
This letter is being sent forward in behalf of the out-
standing San Francisco Ballet, which, as you know, is now on
tour in the Eastern United States.
As a "Gateway to the Pacific" San Francisco is, like
other Pacific Coast port cities, particularly interested, as you
are well aware, in Asia and in all activities and organizations
which will help to strengthen our economic and cultural ties
with Asian countries. The excellent services, in building
goodwill and understanding of the United States, which you and
your charming wife have rendered in your official visits through-
out Asia, and in other regions, are deeply appreciated by
San Francisco business and cultural organizations.
We know that you, Senator Knowland, Representative
Mailliard and the Department of State have been furnished with
detailed information about the proposed tour of the San Francisco
Ballet to Asia later this year. We wish to add our support to
that of the many other persons and organizations on the West
Coast who strongly favor such a tour.
Sincerely yours,
Janua P. Wilson P.Wilson
New
Manager
JPW:WRM
World Trade Department
Mr. Batson
C
STATE code 191,
N
Eft 5664
Lot Jan 1957 be
Reproduced at the Richard Nixon Presidential Library and Museum
FYI
San Francisco Ballet
file
378-18th AVENUE AT GEARY
SAN FRANCISCO 21, CALIFORNIA
SKYLINE 1-2141
p.5.?
May 2, 1956
The Honorable
Richard M. Nixon
Vice President of the United States
Washington, D. C.
Dear Mr. Nixon:
Your kind and quick response to our request for an
expression of your interest in a coming tour of the Far East
under ANTA auspices has been an important boost to the morale
of the whole San Francisco Ballet.
We wish to tell you that we much appreciate your
interest and that it is our hope that we may someday be able
to return your favor. We believe that your efforts on our
behalf have been valuable.
In the name of the Directors and personnel of the
company, we wish to send you this expression of our gratitude.
Yours sincerely,
THE SAN FRANCISCO BALLET
Lew Christensen, Director
LC/11
RECEIVED
MAY 8 1956
OFFICE OF THE VICE PRESIDENT
Reproduced at the Richard Nixon Presidential Library and Museum
OFFICE OF THE VICE File
WASHINGTON
3-12-56
Jun
re: San Francisco ballet -- talked with Miss
de Giacoma at State in Mr. Henderson's office.
Their project was first submitted through the
Department at the end of 1955 and they wanted
to go to the Far East. Their application was
rejected at that time because there had just
recently been a very large dance company touring
in that area and it was decided that the San
Francisco ballet would be better received at a
latertime.
The important thing seems to be clearance by
the Board of the American National Theatre and
Academy which the San Francisco ballet already
has.
State is in conversation with ANTA (above) and
the San Francisco ballet at this time, and there
is every indication that they will be making a
tour to the Far East this coming Fall or winter.
Senator Knowland has expressed an interest
in this at State also.
lgg
Reproduced at the Richard Nixon Presidential Library and Museum
Bob:
Will you follow through on this
request?
pj
3iBH3e asiniè detinið
Reproduced at the Richard Nixon Presidential Library and Museum
COPY
Christensen, Mr. Lew
March 1, 1956
Mr. Lew Christensen, Director
The San Francisco Ballet
378 18th Avenue at Geary
San Francisco 21, California
fir
Dear Mr. Christensen:
This is just a note to thank you for your
recent letter telling me about the plans the San Francisco
Ballet has to represent our government culturally in the
Far East.
The San Francisco Ballet has an enviable
San Francisco Ballet
reputation throughout our country, and I was delighted to
hear that there is the possibility that the company will be
able to go abroad on tour.
I shall be very glad to discuss your
pje:s
proposal with the appropriate officials at the Department
of State and join you in hoping such a tour may become a
reality.
With every good wish to you and the mem-
bers of the company,
Sincerely,
1
19 /- to 15378 Hundred
Richard Nixon
Reproduced at the Richard Nixon Presidential Library and Museum
2/28/56
San Francisco Ballet
378- 18th AVENUE AT GEARY
SAN FRANCISCO 21, CALIFORNIA
SKYLINE 1-2141
February 17, 1956
Honorable Richard M. Nixon
Vice President of the United States
RECEIVED
Washington, D. C.
