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Lucy Jarvis
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Withdrawal/Redaction Sheet
Clinton Library
DOCUMENT NO.
SUBJECT/TITLE
DATE
RESTRICTION
AND TYPE
001. letter
Lucy Jarvis to Bobbie Greene [partial] (1 page)
01/16/1998
P6/b(6)
002a. letter
Sue Vogelsinger to Bobbie re: address and phone number [partial] (1
12/09/1997
P6/b(6)
page)
002b. letter
Lucy Jarvis to Sue Vogelsinger re: fax number [partial] (2 pages)
12/08/1997
P6/b(6)
003a. letter
Lucy Jarvis to Bobbie Greene [partial] (1 page)
01/16/1998
P6/b(6)
003b. letter
Lucy Jarvis to Bobbie Greene [partial] (1 page)
01/16/1998
P6/b(6)
003c. note
Bobbie to Lucy [partial] (1 page)
01/26/1998
P6/b(6)
003d. letter
Lucy Jarvis to Bobbie Greene [partial] (1 page)
01/16/1998
P6/b(6)
003e. note
Bobbie to Lucy [partial] (1 page)
01/26/1998
P6/b(6)
COLLECTION:
Clinton Presidential Records
First Lady's Office
Bobbie Greene
OA/Box Number: 15627
FOLDER TITLE:
Lucy Jarvis
2012-0872-S
rc951
RESTRICTION CODES
Presidential Records Act - |44 U.S.C. 2204(a)]
Freedom of Information Act - 15 U.S.C. 552(b)]
P1 National Security Classified Information [(a)(1) of the PRA]
b(1) National security classified information [(b)(1) of the FOIA|
P2 Relating to the appointment to Federal office |(a)(2) of the PRA]
b(2) Release would disclose internal personnel rules and practices of
P3 Release would violate a Federal statute [(a)(3) of the PRA]
an agency |(b)(2) of the FOIA]
P4 Release would disclose trade secrets or confidential commercial or
b(3) Release would violate a Federal statute [(b)(3) of the FOIA]
financial information [(a)(4) of the PRA]
b(4) Release would disclose trade secrets or confidential or financial
P5 Release would disclose confidential advice between the President
information |(b)(4) of the FOIA]
and his advisors, or between such advisors [a)(5) of the PRA]
b(6) Release would constitute a clearly unwarranted invasion of
P6 Release would constitute a clearly unwarranted invasion of
personal privacy [(b)(6) of the FOIA]
personal privacy |(a)(6) of the PRA]
b(7) Release would disclose information compiled for law enforcement
purposes [(b)(7) of the FOIA]
C. Closed in accordance with restrictions contained in donor's deed
b(8) Release would disclose information concerning the regulation of
of gift.
financial institutions [(b)(8) of the FOIA]
PRM. Personal record misfile defined in accordance with 44 U.S.C.
b(9) Release would disclose geological or geophysical information
2201(3).
concerning wells [(b)(9) of the FOIA]
RR. Document will be reviewed upon request.
Noa- -
Pls prepare
+ Jarvis" file" Lucy
Thay
-
Lucy Harvis /14/98
Women's Form - founded 1976, Exee. Women
at the top - - help younger wine
in their way(network) - int'l
Cuban Serverl and
Athcia Alomzo Ballerina = intermediary
Ballet Hispanica - hipanic in origin/but
level
primarily Americans.
2 Jannes - \ defector (2yrs. ago)
came out w family legally (12 yora
They will lead the town -
Aage + off - out of Nat'l mg Theater
Talked to Cultural Attache - - who
Sand he'd
thegood 56 the office Form
of 48 has planning wom she had a license In
the first trip Now his Signed
does. that taller then to proceed
WNET (ch. 13/NY) will spmson--
will open this has Sreat Perf
Shies in Sept :
- will bring 80 in April
For actual filmin
- dn March, she'll so for 7
tech. Survey
x expects to get license, etc wat.
ufficulty Af there are difficultie
"I'm 80mg my to call on you Smp."
Alicia Alonso will open 1 NY in
Jan in first such perf - - into
LA- - beg. of cultural exchapes Ks
Cubans had licated can interest
in. Her first such appearance in
10 yrs.
Wants this to Re have positive
influence beyond cultural epch,
K
said that,
Wints
Sin Dodd is helping AZinden Hetins
HRCto Run
eyee. Burtn order can hum license anitarian
and Pharmacutical industry could help.
Has Rooswelt: Snt HRC 4.books on $pleanor
Iris Cantait $ 400,000 to finigh
Spenise Rich
BOBBIE GREENE
1/21/98
Dear left
AHachey i
the letter l
received today
4arvis like
fine Lucy
Shot rito to
for For
the Ballet Hispanico
T-Shirts, but
Hawise will
leave.
your jook Rand
Please lit 1
know of there's
(soen
anyth. Lean
11 Should to to
Be. of a sist --cl.
Airbest
Robb
Withdrawal/Redaction Marker
Clinton Library
DOCUMENT NO.
SUBJECT/TITLE
DATE
RESTRICTION
AND TYPE
001. letter
Lucy Jarvis to Bobbie Greene [partial] (1 page)
01/16/1998
P6/b(6)
COLLECTION:
Clinton Presidential Records
First Lady's Office
Bobbie Greene
OA/Box Number: 15627
FOLDER TITLE:
Lucy Jarvis
2012-0872-S
rc951
RESTRICTION CODES
Presidential Records Act - |44 U.S.C. 2204(a)]
Freedom of Information Act - [5 U.S.C. 552(b)]
P1 National Security Classified Information [(a)(1) of the PRA]
b(1) National security classified information [(b)(1) of the FOIA]
P2 Relating to the appointment to Federal office [(a)(2) of the PRA|
b(2) Release would disclose internal personnel rules and practices of
P3 Release would violate a Federal statute |(a)(3) of the PRA|
an agency [(b)(2) of the FOIA]
P4 Release would disclose trade secrets or confidential commercial or
b(3) Release would violate a Federal statute [(b)(3) of the FOIA]
financial information [(a)(4) of the PRA
b(4) Release would disclose trade secrets or confidential or financial
P5 Release would disclose confidential advice between the President
information |(b)(4) of the FOIA]
and his advisors, or between such advisors [a)(5) of the PRA|
b(6) Release would constitute a clearly unwarranted invasion of
P6 Release would constitute a clearly unwarranted invasion of
personal privacy |(b)(6) of the FOIA]
personal privacy |(a)(6) of the PRA]
b(7) Release would disclose information compiled for law enforcement
purposes |(b)(7) of the FOIA]
C. Closed in accordance with restrictions contained in donor's deed
b(8) Release would disclose information concerning the regulation of
of gift.
financial institutions [(b)(8) of the FOIA]
PRM. Personal record misfile defined in accordance with 44 U.S.C.
b(9) Release would disclose geological or geophysical information
2201(3).
concerning wells |(b)(9) of the FOIA]
RR. Document will be reviewed upon request.
JARVIS THEATRE & FILM PROJECTS LTD.
171 West 57th Street NYC 10019 Tel: (212) 541-7776 FAX: (212) 397-0864
January 16, 1998
Ms. Bobbie Greene
Deputy Assistant to the President and
Deputy Chief of Staff to the First Lady
The White House
Executive Office Building
Room 100
Washington, DC 20500
Dear Bobbie,
It was a joy and a delight for Scott McArthur and me to come and visit you to share our hopes
and plans with you. For me, it was very nostalgic, like the old Kennedy days. We are forging
ahead and we are looking forward to the same success with this ballet television project as we had
with our other Jarvis "classics."
I am happy to alert you that Ballet Hispanico will be performing in Washington at The Lisner
Auditorium presented by the Washington Performing Arts Society on Friday, February 13 and
Saturday February 14. Both performances begin at 8 PM. Please let us know, as soon as
possible, which performance you would like to attend so that we can arrange for your tickets.
We would like to invite the First Lady, please advise us whether and how we can do this.
We are both looking forward to seeing you again in the near future.
Warmest personal best wishes.
Sincerely,
Lucy Lucy Jarvis Jasvis
P.S. Should anyone in the White House need any information, please don't hesitate to ask.
P.P.S.
P6/(b)(6)
[001]
BOBBIE GREENE
1/11/98
4eff -
Attached are
he letters from
+ about Lucy
Jarvis + Fee
upcoming focumentancy
on Cuba I'm
Sorry that &
Confused you
this maning By
Saying that
it's a Book
project - 1 It
had been awhile
Since let had
looked at the
material
what to expect
I'm not certain
from my meety
with then -
wednesday, But
if your Schedule
allows, & welcome
you facticipation.
Please let
he knw whether
you need more
information - and
whether I can
expect you to
join me at 11:30.
Thanks.
Robbie
Withdrawal/Redaction Marker
Clinton Library
DOCUMENT NO.
SUBJECT/TITLE
DATE
RESTRICTION
AND TYPE
002a. letter
Sue Vogelsinger to Bobbie re: address and phone number [partial] (1
12/09/1997
P6/b(6)
page)
COLLECTION:
Clinton Presidential Records
First Lady's Office
Bobbie Greene
OA/Box Number: 15627
FOLDER TITLE:
Lucy Jarvis
2012-0872-S
rc951
RESTRICTION CODES
Presidential Records Act - |44 U.S.C. 2204(a)]
Freedom of Information Act - 15 U.S.C. 552(b)]
P1 National Security Classified Information |(a)(1) of the PRA|
b(1) National security classified information |(b)(1) of the FOIA]
P2 Relating to the appointment to Federal office |(a)(2) of the PRA
b(2) Release would disclose internal personnel rules and practices of
P3 Release would violate a Federal statute [(a)(3) of the PRA]
an agency [(b)(2) of the FOIA]
P4 Release would disclose trade secrets or confidential commercial or
b(3) Release would violate a Federal statute |(b)(3) of the FOIA]
financial information [(a)(4) of the PRA]
b(4) Release would disclose trade secrets or confidential or financial
P5 Release would disclose confidential advice between the President
information |(b)(4) of the FOIA]
and his advisors, or between such advisors [a)(5) of the PRA|
b(6) Release would constitute a clearly unwarranted invasion of
P6 Release would constitute a clearly unwarranted invasion of
personal privacy [(b)(6) of the FOIA]
personal privacy |(a)(6) of the PRA|
b(7) Release would disclose information compiled for law enforcement
purposes [(b)(7) of the FOIA]
C. Closed in accordance with restrictions contained in donor's deed
b(8) Release would disclose information concerning the regulation of
of gift.
financial institutions [(b)(8) of the FOIA]
PRM. Personal record misfile defined in accordance with 44 U.S.C.
b(9) Release would disclose geological or geophysical information
2201(3).
concerning wells [(b)(9) of the FOIA]
RR. Document will be reviewed upon request.