FEB 25
Dear Sir:
OFFICE OF THE VICE PRESIDENT
We feel that it is important for you to know that the
San Francisco Ballet has been passed by the Board of the
American National Theatre and Academy as an artistic
ambassador to represent our Government on a mission of
cultural propaganda to the Far East.
The San Francisco Ballet is almost the only organiza-
tion, originating not in New York City but in the western
section of our country, to be so chosen by the A.N.T.A. panel.
San Francisco is, of course, a logical representative
to the Orient, since the city's fame as a port and as a
cultural center is far-flung.
The proposed tour will soon be up before our State
Department for approval.
We feel that you could help strengthen our prospect
of having the tour approved by the State Department by
making your own inquiries as to the status of the plan
for us. We do not by this imply the necessity for the
exertion of any political pressure, but feel that the
expression of your own interest would help us.
If you agree that this is important please help us
by so stating this to our State Department.
Yours gratefully and
Sincerely,
discups 0 LC/11 begre Ed A
The San Francisco Ballet
Lew Christmasen
Lew Christensen, Director
Reproduced at the Richard Nixon Presidential Library and Museum
America's most dynamic dance spectacle! THE
SAN FRANCISCO
BALLET
Reproduced at the Richard Nixon Presidential Library and Museum
Ballet in America
Robert Graham
A Traditional Art Refreshes its Spirit
The San Francisco Ballet is a resident company. Since 1933
it has performed in the grand baroque War Memorial Opera
House of the famed port city.
an atmosphere of elegance and expertness
The quality of its dancers is the new aspect of an art form.
of invention, imagination and integrity
In spirit, these young people are exuberant. In appearance, they
are characterized by long-limbed, athletic bodies. In artistry,
The phrase above is not a publicisťs boast, but
they have the noble intention of serving their art rather than
an actual attainment of the San Francisco Ballet.
insisting on their own personalities. The result: vital perform-
It was used by the great critic, Alfred Frankenstein,
ances of a joyous perfection.
in describing a series of performances at the
War Memorial Opera House.
In booking the San Francisco Ballet, that is what
you are obtaining: 'elegance, expertness of inven-
VARIETY
THE NEW YORKER
masterpiece is Lew Christensen's
"Filling Station" scored a big
"The audience received the ballet
"Jinx."
tion, imagination and integrity.'
hit when presented by the New
(Filling Station) with evident de-
"All four dancers (Louise Lawler,
York City Ballet.
light."
Fiona Fuerstner, Gordon Paxman,
NEWSWEEK Alfred Frankenstein)
Conrad Ludlow) left nothing to be
desired so far as the enactment of
"In its pattern, in its fable, and
THE DAILY NEWS
in its swift Rossinian energy, this
the cruelly exacting rhythms is
(Robert Sylvester)
concerned.
From the War Memorial Opera House of San Francisco, famed center of
Con Amore) is one of Mr. Chris-
tensen's most ingenious and note-
"Con Amore has color, humor,
"It is difficult to imagine a finer
culture, comes America's most dynamic dance organization, the
worthy compositions.'
movement, beauty and about every-
enactment than the one provided
thing else called for, including two
San Francisco Ballet.
by Gordon Paxman."
THE NEW YORK TIMES
corking young dancers from the
"Conrad Ludlow an aristo-
(John Martin)
San Francisco Ballet named Sally
cratic, intellectual power symbol-
Corps de ballet and stars perform George Balanchine's challenging,
'From the standpoint of the
Bailey and Nancy Johnson.'
ized in physical presence and move-
repertory, the New York City Ballet
ment."
intricate works-"Concerto Barocco" and "Apollo." But these dancers include
should circle the genial brow of
THE NEW YORK HERALD
in their range the rousing comic hit, "Con Amore," set to three tuneful
Lew Christensen with a laurel, for
his two new works were both great
TRIBUNE Walter Terry)
Rossini overtures, and the dramatic 'minor masterpiece,' "Jinx."
fun and unquestionable hits
"Sally Bailey has fine bravura
THE SAN FRANCISCO EXAMINER
"Of all the comic ballets of re-
style. Nancy Johnson is a skillful
(Alexander Fried)
cent years, none has had so witty
comedienne.