01/12/1998 10:35
P6/(b)(6)
PAGE 01
SUR VOGRI SINGER
[002a]
P6/(b)(6)
Date 1/11
# of
Post-it Fax Note
7671
pages
3
December 9, 1997
To noa
From
Co./Dept.
Co.
Phone #
Phone w
Bobbie -
Fax ,
Fax #
First of all, excuse the typewriter = my computer is on the
fritz.
Lucy Jarvis is a long time friend who I first met when I was working
in the White House Press Office during the Kennedy Administration. The
attached letter describes her plans to produce a documentary in
Cuba which will feature the American dance company, Ballet
Hispanico. As you will see, she has received all the necessary
approvals from Cuba as well as cooperation from the U.S.
Treasury Department.
When I first met Lucy she was the producer for NBC's award-winning
White Paper series. She went from there to become Barbara Walter's
executive producer for ABC and now has her own company. Pierre
Salinger in his first book on Kennedy documented some of her activities
to bring the U.S. and Russia to better understanding. She
introduced Pierre to Krushchev's son-in-law and featured both in
a debate for an NBC special. President Kennedy wrote to NBC's president
inviting Lucy to join his tour to Paris, Vienna and London. During
that trip she was introduced to Krushchev and his staff and
received permission to produce a film on the Kremlin - a first
which has not been repeated by anyone since. Lucy was in the
Kremlin during the Cuban Missile Crisis working on that NBC special.
President Kennedy later said, "I promised Khrushchev that if he got
the missiles out of Cuba, he would get Lucy out of the Kremlin."
Lucy would like 20 minutes with Melanne to describe the project.
She is not asking for any particular help, but would like to encourage
the same positive attitude from this White House on her Cuba project
that she received from the Kennedy White House during the Kremlin
project.
She can come to Washington at any time.
Thanks.
Sue
Enclosure
Withdrawal/Redaction Marker
Clinton Library
DOCUMENT NO.
SUBJECT/TITLE
DATE
RESTRICTION
AND TYPE
002b. letter
Lucy Jarvis to Sue Vogelsinger re: fax number [partial] (2 pages)
12/08/1997
P6/b(6)
COLLECTION:
Clinton Presidential Records
First Lady's Office
Bobbie Greene
OA/Box Number: 15627
FOLDER TITLE:
Lucy Jarvis
2012-0872-S
rc951
RESTRICTION CODES
Presidential Records Act - |44 U.S.C. 2204(a)]
Freedom of Information Act - [5 U.S.C. 552(b)]
P1 National Security Classified Information [(a)(1) of the PRAJ
b(1) National security classified information [(b)(1) of the FOIA]
P2 Relating to the appointment to Federal office [(a)(2) of the PRA]
b(2) Release would disclose internal personnel rules and practices of
P3 Release would violate a Federal statute [(a)(3) of the PRA]
an agency |(b)(2) of the FOIA]
P4 Release would disclose trade secrets or confidential commercial or
b(3) Release would violate a Federal statute |(b)(3) of the FOIA]
financial information [(a)(4) of the PRA]
b(4) Release would disclose trade secrets or confidential or financial
P5 Release would disclose confidential advice between the President
information [(b)(4) of the FOIA]
and his advisors, or between such advisors [a)(5) of the PRA]
b(6) Release would constitute a clearly unwarranted invasion of
P6 Release would constitute a clearly unwarranted invasion of
personal privacy [(b)(6) of the FOIA]
personal privacy |(a)(6) of the PRA]
b(7) Release would disclose information compiled for law enforcement
purposes [(b)(7) of the FOIA]
C. Closed in accordance with restrictions contained in donor's deed
b(8) Release would disclose information concerning the regulation of
of gift.
financial institutions [(b)(8) of the FOIA]
PRM. Personal record misfile defined in accordance with 44 U.S.C.
b(9) Release would disclose geological or geophysical information
2201(3).
concerning wells |(b)(9) of the FOIA]
RR. Document will be reviewed upon request.
01/12/1998 10:35
P6/(b)(6),
C0026]
PAGE 03
JARVIS THEATRE & FILM PROJECTS LTD.
171 West 57th Street NYC 10019 Teli (212)541.7776 FAX: (212) 397-0864
December S, 1997
Sue Vogelainger
Washington, DC
P6/(b)(6)
Dear Sue,
My collegue, Scott McArthur and I recently returned from a very exciting and successful trip to
Havana, Cuba where we won a pledge of cooperation and the necessary approvals from the
Cubon Ministry of Culture for us to bring an American dance company to Cuba and create a
television show documenting this ground breaking lour. The United States Treasury Department
was very cooperative in rapidly arranging the license for our trip to Cuba. In fact 11 is the first
time in 38 years that both the United States and Cuba are allowing such a project.
Only ninety miles off the coast of Florida, Cuba remains an island shrouded in mystery and
misconception. Most Americans know little about this island or the Cubans themselves, a proud
people with a colorful passionate heritage. As the post-cold was world continues to evolve, it
seems an appropriate time to take a closer look at this island nation, its people and its vibrant
enduring culture.
Jarvis Theatre & Film Projects, Ltd. is an innovator in cultural programming with a long history
of identifying ideas and creating experiences that meril the attention of wide audiences. In 1962,
President John F. Kennedy opened the door for me to make a deal with Nikite Khrushehev 10
film inside the great halls of Soviet power. The result was an Smmy Award winning television
special called "The Kromlin," which presented the era of detente to the American people. I then
won the exclusive right from the French Ministry of Culture to film inside the Louvee. I was
awarded the "Chevaliere de L'Ordre des Artes et des Lettres" for my clloris there. Ten years
later, I anticipated the normalization of diplomatic relations with the People's Republic of China
and won permission to film inside that country. This spectacular coup resulted in another Emmy
Award winning television special, "The Forbidden City." Again in 1988, I created the first
ever Amcrican/Soviet joint venture of a Broadway musical, sponsored by American Express,
Duke Ellington's "Sophisticated Ladien." which received worldwide soclaim.
Now, we are bringing this expertise in outfusal film making to Cuba. We will bring Ballet
Hispanico, America's premier interpreter of Hispanic culture in dance, to Cuba for a three city
lour and film their activities while there. We will record not only what is happening on stage, but
what happens hehind the accries. The interaction between our dancers, some of whom are Cuban,
will oreale wonderful and moving stories of artistic exchange and friendship between peoples of
01/12/1998 10:35
PAGE 02
P6/(b)(6)
2.
similar cultures but of different origins and circumstances By having our dancers participate in
the cultural life of this vibrant and colorful inland nation we will create a fest paced, informational
and entertaining television program depicting Cuba today, 4 shire that will appeal to both
American and international audiences.
The completed television program will he distributed throughout the United States and
worldwide, we have already received the support of THIRTEEN.WNET, New York's PBS
affiliate, to act as the flagship station. By communicating our stories powerfully and
compellingly, our past projects have resulted in award-winning films recognized world.wide for
their insightful and tisacly portrayal of countries and cultures not easily accessible to American
film makers.
While THIRTEEN.WNET is providing a major dollar contribution and six-time on their
sward-winning surius, "Great Performances" we must raise the remainder of the $800,000
budget.
Our tour and television program will bring Cuba to the allention of the American people and the
world by showing a broad spectrum of Cuban life. This project will serve as a catalyst for a
rethinking by the American public about US.Cuban relations in a non-confrontational
manner.
Warmest best personal wishes.
Sincerely,
Lucy Jarvis
** TOTAL PAGE.003 **
Withdrawal/Redaction Marker
Clinton Library
DOCUMENT NO.
SUBJECT/TITLE
DATE
RESTRICTION
AND TYPE
003a. letter
Lucy Jarvis to Bobbie Greene [partial] (1 page)
01/16/1998
P6/b(6)
COLLECTION:
Clinton Presidential Records
First Lady's Office
Bobbie Greene
OA/Box Number: 15627
FOLDER TITLE:
Lucy Jarvis
2012-0872-S
rc951
RESTRICTION CODES
Presidential Records Act - |44 U.S.C. 2204(a)]
Freedom of Information Act - 15 U.S.C. 552(b)]
P1 National Security Classified Information |(a)(1) of the PRA]
b(1) National security classified information [(b)(1) of the FOIA]
P2 Relating to the appointment to Federal office [(a)(2) of the PRA|
b(2) Release would disclose internal personnel rules and practices of
P3 Release would violate a Federal statute [(a)(3) of the PRA]
an agency [(b)(2) of the FOIA]
P4 Release would disclose trade secrets or confidential commercial or
b(3) Release would violate a Federal statute [(b)(3) of the FOIA]
financial information [(a)(4) of the PRA]
b(4) Release would disclose trade secrets or confidential or financial
P5 Release would disclose confidential advice between the President
information [(b)(4) of the FOIA]
and his advisors, or between such advisors [a)(5) of the PRA]
b(6) Release would constitute a clearly unwarranted invasion of
P6 Release would constitute a clearly unwarranted invasion of
personal privacy |(b)(6) of the FOIA]
personal privacy |(a)(6) of the PRA|
b(7) Release would disclose information compiled for law enforcement
purposes [(b)(7) of the FOIA]
C. Closed in accordance with restrictions contained in donor's deed
b(8) Release would disclose information concerning the regulation of
of gift.
financial institutions |(b)(8) of the FOIA]
PRM. Personal record misfile defined in accordance with 44 U.S.C.
b(9) Release would disclose geological or geophysical information
2201(3).
concerning wells [(b)(9) of the FOIA]
RR. Document will be reviewed upon request.
JARVIS THEATRE & FILM PROJECTS LTD.
171 West 57th Street NYC 10019 Tel: (212) 541-7776 FAX: (212) 397-0864
January 16, 1998
Ms. Bobbie Greene
Deputy Assistant to the President and
Deputy Chief of Staff to the First Lady
The White House
Executive Office Building
Room 100
Washington, DC 20500
Dear Bobbie,
It was a joy and a delight for Scott McArthur and me to come and visit you to share our hopes
and plans with you. For me, it was very nostalgic, like the old Kennedy days. We are forging
ahead and we are looking forward to the same success with this ballet television project as we had
with our other Jarvis "classics."
I am happy to alert you that Ballet Hispanico will be performing in Washington at The Lisner
Auditorium presented by the Washington Performing Arts Society on Friday, February 13 and
Saturday February 14. Both performances begin at 8 PM. Please let us know, as soon as
possible, which performance you would like to attend so that we can arrange for your tickets.
We would like to invite the First Lady, please advise us whether and how we can do this.
We are both looking forward to seeing you again in the near future.
Warmest personal best wishes.
Sincerely,
Lucy
Lucy Jarvis Jasvis
P.S. Should anyone in the White House need any information, please don't hesitate to ask.
P.P.S.
P6/(b)(6)
[003a]
Withdrawal/Redaction Marker
Clinton Library
DOCUMENT NO.
SUBJECT/TITLE
DATE
RESTRICTION
AND TYPE
003b. letter
Lucy Jarvis to Bobbie Greene [partial] (1 page)
01/16/1998
P6/b(6)
COLLECTION:
Clinton Presidential Records
First Lady's Office
Bobbie Greene
OA/Box Number: 15627
FOLDER TITLE:
Lucy Jarvis
2012-0872-S
rc951
RESTRICTION CODES
Presidential Records Act - |44 U.S.C. 2204(a)]
Freedom of Information Act - [5 U.S.C. 552(b)]
P1 National Security Classified Information |(a)(1) of the PRA]
b(1) National security classified information [(b)(1) of the FOIA]
P2 Relating to the appointment to Federal office [(a)(2) of the PRA|
b(2) Release would disclose internal personnel rules and practices of
P3 Release would violate a Federal statute [(a)(3) of the PRA]
an agency |(b)(2) of the FOIA]
P4 Release would disclose trade secrets or confidential commercial or
b(3) Release would violate a Federal statute [(b)(3) of the FOIA]
financial information [(a)(4) of the PRAJ
b(4) Release would disclose trade secrets or confidential or financial
P5 Release would disclose confidential advice between the President
information [(b)(4) of the FOIA]
and his advisors, or between such advisors [a)(5) of the PRA]
b(6) Release would constitute a clearly unwarranted invasion of
P6 Release would constitute a clearly unwarranted invasion of
personal privacy [(b)(6) of the FOIA]
personal privacy |(a)(6) of the PRAJ
b(7) Release would disclose information compiled for law enforcement
purposes |(b)(7) of the FOIA|
C. Closed in accordance with restrictions contained in donor's deed
b(8) Release would disclose information concerning the regulation of
of gift.
financial institutions [(b)(8) of the FOIA]
PRM. Personal record misfile defined in accordance with 44 U.S.C.
b(9) Release would disclose geological or geophysical information
2201(3).
concerning wells |(b)(9) of the FOIA]
RR. Document will be reviewed upon request.
JARVIS THEATRE & FILM PROJECTS LTD.
171 West 57th Street NYC 10019 Tel: (212) 541-7776 FAX: (212) 397-0864
January 16, 1998
Ms. Bobbie Greene
Deputy Assistant to the President and
Deputy Chief of Staff to the First Lady
The White House
Executive Office Building
Room 100
Washington, DC 20500
Dear Bobbie,
It was a joy and a delight for Scott McArthur and me to come and visit you to share our hopes
and plans with you. For me, it was very nostalgic, like the old Kennedy days. We are forging
ahead and we are looking forward to the same success with this ballet television project as we had
with our other Jarvis "classics."
I am happy to alert you that Ballet Hispanico will be performing in Washington at The Lisner
Auditorium presented by the Washington Performing Arts Society on Friday, February 13 and
Saturday February 14. Both performances begin at 8 PM. Please let us know, as soon as
possible, which performance you would like to attend so that we can arrange for your tickets.
We would like to invite the First Lady, please advise us whether and how we can do this.
We are both looking forward to seeing you again in the near future.
Warmest personal best wishes.
Sincerely,
Jucy
Jarvis Jasvis
P.S. Should anyone in the White House need any information, please don't hesitate to ask.
P.P.S.
[0036]
P6/(b)(6)
Withdrawal/Redaction Marker
Clinton Library
DOCUMENT NO.
SUBJECT/TITLE
DATE
RESTRICTION
AND TYPE
003c. note
Bobbie to Lucy [partial] (1 page)
01/26/1998
P6/b(6)
COLLECTION:
Clinton Presidential Records
First Lady's Office
Bobbie Greene
OA/Box Number: 15627
FOLDER TITLE:
Lucy Jarvis
2012-0872-S
rc951
RESTRICTION CODES
Presidential Records Act - [44 U.S.C. 2204(a)]
Freedom of Information Act - 15 U.S.C. 552(b)]
P1 National Security Classified Information [(a)(1) of the PRA]
b(1) National security classified information [(b)(1) of the FOIA]
P2 Relating to the appointment to Federal office [(a)(2) of the PRA]
b(2) Release would disclose internal personnel rules and practices of
P3 Release would violate a Federal statute |(a)(3) of the PRAJ
an agency [(b)(2) of the FOIA]
P4 Release would disclose trade secrets or confidential commercial or
b(3) Release would violate a Federal statute [(b)(3) of the FOIA]
financial information [(a)(4) of the PRA|
b(4) Release would disclose trade secrets or confidential or financial
P5 Release would disclose confidential advice between the President
information |(b)(4) of the FOIA]
and his advisors, or between such advisors [a)(5) of the PRA
b(6) Release would constitute a clearly unwarranted invasion of
P6 Release would constitute a clearly unwarranted invasion of
personal privacy [(b)(6) of the FOIA|
personal privacy |(a)(6) of the PRA]
b(7) Release would disclose information compiled for law enforcement
purposes [(b)(7) of the FOIA]
C. Closed in accordance with restrictions contained in donor's deed
b(8) Release would disclose information concerning the regulation of
of gift.
financial institutions [(b)(8) of the FOIA]
PRM. Personal record misfile defined in accordance with 44 U.S.C.
b(9) Release would disclose geological or geophysical information
2201(3).
concerning wells |(b)(9) of the FOIA]
RR. Document will be reviewed upon request.
THE WHITE HOUSE
January WASHINGTON 26, 1998
Dear Lucy-
Thanks fu your
attractive tee-shirts -
nice note and very
[003c]
P6/(b)(6)
Jeff 00 of enjoyed
our with
you and ScSH. Tome
empanked on a terrific
project and, with fine
hit, the timen couldn't
Pope's visit such a
Better Thanks for the
invitation to the Ballet
Hispanico's Washington performances.
l would love to have
2 or, if possible, 4 ticket
for Saturfay evening. of
will let the First Lady
know about your invitate,
But of think you know
that she probably wan't
be able to make it.
Thanks again fn
the visit and the T- Thirts.
Anf, good luck with
your exciting project.
All Rest,
Bysbbie
Withdrawal/Redaction Marker
Clinton Library
DOCUMENT NO.
SUBJECT/TITLE
DATE
RESTRICTION
AND TYPE
003d. letter
Lucy Jarvis to Bobbie Greene [partial] (1 page)
01/16/1998
P6/b(6)
COLLECTION:
Clinton Presidential Records
First Lady's Office
Bobbie Greene
OA/Box Number: 15627
FOLDER TITLE:
Lucy Jarvis
2012-0872-S
rc951
RESTRICTION CODES
Presidential Records Act- - |44 U.S.C. 2204(a)]
Freedom of Information Act - 15 U.S.C. 552(b)]
P1 National Security Classified Information [(a)(1) of the PRAJ
b(1) National security classified information [(b)(1) of the FOIA]
P2 Relating to the appointment to Federal office |(a)(2) of the PRAJ
b(2) Release would disclose internal personnel rules and practices of
P3 Release would violate a Federal statute [(a)(3) of the PRA]
an agency [(b)(2) of the FOIA]
P4 Release would disclose trade secrets or confidential commercial or
b(3) Release would violate a Federal statute |(b)(3) of the FOIA]
financial information [(a)(4) of the PRA]
b(4) Release would disclose trade secrets or confidential or financial
P5 Release would disclose confidential advice between the President
information [(b)(4) of the FOIA]
and his advisors, or between such advisors [a)(5) of the PRAJ
b(6) Release would constitute a clearly unwarranted invasion of
P6 Release would constitute a clearly unwarranted invasion of
personal privacy [(b)(6) of the FOIA]
personal privacy [(a)(6) of the PRA]
b(7) Release would disclose information compiled for law enforcement
purposes [(b)(7) of the FOIA]
C. Closed in accordance with restrictions contained in donor's deed
b(8) Release would disclose information concerning the regulation of
of gift.
financial institutions [(b)(8) of the FOIA]
PRM. Personal record misfile defined in accordance with 44 U.S.C.
b(9) Release would disclose geological or geophysical information
2201(3).
concerning wells [(b)(9) of the FOIA]
RR. Document will be reviewed upon request.
JARVIS THEATRE & FILM PROJECTS LTD.
171 West 57th Street NYC 10019 Tel: (212) 541-7776 FAX: (212) 397-0864
January 16, 1998
Ms. Bobbie Greene
Deputy Assistant to the President and
Deputy Chief of Staff to the First Lady
The White House
Executive Office Building
Room 100
Washington, DC 20500
Dear Bobbie,
It was a joy and a delight for Scott McArthur and me to come and visit you to share our hopes
and plans with you. For me, it was very nostalgic, like the old Kennedy days. We are forging
ahead and we are looking forward to the same success with this ballet television project as we had
with our other Jarvis "classics."
I am happy to alert you that Ballet Hispanico will be performing in Washington at The Lisner
Auditorium presented by the Washington Performing Arts Society on Friday, February 13 and
Saturday February 14. Both performances begin at 8 PM. Please let us know, as soon as
possible, which performance you would like to attend so that we can arrange for your tickets.
We would like to invite the First Lady, please advise us whether and how we can do this.
We are both looking forward to seeing you again in the near future.
Warmest personal best wishes.
Sincerely,
Lucy Jarvis Jasvis
P.S. Should anyone in the White House need any information, please don't hesitate to ask.
P.P.S.
[003d]
P6/(b)(6)
Withdrawal/Redaction Marker
Clinton Library
DOCUMENT NO.