"Earl Murray conducted with his
*
Because the great choreographers, George Balanchine and Lew Christensen,
and ingenious a libretto as that
customary excellent command and
supplied by James Graham-Lujan.'
spirit."
have created one of America's most beautiful repertories for this company,
Sally Bailey is lovely and
THE SAN FRANCISCO
you and your audience "can go to a San Francisco Ballet performance
lyric and Nancy Johnson is an imp-
CHRONICLE (Alfred Frankenstein)
"Miss Bering's dancing was
worthy of any company you can
ish comedienne with pep and
The major masterpiece is Bal-
name. It was exquisite, sure and
and come away rewarded."
spirit.
anchine's Apollo." The minor
expressive.'
ichard Nixon Presidential Library and Museum
SAN FRANCISCO BALLET
Current Repertoire
In its sparkling variety you will find:
Comedy
Drama
Classic Ballets
Romantic Ballets
"CON AMORE"
"APOLLO"
"JINX"
"A MASQUE OF BEAUTY AND
Rossini
Britten
Strawinsky
THE SHEPHERD"
Gluck
"RENARD"
"THE TAROT"
"THE DRYAD"
Strawinsky
Tschaikowsky
Schubert
"HEURIGER"
"FILLING STATION"
"CONCERTO BAROCCO"
Mozart
Virgil Thomson
Bach
Divertissements: Grand Pas de Deux from "NUTCRACKER"
"DON QUIXOTE" Pas de Deux
Tschaikowsky
Minkus
PAS DE TROIS
Tschaikowsky
Music by these composers: Bach, Benjamin Britten, Gluck, Mozart, Rossini,
Strawinsky, Virgil Thomson, Tschaikowsky.
Sets by these designers: Eugene Berman, Paul Cadmus, David Ffolkes, Esteban
Frances, Russell Hartley, Jacques Requet, Ralph
Pasquinucci, Dorothea Tanning, Leonard Weisgard.
AVAILABLE AT CHRISTMASTIME: America's first full-length version of
Tschaikowsky's Grand Christmas Ballet, "THE NUTCRACKER"
William Marshall
SAN FRANCISCO BALLET
Nancy Johnson
Sally Bailey
Christiane Bering
Fiona Fuerstner
Virginia Johnson
Bene Arnold
Constance Coler
Louise Lawler
Gloria Cancilla
Gordon Paxman
Conrad Ludlow
Richard Carter
Robert Graham
Reprodu
the
Richard
Library and
Museum
THE
LEW CHRISTENSEN, Director
Mr. Christensen is one of a group
of choreographers that includes
George Balanchine and Jerome Robbins.
These men have so revitalized the art of
choreography that they have given America
the lead that once resided in Europe.
In his distinguished career, Mr. Christensen has
encompassed the whole field of ballet-from star
performer to teacher to choreographer and director
of two fine American companies, the San Francisco
Ballet and New York City Ballet.
The magazine, "Impulse," has characterized his
work as having the qualities of musicality, wit and
theatricalism, summarizing it in the phrase -"A
šingularly sunny, noble work, free of personal man-
nerism and exulting in theatre."
SAN FRANCISCO
JAMES GRAHAM-LUJAN, Artistic Director
Mr. Graham-Luján has combined a life of theatrical work in the theatre. His
books of translations, "Three Tragedies" and "From Lorca's Theatre" have
made the great Spanish dramatist known throughout the English speaking
world. Lecturing and writing in ballet complete the scope of his activities.
BALLET
EARL MURRAY, Musical Director
As the youngest man ever to conduct the noted San Francisco Symphony, and
as part of its permanent conducting staff, Mr. Murray has brought an amaz-
ing background of experience to his work with the San Francisco Ballet. In
the important post of Musical Director, his collaborations with Mr. Christensen
have brought lustre and distinction to the company.
FOR BOOKING INFORMATION WRITE TO:
LEON KALIMOS, 378 18th AVENUE, SAN FRANCISCO
Cable address: "BALLETSF"
Reproduced at the Richard Nixon Presidential Library and Museum