SUBJECT/TITLE
DATE
RESTRICTION
AND TYPE
003e. note
Bobbie to Lucy [partial] (1 page)
01/26/1998
P6/b(6)
COLLECTION:
Clinton Presidential Records
First Lady's Office
Bobbie Greene
OA/Box Number: 15627
FOLDER TITLE:
Lucy Jarvis
2012-0872-S
rc951
RESTRICTION CODES
Presidential Records Act - [44 U.S.C. 2204(a)]
Freedom of Information Act - |5 U.S.C. 552(b)]
P1 National Security Classified Information [(a)(1) of the PRA]
b(1) National security classified information [(b)(1) of the FOIA]
P2 Relating to the appointment to Federal office [(a)(2) of the PRA]
b(2) Release would disclose internal personnel rules and practices of
P3 Release would violate a Federal statute |(a)(3) of the PRA]
an agency [(b)(2) of the FOIA]
P4 Release would disclose trade secrets or confidential commercial or
b(3) Release would violate a Federal statute [(b)(3) of the FOIA]
financial information [(a)(4) of the PRA]
b(4) Release would disclose trade secrets or confidential or financial
P5 Release would disclose confidential advice between the President
information [(b)(4) of the FOIA]
and his advisors, or between such advisors [a)(5) of the PRA]
b(6) Release would constitute a clearly unwarranted invasion of
P6 Release would constitute a clearly unwarranted invasion of
personal privacy |(b)(6) of the FOIA]
personal privacy [(a)(6) of the PRA]
b(7) Release would disclose information compiled for law enforcement
purposes [(b)(7) of the FOIA]
C. Closed in accordance with restrictions contained in donor's deed
b(8) Release would disclose information concerning the regulation of
of gift.
financial institutions |(b)(8) of the FOIA]
PRM. Personal record misfile defined in accordance with 44 U.S.C.
b(9) Release would disclose geological or geophysical information
2201(3).
concerning wells [(b)(9) of the FOIA]
RR. Document will be reviewed upon request.
THE WHITE HOUSE
January WASHINGTON 26,1998
Dear Lucy -
Thanks fu your
attractive tee-shirts - -
nice note and very
[003e]
P6/(b)(6)
Jeff 0 $ & of enjoyed
our with
you and ScSH. Tome
emparked on a terrific
project and, with fine
hit, the timey couldn't
Pope's visit suck a
Better Thanks for Khe
invitation to the Ballet
Hispanico's Washington performances.
l would love to have
2 or, if possible, 4 ticket
for Saturfay evening. of
will let the First Lady
know about your invitate,
But of think you know
that she probably wan't
be able to male it.
Thanks again fn
the visit and the T- Thirts.
Anf, good luck with
your exciting project.
All Rest,
Bybbie
Ballet Hispanico of New York
167 WEST 89 STREET, NEW YORK, NEW YORK 10024 (212) 362-6710 FAX (212) 362-7809
ABOUT BALLET HISPANICO
Ballet Hispanico has been recognized around the world as the foremost dance interpreter of
Hispanic culture in the United States. Founded in 1970 by Artistic Director Tina Ramirez, Ballet
Hispanico's innovative repertory blends ballet and ethnic dance forms into a spirited image of
contemporary Hispanic-American culture.
The company has appeared in major venues throughout the United States, including The John F.
Kennedy Center in Washington, D.C., Carnegie Hall and Lincoln Center's Alice Tully Hall in
New York City, the Annenberg Center in Philadelphia, Houston's Wortham Center and the Bob
Hope Cultural Center in Palm Springs. The company has also performed in major dance festivals
such as Jacob's Pillow Dance Festival and the DanceAspen Festival and at venues throughout
Europe and South America.
The company also performs internationally, most recently in South America, where a three-week
tour in July 1993 took them to Panama City, Panama, Caracas, Venezuela, Buenos Aires,
Argentina, and Montevideo, Uruguay. While in Buenos Aires, they were the guests at a private
reception with President Carlos Menem. Ballet Hispanico represented the United States at Expo
'92 in Seville, Spain, where they were featured at a special Independence Day Celebration at the
invitation of the United States Pavilion. Just prior to that engagement, the company performed
for President and Mrs. Bush at Ford's Theater in Washington, D.C.
Over 50 new works have been commissioned by Ms. Ramirez for Ballet Hispanico's repertory
from choreographers of international stature such as Alberto Alonso, Talley Beatty, Graciela
Daniele, Vicente Nebrada, Ramon Oller and Ann Reinking and such innovative artists as George
Faison, Susan Marshall, Amanda Miller, David Roussève, Maria Rovira and William Whitener.
Through movement, music, theme and style, these commissions create a theatrical, contemporary
vision of dance that appeals to audiences everywhere. As part of the company's commitment to
new work, Ballet Hispanico conducts bi-annual choreographer's workshops which have included
a wide range of emerging artists, among them Daniel Duell, Luis Fuente and Lynne Taylor-
Corbett.
The company's 1997-98 national touring schedule includes major engagements with the
Washington Performing Arts Society in Washington D.C., the BankBoston Celebrity Series, Cal
State University's Luckman Fine Arts Complex in Los Angeles, the Kravis Center for the
Performing Arts in West Palm Beach, and the Broward Center for the Performing Arts in Fort
Lauderdale. The 15-state tour will encompass not only concert performances in 21 cities, but also
numerous residency activities ranging from teacher orientations and student workshops to Latin
social dance classes for the general public. A highlight of the performance season will be the
premieres of new works by Tony-award winning choreographer Ann Reinking and
internationally-renowned Spanish choreographer Maria Rovira.
Ballet Hispanico also includes a year-round school of dance unique in its emphasis on ballet and
Spanish dance as its core curriculum, and extensive educational programming, both in New York
and around the country, entitled "Primeros Pasos." Ballet Hispanico is housed in its own $2
million facility in Manhattan renovated especially for dance.
Tina Ramirez, Artistic Director
7/97
Ballet Hispanico of New York
167 WEST 89 STREET, NEW YORK, NEW YORK 10024 (212) 362-6710 FAX (212) 362-7809
ABOUT TINA RAMIREZ
Founder and Artistic Director of Ballet Hispanico
Tina Ramirez has combined her incomparable artistic vision with years of performance and teaching
experience to create and sustain the nation's preeminent Hispanic-American dance company and school,
Ballet Hispanico.
Born in Venezuela, Ms. Ramirez came at the age of seven to the United States, where she studied dance
under New York's grande dame of Spanish dance, Lola Bravo, as well as with such noted teachers as
Alexandra Danilova and Anna Sokolow. Her first professional performing experience took her on a tour
of the United States, Canada and Cuba with the Federico Rey Dance Company. Subsequent appearances
included extensive touring in Spain, Spoleto's Festival of Two Worlds with John Butler, the Broadway
productions of Kismet and Lute Song and the television version of "Man of La Mancha."
In 1963, Ms. Ramirez returned to New York, the city of her childhood, to fulfill a promise to take over
her retiring Spanish dance teacher's studio. In 1967, she conceived and directed Operation High Hopes,
a professional dance training program for minority and economically disadvantaged youth. In addition
to teaching, she arranged performances for her young students as the Tina Ramirez Dancers.
Encouraged by the skill of her pupils and increasing requests for performances, Ms. Ramirez formally
established Ballet Hispanico in 1970. In five short years, Ballet Hispanico's company had begun to tour
nationally and, at present, has performed for over 1.5 million people on three continents. Of equal
importance has been the growth and expansion of the Ballet Hispanico School of Dance. Under Ms.
Ramirez' direction, the school now offers year-round professional training in ballet and Spanish dance
for an enrollment of over 750 students. In addition to performing with Ballet Hispanico's own company,
alumni of the school have gone on to successful careers in theater, film and television, as well as with
other leading dance companies.
In June 1987, Governor Mario Cuomo presented Ms. Ramirez with a coveted Governor's Arts Award
in recognition of Ballet Hispanico's outstanding contribution to the quality of New York's cultural life.
Among her numerous other achievements are the Mayor's Award of Honor for Arts and Culture (1983)
and the Mayor's Ethnic New Yorker Award (1986), both presented by Mayor Edward I. Koch, and the
Manhattan Borough President's Award (1988), presented by David N. Dinkins. She received citations
of honor at the 1995 New York Dance and Performance Awards (the "Bessies") and at the 1992 Capezio
Dance Awards. She has been the recipient of two choreography grants from the National Endowment
for the Arts.
Ms. Ramirez currently serves on the board of The New 42nd Street, Inc.. She has also served on the
New York City Advisory Commission for Cultural Affairs, numerous panels for the National Endowment
for the Arts and the New York State Council on the Arts, the selection panel for The Rockefeller
Foundation's Choreographers Awards and the board of the Association of Hispanic Arts.
Tina Ramirez, Artistic Director
7/97
Ballet Hispanico of New York
167 WEST 89 STREET, NEW YORK, NEW YORK 10024 (212) 362-6710 FAX (212) 362-7809
THE CRITICS' COMMENTS ABOUT THE COMPANY
"Sunday's performance by Ballet Hispanico proved beyond a doubt that this American/Hispanic
dance group deserves its reputation as an award-winning world-class company. For your own
sake, please see these dancers,
Jennifer Noyer
Albuquerque Journal, April 22, 1997
"Nowadays, a Ballet Hispanico program guarantees top production values, costumes by some of
the best Broadway and dance designers in the country, and choreographers from veterans like
Talley Beatty to experimentalists like William Whitener. Above all, it has a polished group of
performers exuding the sheer joy of dancing one attends Ballet Hispanico to share the
kinesthetic excitement of its dancers in all their energy and exuberant sophistication."
Anna Kisselgoff
The New York Times, October 31, 1991
"Ballet Hispanico is hands down the leading Hispanic-American dance company in North
America and to miss one of their performances is to miss a great treasure in the dance world."
Buenos Aires Herald, July 1, 1993
"Ballet Hispanico set fires all over the stage With impressive technique and stunning spectacle,
the troupe sizzled its way through three ballets demonstrating why it's one of the most exciting
small companies around. Choreography was eye-grabbing. Movement ranged from high-voltage
hip to serenely reflective and was characterized by charisma fused with artistic integrity. The 12-
member company executed flamenco, tango, jazz and salsa alongside classical ballet - with
precision and style. Energy, personality and good looks abounded
Jane Shaw
The Island Packet, November 1, 1996
Hilton Head Island, SC
"Ballet Hispanico brought its flash, beauty and sparkling technique to Stephens Auditorium The
crowd of 1,398 was awed by the special melding of classical ballet with ethnic and modern dance
that has become this world-class company's trademark."
Phyllis Wolfe
The Des Moines Register, October 16, 1996
"
in a four-part program at Occidental College on Thursday the company again proved itself
a treasure."
Lewis Segal
The Los Angeles Times, April 1, 1995
Tina Ramirez, Artistic Director
"Celebrating its 25th anniversary, Tina Ramirez's Ballet Hispanico is a stunning ensemble."
Elizabeth Zimmer
The Village Voice, December 12, 1995
"[Ballet Hispanico's] 13 glamorous members perform works as diverse as the civilizations they
represent, dancing a program that elicits every emotion."
Valerie Gladstone
New York Newsday, November 30, 1995
"The company's combination of balletic lines and the folkloric and movement styles of South and
Central America, Spain and the Caribbean is one of the revelations of dance today."
Valerie Gladstone
Dance Magazine, December 1994
" Ballet Hispanico has turned a corner, complementing its mainstream repertory with a
challenging innovative wing that its admirable dancers introduce with stylishness and gusto."
Anna Kisselgoff
The New York Times, December 1, 1994
" this company's dancers are uniformly excellent - graceful, flawless in their execution, and
teeming with high-voltage energy.
Nadine Goff
Wisconsin State Journal, October 22, 1993
"Ballet Hispanico's performance Friday at the Lila Cockrell Theater before a near-capacity crowd
combined fresh choreography and impressive technique to create a dance form with multi-cultural
appeal."
Jennifer Scott
San Antonio Express News, May 15, 1993
"The mixed program of sizzle and tragedy that Ballet Hispanico of New York performed Tuesday
at Agnes Scott College was a winner all around. This powerful, modern troupe with the Spanish
flair may be unique in the nation. The company's choreography often combines traditional
flamenco technique with a modern vocabulary redolent of Martha Graham." "
Helen Smith
Atlanta Journal, October 18, 1992
"Without a doubt the Ballet Hispanico, directed by Tina Ramirez, occupies a distinct place in
American dance. Using themes of particular Hispanic interest, the company of a baker's dozen
is a bridge for Hispanic culture - both historical and current."
Glenn Giffin
The Denver Post, April 17, 1992
"It is rare to see such intense and complete eye contact with the audience - and each other - to
the point where everything was intimately shared. No matter the material, Ballet Hispanico was
hypnotic. Ballet Hispanico Artistic Director Tina Ramirez has put together a dazzling package
of smoldering, sensitive artistry that explodes like a volcano and completely entertains. And that
is what art is all about."
Beti Trauth
Times-Standard, Eureka, CA, April 10, 1992
"A hot pride burns in Ramirez's dancers, both men and women, as they cross a stage. It is
always there, in the carriage of their shoulders, the confident way they take each step. It is a
pride that has jumped the Atlantic Ocean and spanned the centuries. Their art is not a matter of
style, but of heart. Every serious dancer and lover of dance needs to see Ballet Hispanico.
Ramirez is creating a new dance form, not ethnic nor modern nor classical, that can not be seen
in any other company."
Chuck Graham
Tucson Citizen, March 18, 1991
"The company has nothing but first-class dancers. Tina Ramirez has built a company over 20
years she can be proud of. It has always been good. Now it's exceptional."
Hilary Ostlere
The Westsider, December 6, 1990
" the evening was peak after peak of eye-popping colors, exciting music, great choreography and
championship individual efforts by the dancers. Besides its artistic content, which was high,
Ballet Hispanico's concert was some of the best pure entertainment of the season."
John Eldridge
The Palm Beach Post, March 4, 1990
"The Ballet Hispanico of New York dancers are incredibly well-disciplined. They work well as
an ensemble, impress with individual strengths, boast gorgeous lines, and time and time again,
make the most complex choreography appear effortless. Theirs was a physical performance
which managed to simultaneously entertain and challenge, an incredibly rare evening of dance
which will not soon be forgotten."
William D. Kerns
Lubbock Avalanche Journal, September 18, 1988
"There will be no energy crisis in the dance world as long as Ballet Hispanico keeps moving."
Jack Anderson
The New York Times, November 7, 1985
"Imagine a classical pas de deux with a Latin beat Ballet Hispanico of New York did all that
and more..."
Betty Ligon
El Paso Herald-Post, October 31, 1984
7/97
Ballet Hispanico of New York
167 WEST 89 STREET, NEW YORK, NEW YORK 10024 (212) 362-6710 FAX (212) 362-7809
COMPANY REPERTORY
Title
Choreographer
Composer
Year
BATUCADA FANTASTICA
Vicente Nebrada
Perrone
1982
CADA NOCHE...TANGO
Graciela Daniele
Piazzolla
1988
CAFE AMERICA
George Faison
Blades
1990
EL NUEVO MUNDO
Graciela Daniele
de Lucia
1991
GOOD NIGHT PARADISE
Ramon Oller
Villavecchia/Rossell
1994
IDOL OBSESSION
George Faison
Selena/Palmieri
1996
INEZ DE CASTRO
Vicente Nebrada
Cervetti
1988
LLAMADA
William Whitener
Sor-Romero/Torroba
1982
¡SI, SENOR! ¡ES MI SON!
Alberto Alonso
Estefan
1994
SOLO
Susan Marshall
Cavini
1993
TEARS FOR VIOLETA
Ramon Oller
folk melodies
1995
TIERRA DE NADIE
María Rovira
Amargós/Nieblas
1996
TWO BY AN ERROR
Amanda Miller
collage
1993
UNTITLED
Ann Reinking
Hamilton/Ralph
1997
UNTITLED
María Rovira
TBA
1997
WHEN DREAMS EXPLODE
David Roussève
collage
1996
Tina Ramirez, Artistic Director
7/97
Ballet Hispanico of New York
167 WEST 89 STREET, NEW YORK, NEW YORK 10024 (212) 362-6710 FAX (212) 362-7809
THE CRITICS' COMMENTS ABOUT THE REPERTORY
IDOL OBSESSION
"There was fabulous spectacle from George Faison, Tony Award winner, in his Idol Obsession.
Mr. Faison's dance takes a long, exuberant look at the life and death of Selena, the young
Tejano pop star who was killed by an obsessed fan two years ago. Idol Obsession plunges the
viewer into the chaotic whirl of that life."
Jennifer Dunning
The New York Times, December 7, 1996
IDOL OBSESSION
"Idol Obsession choreographed by George Faison was a modern morality tale in which death
and Our Lady of Guadalupe struggled for the soul of Yolanda, Selena's obsessed fan. Faison's
choreography moves at fever pitch throughout, with good humored fun poked at the glitzy acts
seen from Nashville to Austin."
Jennifer Noyer
Albuquerque Journal, April 22, 1997
TIERRA DE NADIE
"Tuesday's outstanding work was the company premiere of Maria Rovira's remarkable Tierra
de Nadie, boasting a Spanish title, a Spanish choreographer and Spanish music. Yet the ballet
itself, a vibrant and gritty study of urban angst, could suggest any young people anywhere the
choreography, with its hurtling, twisting bodies, taut grimaces and intense interactions, is danced
with a lithe control
Clive Barnes
New York Post, Decemebr 5, 1996
WHEN DREAMS EXPLODE
"In a mix of chanting and dialogue, it told the story of Hispanic life in this country. It dealt
with the difficulties of leaving behind the warmth and fire of Latin America with only dreams,
to pursue life in a foreign place where language and customs are different and dreams are rarely
realized The dynamic choreography coupled with the real life stories made this one of the best
of the evening."
Marty Shuter
Savannah News-Press, November 1, 1996
GOOD NIGHT PARADISE
Ramon Oller, a young Catalan choreographer, has created one of the most riveting dance pieces
of the year.
Anna Kisselgoff
The New York Times, December 1, 1994
GOOD NIGHT PARADISE
"An expressive, moody work that explored shifting relationships, it created an intense world of
dangerous passions. The steps and movements leading to the stunning final moment reflected
complex, challenging choreography that revealed the naked soul."
Tony Angarano
Tina Ramirez Artistic Director
The Hartford Courant, March 2, 1996
BATUCADA FANTASTICA
"The concert sprinted to a close with Batucada Fantastica, a series of solo dances that gave the
near-capacity audience at the Civic Center's Oscar Mayer Theatre a chance to see each dancer
as an individual in love with life and dance."
Kevin Lynch
The Capital Times, Madison, WI, April 21, 1990
"¡SI, SENOR! ¡ES MI SON!
"¡Si, Señor! ¡Es Mi Son! makes a colorful curtain-raiser with its Mardi Gras of animals and
marchers of a Revel, with gay costumes and pantomime. Energized parades of celebrants move
to the popular songs of Gloria Estefan's popular album, "Mi Tierra". This whimsical and
beautifully performed whirl of movement allows the Latin shadings to infiltrate perfectly
executed balletic technique."
Daphne Craft
Herald and News, December 8, 1996
North New Jersey
¡SI SEÑOR! ¡ES MI SON!
"The piece de resistance was the concluding ballet titled ¡Si Señor! ¡Es Mi Son! The Estefan
music adapted for Ballet Hispanico has a persistent, liquid, haunting tempo. It engages the full
ballet company in a festive motif as it celebrates the "son" of the ballet's title."
Bill Von Maurer
Sun-Sentinel, Ft. Lauderdale, FL, March 7, 1995
TEARS FOR VIOLETA
"Tears for Violeta is rich with the imagery of longing and separation, infused with references
to Sephardic Jewish existence. The dancing reaches back and touches something virtually
indescribable, yet real and vital. The eight dancers moved seamlessly in and out of the various
frames. It closes with a luscious arch.
Andrew Adler
The Courier-Journal, October 30, 1995
EL BAQUINÉ
"Venezuelan ballet choreographer Vicente Nebrada's revel, El Baquiné, set the stage with fine
dancing and good production values. It also was loaded with sex appeal and color."
Terry Morris
Dayton Daily News, October 17, 1994
SOLO
"
Solo, a marvelously witty premiere that Susan Marshall choreographed for Ballet
Hispanico is an exploration in risk and concentration, elements faced by both a bullfighter and
Mr. Costas Simplicity is made complex here. Every aspect looks right: the choreography and
Mr. Costas's brilliant performance, Chris Barreca's polished ramp, Lynne Steincamp's black
and white costume and Donald Holder's lighting, which focused on the loneliness of the short
distance flamenco dancer Mr. Costas's triumph was no less real than that of a bullfighter's.
The crowd went wild."
Anna Kisselgoff
The New York Times, December 5, 1994
INEZ DE CASTRO
"
a beautifully crafted story dance of a kind they just don't make any more."
Jordan Levin
The Miami Herald, October 19, 1992
TWO BY AN ERROR
"Amanda Miller's Two By An Error layered cultural and physical references in an intriguing,
wonderful way. Miller's vocabulary was fluid post-post-modern, a constant stream in which
each whipping arm and arabesqueing leg flows seamlessly into the next movement, beautifully
danced by its five dancers."
Jordan Levin
The Miami Herald, March 6, 1995
EL NUEVO MUNDO
"Dramatic intensity and sharply etched dancing likewise infused the other works on the program.
El Nuevo Mundo, by Graciela Daniele with throaty music by Paco de Lucia, treats Columbus's
voyage from the perspective of street kids, with enough sizzle to steam the Atlantic."
Sarah Kaufman
The Washington Post, April 19, 1993
CAFE AMERICA
"George Faison's timely new Cafe America is a bittersweet depiction of immigrants to the
United States. Danced to music by Ruben Blades and Julio Iglesias, Cafe America takes place
on a stage that is empty but for a bright and battered car with flashing headlights, wittily
designed by Pepon Osorio Best of all were the performances of Jose Costas as the new
immigrant, and Pedro Ruiz and Eduardo Vilaro as his friends. Mr. Faison's tight-sprung, lyrical
dance flowed authoritatively through their bodies."
Jennifer Dunning
The New York Times, November 29, 1990
CADA NOCHE TANGO
"
in Cada Noche Tango, the Ballet Hispanico dancers plunge into the atmosphere with relish
and astoundingly professional dramatic detail. The men strut marvelously, chests out, hips tight,
hands in pockets. The swagger is contrasted with the deliberate vulgarity of the women "
Anna Kisselgoff
The New York Times, October 20, 1988
CADA NOCHE TANGO
"Now that's dirty dancing. Broadway choreographer Graciela Daniele's Cada Noche Tango
is an imaginative attempt to blend tango dancing and theatrical dancing, as well as to blend
dance and theater. It echoes the sentimentality, the violence, and the passion of the tango itself,
and that is no slight achievement."
Joseph H. Mazo
The Bergen Record, Bergen, NJ, October 20, 1988
LLAMADA
"Llamada, William Whitener's solo for Donna Matthews, evokes the proud bearing and curbed
power of the Spanish dancer without using traditional steps. The music of Sor and Torroba
spreads a dark but buoyant carpet for Matthews to journey on."
Deborah Jowitt
The Village Voice, October 25, 1983
7/97
Ballet Hispanico of New York
167 WEST 89 STREET, NEW YORK, NEW YORK 10024 (212) 362-6710 FAX (212) 362-7809
COMPANY PERFORMANCE SCHEDULE FOR THE 1997-98 SEASON
October 8-10, 1997
Hostos Center for the Arts and Culture
Bronx, NY
October 14-19
The New Victory Theater
New York, NY
October 24 & 25
The Byham Theater
Pittsburgh, PA
October 26
Shafer Auditorium - Allegheny College
Meadville, PA
November 16 & 17
Kravis Center for the Performing Arts
West Palm Beach, FL
November 19
Wright Auditorium - East Carolina University
Greenville, NC
November 22
Saey Theater - University of the Ozarks
Clarksville, AR
January 13-18, 1998
Broward Center for the Performing Arts
Fort Lauderdale, FL
January 31
Paul Creative Arts Center
Durham, NH
February 6-8
Emerson-Majestic Theater
Boston, MA
February 11
Shippensburg University
Shippensburg, PA
February 13 & 14
Washington Performing Arts Society
Washington D.C.
March 6 & 7
The Bushnell Theater
Hartford, CT
March 10
Maggofin Auditorium - University of Texas/El Paso
El Paso, TX
March 12
Allen Theater - Texas Tech University
Lubbock, TX
March 14
Macky Auditorium - University of Colorado
Boulder, CO
March 18 & 19
Scottsdale Center for the Arts
Scottsdale, AZ
March 21
Luckman Fine Arts Complex
Los Angeles, CA
March 24 & 25
New Jersey Performing Arts Center
Newark, NJ
March 28
Clark State Performing Arts Center
Springfield, OH
March 31 & April 1
New Brunswick Cultural Center
New Brunswick, NJ
April 4
John Harms Center for the Performing Arts
Engelwood, NJ
May 18-29
Tribeca Performing Arts Center
New York, NY
Tina Ramirez, Artistic Director
7/97
Nov/Dec 1988 $4.00
HOR
N
the Arts
A Moveable Feast:
Spanish Dance in America
Yolla Bolly Press Recreates
an Age-old Craft
Arts in the Heart of Alabama
Manhattan Sampler:
A Palette of the World
Gifts for the Imagination
Nancy Turano and Jose
Costas of Ballet Hispanico
of New York
Opposite: Tina Ramirez, artistic
PAST MEETS PRESENT
director and founder of Ballet
Hispanico of New York, the
nation's pre-eminent Hispanic-
American dance company and
school. Under Ramirez's direction,
Inside Ballet Hispanico of New
dance movements with modern
the company melds Hispanic dance
York's two-story building on West
forms. Ramirez is one of the most
forms, such as flamenco, with
Eightieth Street, artistic director
dynamic forces shaping Hispanic
ballet and modern techniques. Left:
Tina Ramirez is hard at work with
dance today. A mover and a
Ballet Hispanico performs Cada
her dancers. Golden sunlight pours
shaker, she is confined to neither
Noche
Tango, choreographed
through a wall of windows onto
past nor present. Instead, she uses
by Graciela Daniele with music
the hardwood floors of the second-
both to break new ground and
by Astor Piazzolla.
floor studio. Ten dancers in multi-
strike out in exciting directions
colored tights look like twenty in
with Hispanic dance.
Tina Ramirez, the inspiration be-
the mirror-lined front wall. The
The results have been stunning.
hind this training, was entrusted
two other walls are white brick
The company sold out the Joyce
with the school when her own
with a barre running their length.
Theater in New York in its last
teacher, Lola Bravo, retired. But
Ramirez, diminutive and ener-
week-long performance there. To
Ramirez took it one step further
getic, with greying hair and an
Photoby Bruce Laurance
meet the demand for tickets, it
and established Ballet Hispanico in
easy manner, claps her hands
will perform there again for two
1970. Despite the success of the
gently and the dancers take their
weeks this year.
dance company, the school re-
positions to practice a newly re-
The popularity of Ballet Hispan-
mained paramount. Says Ramirez,
mounted creation, Tres Cantos
ico is due to the company's energy
"People told me "Take stars and go
("three songs").
and skill but also to an increas-
fast,' but if I take stars, how can I
Four male and four female danc-
Tina Ramirez uses both
ingly interested North American
make dancers?"
ers slide toward each other as the
taped music begins, while Talley
the past and the
public. Verdery Roosevelt, execu-
Ramirez sees herself as "pan-
tive director of the company. says,
Hispanic." Born in Venezuela,
Beatty, the choreographer, sits
present to break new
"I see a society-wide acceptance of
Ramirez came to the United States
cross-legged on the floor, uttering
Hispanic culture, both because
when she was seven. Her mother
a direction now and then. Watch-
ground and strike out
Hispanics are a greater and greater
was Puerto Rican and her father a
ing the dancers, Ramirez takes
portion of the population and
Mexican bullfighter. "I am proud
notes on a steno pad.
in exciting directions
because people don't look down on
to be Hispanic," says Ramirez.
This dance is a story of the
ethnicity the way they used to.
Her pan-Hispanic consciousness
Mexican people before the arrival
with Hispanic dance.
More and more, ethnics are seen
is evident in the artistic direction
As we near the five-hundredth
of the Europeans, and the tragedy
as people who contribute across
she has forged for the company. In
anniversary of Christopher
brought about by the conquest of
the board."
Tres Cantos, the dance she is re-
Columbus's famous voyage,
the people by the newcomers. The
Ballet Hispanico attracts an
hearsing this morning, she uses
HORIZON Magazine has undertaken
first part of the dance is gay and
audience from all ethnic groups
Mexican folk dance, adding ele-
an examination of the long-lasting
light, as the Indians are depicted
and walks of life. The company
ments of Spanish and modern
effects of Spanish culture on the
on their native soil. "Quick,
need ten years of rehearsal for
performs all over the United
dance. "I believe in unity,"
Americas. This article, written by
quick, quick!" shouts Ramirez,
this." In fact, the company's first
States, particularly in the North-
Ramirez says, "Why not draw
Richard Thompson, appeared as
clapping her hands to the rhythm.
performance of the season is only
east, California, Texas, and
from twenty-one nations instead of
part of The Spanish Influence:
The second part of the dance,
a few days away.
Florida. Abroad, the company has
two? One of the things that influ-
The Dance Legacy, which explored
set to another song, depicts the
Ballet Hispanico of New York is
performed in France, Italy, Vene-
enced me greatly is the fact that I
the rich and varied world of
defeat of the Indians, their struggle
one of the most successful com-
zuela, and the Caribbean.
dislike the separation of ballet and
Hispanic dance.
and sorrow as the land of their an-
panies in the United States and is
Ballet Hispanico is a school as
other forms of dance. I took
cestors is taken from them. Their
acknowledged as the nation's pre-
well. "The company is the tip of
ballet, modern, and flamenco, and
Cover: Nancy Turano and Jose
proud symbol, the eagle, carried
eminent Hispanic-American dance
the iceberg," says Roosevelt.
I like all of them."
Costas of Ballet Hispanico of New
by a male dancer, is draped in
company and school. It is in-
Though the company is nationally
When asked about the dance
York perform Cada
black. Women, "seers" of the
novative and eclectic, incorporating
known, she feels that "the school
pros who have influenced her most
Noche
Tango.
village, cross the floor mournfully
flamenco, classical Spanish,
and the training is the bedrock of
she answers, "Anna Sokalova,
Photo by Bruce Laurance.
in black shawls, lamenting the
popular Latin American, and tradi-
Ballet Hispanico."
Marachi Carmelita, and Bob
pain of women and of all people
tional Caribbean dances with ballet
That training seeks to promote
Fosse." She recalls with admira-
Reprinted by permission.
in time of war and sadness. By
and modern techniques.
an appreciation of North America's
tion the dancing of Carmen Amaya
now the dancers are covered with
Under the artistic direction of
Hispanic population and strengthen
and of Rosario and Antonio.
For further information:
sweat. The finale of the dance
Tina Ramirez, three choreogra-
pride in its cultural heritage. It
"They used to play the Roxy and
BALLET HISPANICO
evokes a sort of rebirth. The spirit
phers-Vicente Nebrada, Graciela
also seeks to provide opportunities
167 West 89 Street
Daniele, and Talley Beatty-have
Photoby Bruce Laurance
they were favorites of mine."
of the Indians has not been beaten.
for young people who would not
Ramirez says. "But I always feel
New York, New York 10024
"Dancers, very good!" Ramirez
created dramatic new dances syn-
otherwise have had the chance to
that we have to grow from past to
212/362-6710
says with a smile. "You won't
thesizing traditional Hispanic
develop their full potential.
present."
-R.T.
The New York Times
NEW YORK, THURSDAY. DECEMBER 5, 1996
DANCE REVIEW
Feeling
Adrift
In a Land
Inspiring
Longings,
Anxieties
And Hope
Donald Roman
Lopez and Maria-
Angeles Llamas of
Ballet Hispánico in
the premiere of
David Roussève's
"When Dreams
Explode" on
Tuesday night at
the Joyce Theater.
Sara Krulwich/The New York Times
were inevitably lonely ones.
By JACK ANDERSON
Ms. Rovira, a Barcelona-based
modern dancer. failed to avoid mo-
Ballet Hispánico grows stronger season by
From Ballet Hispánico,
notony in her choreography. But she
season. That was clear on Tuesday night
did believably evoke states of es-
when the company. now in its 25th year under
a collage of
trangement, and the dancers' quiet
the direction of Tina Ramirez. opened a two-
intensity was admirable.
week engagement at the Joyce Theater Two
immigrants' false steps
Jollity and boisterousness pre-
new productions showed the troupe's in.
vailed in a revival of Vicente Nebra-
creased choreographic sophistication. and
and fresh starts.
da's "Batucada Fantastica,' a work
the entire evening revealed that the dancers
of 1982 inspired by carnival in Rio de
Janeiro. Choreographers the world
had acquired fine stage presences.
David Rousseve's "When Dreams Ex-
over have depicted carnivals of
plude." in its world premiere, was often
many locales and historical periods.
scene 111 which the cast chattered manically
dreamlike in manner, and a figure who sym-
but what made this one special ordi-
in several languages, one dancer reciting the
bolized a vision of the Virgin Mary entered at
nary was its formal structure. It
English tongue twister that begins, "Betty
the beginning and end. But the piece as a
began with solos for eight dancers,
Botter bought a bit of butter." All the bab-
whole concerned the very real if sometimes
then brought them and four other
nightmarish problems of immigrants. For-
blings sounded equally nonsensical.
performers together for a revel to
Although Mr. Roussève's panoramic chor-
mally. it was a choreographic collage of brief
recorded percussion music by Lu-
cography made it impossible to have deep
ciano Perrone.
scenes, and the accompaniment included re-
concern for any specific character. the over-
corded songs by Selena and texts by Mr.
The giddy and apparently unstop-
Rousseve that were both heard on tape and
all energy of his production made it spell-
pable wigglings of Shedrack Ander-
binding. And when the 11 dancers repeatedly
son 3d and the way Lisa Nafegar
spoken and chanted by the dancers.
rose and fell and rose again, the actions
The dream of the Virgin Mary gave way to
suggested that she was someone pos-
became signs of immigrants' aspirations.
hard-edged sequences :i: which dancers
sessed by benevolent spirits made
disappointments. false steps and fresh starts
two solos especially notable. But the
pounded a drun: with their hands and the
Uproctednesss and uncertainty also pre-
other solos had their own charms.
floor with their feel 10 reveal the intensity of
vailed in another work for 11 dancers, Maria
Hector Montero seemed to be sum-
immigrants longings. hopes and fears. The
Rovira's "Tierra de Nadie," which received
moning merrymakers to join the fes-
emotions they expressed led to frantic activi-
its company premiere. The cast assembled
tivities. Veronica Ruiz looked volup-
ty.
on a tiered platform and sometimes descend-
tuous, Alessandra Corona was care-
A new land may have aroused new hopes III
ed from I! 10 dance to accompanying raped
free, both Christina Gonzales and
Mr Roussève's characters. Yet there were
music by Joan Albert Amargos, Salvador
Donald Roman Lopez were forceful
also many episodes in which dancers ex-
Nieblas and Ms. Rovira that ranged from
and Pedro Ruiz danced a choreo-
pressed anxiety. When one person asked an-
melancholy accordion waltzes to electronic
graphic crescendo that beganquierly
other. "Where are you from?" that simple
rumblings. Everyone looked alienated from
and ended wildly.
question led 10 frenzied outbursts of move-
everyone else. and the choreographic crowds
Ballet Hispánico continues
ment. Linguistic confusion dominated a
through Dec. 15 at the Joyce, 175
Eighth Avenue, at 19th Street. Chel-
The New York Times
NEW YORK, SATURDAY, DECEMBER 7, 1996
DANCE REVIEW
A Ballet Recreates True-Life Obsession and Murder
By JENNIFER DUNNING
ter stage. Then "Idol Obsession"
The dancers rise to every occa-
tells its story proper in scenes of
sion. But it is Patricia Zipprodt's
Tina Ramirez cannily touched all
Selena performing and dressing and
delicious costumes that save the
the bases in her choice of three new
undressing behind a costume rack
piece, some of them modeled on
dances for her Ballet Hispánico in its
that is pushed across the stage from
those actually worn by Selena. Ms.
winter season at the Joyce Theater.
time to time by a mousy little minion
Zipprodt's use of vivid color and
The company has already presented
who gazes longingly at her idol. In
wildly different fabrics is wittily
a dramatic narrative piece by David
the two final sections, the woman
over the top, though the wafting tur-
Roussève and some stylish Euro-
shoots Selena and then repents.
quoise Guadalupe costume looks jar-
pean modern dance by Maria Ro-
Mr. Faison is a master at setting
ringly out of place, an attempt, per-
vira. On Thursday, there was fabu-
and changing scenes with flowing
-haps, to evoke Hispanic religious tra-
lous spectacle from George Faison, a
bursts of dancers, and one of the best
dition in an otherwise stylized set-
Tony Award winner, in his "Idol Ob-
things about "Idol Obsession" is the
ting. Tom Sturge designed appropri-
session," seen in its world premiere.
seamless way he shifts from stage to
ately showy light.ing. The program
Mr. Faison's dance takes a long,
backstage to audience. But the new
also included the season's first per-
exuberant look at the life and death
piece is otherwise not up to his usual
formance of Alberto Alonso's 1994
of Selena, the young Tejano pop star
level of invention. There is no way of
"!Si, Señor! !Es Mi Son!." Set to
who was killed by an obsessed fan
making this story subtle, and Mr.
music by Gloria Estefan, the suite of
two years ago. Set to music by Eddie
Faison does not. At the same time,
dances is ambitious in a quieter way
Palmieri and Selena and the Barrio
his characteristic warmth and exu-
than the Faison piece, but both ap-
Boyzz, "Idol Obsession" plunges the
berance are missing. "Idol Obses-
pear to be part of Ms. Ramirez's plan
viewer into the chaotic whirl of that
sion" has a chill heart.
to depict and celebrate Hispanic life
life.
The murder gets lost in the flow,
and culture in their every facet.
A prelude suggests the context of
though a few moments of contrition
Mr. Alonso's hand:some piece,
the singer's life, posing Selena
in the final scene, set poignantly to
based on a dance form popular in the
Emanuela Lattanzi), her fan Yo-
the song "Y Eres Tu," give the trage-
1920's and 30's, is intende d to portray
landa (Veronica Ruiz), La Morte-
dy a needed feel of catharsis. But
Cuban society, for instance, but the
The Promoter (Pedro Ruiz) and Our
there are glimpses of Mr. Faison at
piece also suggests some forces at
Lady of Guadalupe (Alessandra Co-
his funny best, as in a snazzy, slightly
play in Hispanic tradition. It. is a
nona) in shifting configurations cen-
teasing little quartet for the singer's
perfect showpiece for this sleek,
backup group, Los Dinos, which
beautifully trained company of "radi-
gives the men the look of pop gau-
ant young dancers, a company that is
chos. But there are also a few too
thoroughly of its time but has not lost
many show numbers, set pieces that
the humanity that distinguish ed it at
do not even reiterate the theme. The
the start of its 26-year history
razzle-dazzle becomes numbing.
NEWMEXICO'S
LEADING
NEWSPAPER
ALBUQUERQUE JOURNAL
Tuesday, April 22, 1997
Troupe blends classical clarity, modern technique
BY JENNIFER NOYER
For the Journal
Sunday's performance by Ballet Hispani-
"When Dreams Explode," by David Rous-
CO proved beyond doubt that this Ameri-
seve, dealt with the overpowering needs
can/Hispanic dance group deserves its rep-
which motivate immigration, as well as
utation as an award-winning world-class
with what is left behind in the homeland.
company. For your own sake, please see
these dancers tonight.
His piece used an excruciatingly emo-
The clarity of classical ballet line is com-
tional text, also by Rousseve, that followed
bined here with the weightedness of mod-
the dreams, struggles, and failures of a
ern dance technique to present both 20th-
woman who sneaked across the southern
century ideas and the social and emotional
border with her baby.
realities of contemporary American life.
"Idol Obsession," choreographed by
All of the choreography has been created
George Faison, reveals Selena, the cross-
within the last 30 years.
over artist whose first language was Eng-
Tina Ramirez has been artistic director of
lish, struggling through a myriad tacky
Ballet Hispanico for the 25 years of its exis-
State Fairs to gain mainstream American
tence in New York City.
recognition.
She describes the company's work as a
Danced to music by Eddie Palmieri, Sele-
fusion of contemporary dance and the His-
na and the Barrio Boyz, the piece was a
panic culture existing in New York City,
modern morality tale in which Death and
stressing the diversity of the dancers' back-
Our Lady of Guadalupe struggled for the
grounds. In this production the dancers
soul of Yolanda, Selena's obsessed fan.
come from Colombia, Cuba, Venezuela,
Pedro Ruiz danced the roles of both Death
Italy, Israel, Puerto Rico, Alabama, Texas
and the Promoter. In each role he tried 10
and California.
seduce Lisa Nafegar, as Selena, and Veroni-
The three long works presented Sunday
ca Ruiz, as Yolanda. with the intoxicating
revealed three different worlds of experi-
sound and moves of Tex Mex glitz.
ence, but all dealt with the idea of people
struggling to fulfill their dreams.
Faison's choreography moves at fever
"Tierra de Nadie," or No One's Land,
pitch throughout, with good humored fun
choreographed by Maria Rovira, described
poked at the glitzy acts seen from Nashville
to Austin. Selena had to travel all over the
an emotional landscape. People come, inter-
act and leave with brief interactions and
country, performing constantly at these
minimum communication.
places.
Rovira's piece opened with a female solo
The third song. La Carcacha. brought out
figure at downstage center with her back to
Los Dinos, three dynamic young men in
the audience. She presented the rolling
cowboy outfits with ruffled 'sleeves anc
head. and side slashing rocks of the upper
black Stetson hats. Donald Roman Lopez.
torso that became the basic thematic mate-
Hector Montero and Shadrack Anderson ID
rial for the ballet.
danced the horseback-riding patterns with
Each subsequent dancer, entering one by
all the audience-grabbing self promotion
one, introduced a particular take on his or
typical of these acts.
her ethnic relationship to the North Ameri-
The ballet ends with Death triumphant.
can environment with hand gestures. They
Yolanda has fallen into his arms. and she
then moved to bleachers upstage to watch
and then respond to others' movements.
destroys Selena.
Flamenco canta melodies emerged dri-
An apotheosis follows in which Selena
ving the strongly athletic and angry move-
reappears in flowing white. She raises her
ment. as the dancers ranged up and down
arms, and lifts her leg in a side extension
the bleachers. There was total torso
that doesn't want to end. When Death and
involvement as the dancers swung into con-
the Virgin drape a yellow chiffon cloth over
tractions, rolls, leaps and falls; all joined
her she is enshrined.
together with jazzy urban struts.
THE DAILY GAZETTE
Albany, New York
Saturday, May 10, 1997
Latin passion burns
for Ballet Hispanico
By WENDY LIBERATORE
For The Daily Gazette
REVIEW
ALBANY - Fire and passion race
So many sections of this dark and
through the minds and muscles of Bal-
haunting work resonate. At one point,
let Hispanico.
the dancers move from one side of the
The 11-member contemporary
stage to the other as if on a conveyor
belt. There is a sense that their land
dance ensemble. consequently. en-
gaged kinetically with its high energy
manufactures these youngsters and
and high drama program Thursday
there is really no alternative to this
night at The Empire Center at the Egg.
endless cycle.
Ballet Hispanico was a wonderful
The men's variation was. as ex-
choice as the dance series finale in
pected. dynamic and restless. full of
the Egg's 1996-97 season because its
punches in the sky and sudden tours
appearance can keep the excitement
en air. The women's variation was
for next season on a high. Directed by
most hypnotic as they rolled their
Tina Ramirez. the dancers are an at-
hips. swaying their skirts in a sinewy.
tractive and technically refined group
pas de six.
that presented a triple bill of theatri-
"When Dreams Explode." choreog-
cal works.
raphed by David Rousseve. was anoth-
No ballet here.
er potent and woeful work. But this
one. at least. held a dim glimmer of
Contrary to its name. Ballet Hispan-
hope for its players. The work. set to
100 combines modern. jazz. flamenco.
text. percussion generated by the
pop and Latin dance into a hybrid that
dancers and music by Selena. told the
reflects its Hispanic roots.
stories of those who left their beloved.
The strongest work of the evening.
but impoverished homes in pursuit of
Tierra de Nadie" (No Man's Land").
dreams. Those who emigrated. how-
was the one created by the least estab-
ever. did not always discover their
lished choreographer. Maria Rovira.
dreams. Instead. they suffered further
In the piece. Rovira paints a disturb-
hardships and homesickness.
ing portrait of lost youths - those who
traded the warmth of humanity for a
Though deeply moving. (the story of
the woman's child being gunned down
cold gang mentality.
on the barrio streets drew tears from
Lisa Nefegar mesmerized in the
the audience) Rousseve's epic was a
opening solo of "Tierra de Nadie" to a
bit too long. Also the text often over-
sorrowful accordion melody. She
shadowed what the captivating
slowly weaves her arms and flops
dancers were doing on stage.
about like a rag doll. her vulnerability
prevalent. As the music picks up its
The evening closed with the flashy
pace. almost to a polka tempo. she
"Idol Obsession." Choreographed by
frantically flies through her variation.
George Faison. it retoid the tragic sto-
only to be resigned to her loose-lim-
ry of pop singer Selena. Set to Selena
bed lament as the accordion returns
songs. the true star of this work was
to a mournful wail.
Selena's dresser. Yolanda. danced
with vigor by Veronica Ruiz. As Sele-
She fades and the lights are lifted to
na's star rises. Yolanda melds her
the next scene. With bleachers as the
pure religious beliefs with the seduc-
backdrop. cast members one by one
tive allure of death.
strut and swagger out, "West Side Sto-
ry" style. The men flex their muscles
The only problem with the last work
and furrow their brows. The women
was the volume of the music. It seem-
huffily flip their skirts and heads.
ed the whole theater vibrated like a
They all move to sit on the bleachers.
rock-concert hall. thus detracting
each establishing the group's turf to a
from the clearly structured story Fai-
screeching. electric soundscape.
son told.
The Arizona Daily Star
Serving Tucson and Southern Arizona
Final Edition, Tucson, Sunday, April 27, 1997
'Selena' tale
The character Yolanda got a
rather sympathetic treatment
here, though. She came off as a
fitting for a
pitiful "All About Eve" type, over
whom the forces of good and evil
actually do battle.
mini-ballet
Struggling for power over Yo-
landa's soul were Our Lady of
Guadalupe (Alessandra Corona)
By Gene Armstrong
and the devilish La Morte (Pedro
The Arizona Daily Star
Ruiz, who significantly also por-
The short,
trays a concert promoter).
tragic life of
The score combined Selena's
Tejano singer
LATE
recordings with some funky stuff
Selena is the
REVIEW
by the Barrio Boyzz and Eddie
perfect subject
Palmieri's scintillating salsa,
for a mini-bal-
which enhanced the dramatic ten-
let because the
sion at the piece's finish.
story already
David Roussève, whose com-
has become
pany Reality performed here ear-
part of modern
lier this season, choreographed
folklore.
"When Dreams Explode."
Even
if
dance fans haven't seen the re-
A challenging, postmodern
cent bio-pic "Selena," most of us
dance-theater piece, it. incorpo-
remember the much-publicized 2-
rated the stories and voices of
year-old case in which the former
Ballet Hispanico's dancers, who
president of Selena's fan club
come from all over the world.
murdered her friend and idol.
Primary were expressions of dis-
And through choreographer
enfranchisement and poverty.
George Faison's "Idol Obses-
Roussève also used dialogue,
sion, Ballet Hispanico of New
chanting, clapping and rhythmic
York last night recounted the sto-
foot-stomping, as well as one
ry in succinet, kinetic fashion.
Selena number. Some of the sto-
The fierce, beautiful dancers
ries were quite affecting, but the
of Ballet Hispanico returned to
piece could have used an editor.
Tucson after more than six years
Its length inspired much restless
to perform "Idol Obsession" and
squirming in the audience.
two other pieces in the University
It's a shame that the concert's
of Arizona's Centennial Hall.
opener, "Tierra de Nadie" by
The company will present an
Spanish choreographer María
abbreviated performance today.
Rovira, won't be repeated today.
specially designed for families. It
The finest work on the bill. it
will include the Selena ballet.
combined unique, stylized gesture
Only a few months old. Fai-
with touches of flamenco. jazz.
son's piece integrated ballet tech-
ballet and modern dance.
nique and jazz-dance soft-shoe
The dancers displayed their vi-
clichés - showing off the obliga-
brant, boundless energy in a plot-
tory Jerome Robbins influences -
less work that nevertheless boast-
with a little folklorico and even
ed much drama.
some quebradita-style dancing.
Nafegar began with a wonder-
Although Lisa Nafegar showed
ful solo, her arms and torso
incredible poise and personality
seemingly manipulated by mario-
as Selena, the explosive Veronica
nette strings. When the unseen
Ruiz performed as well as the
hand let her drop, she bent back-
jealous, fixated Yolanda Saldivar.
ward well beyond what seemed
to be human limitations.
Convicted of killing Selena 111
October, 1995, Saldivar was sen-
tenced to life in prison.
MILWAUKEE
JOURNAL 1996 SENTINEL FINAL EDITION
-
A stunning, athletic
look at ethnic identity
The strength of the dancers of
ourselves for the cliched, accusa-
Ballet Hispanico was. evident
tory protest; instead, the anger
three years ago, when the New
gradually, inexplicably, turns to
York troupe toured the state
joy as the rhythms of chant and
with repertoire that was, for the
clap turn richer and, well, more
most part, weak.
Latin. The transition is transcen-
The company returned Thurs-
dent: People will have joy.
day night, presented by Latino
Arts Inc. and the United Com-
Ballet Hispanico's
munity Center. The Pabst The-
magnificent dancers take
ater was sold out.
on serious themes
With the benefit of intriguing
dances by Alberto Alonso, David
Rousseve made a dark dance
Rousseve and Vicente Nebrada,
with a redeeming moment.
Ballet Hispanico's dancers are
Alonso's "Si, Senor! Es Mi Son!"
nothing short of magnificent.
is a bright dance with an omi-
They are astoundingly athletic.
nous undertow.
They are musical from the fin-
gers and the toes down into the
Alonso glosses the ballroom
hips (where it counts). All 13 of
and street dancing of Cuba,
them crackle with style and cha-
demonstrating the former in an
risma. They are alert to the more
elegantly flirtatious white-on-
profound aspects of the dances.
white Guaracha. Never mind
These choreographers have
you could fit a Bible into the
serious ambitions. All of them, to
space between their bodies; sex
various degrees and in different
percolates palpably beneath the
wavs, examine ethnic identity.
high society manners.
Rousseve's "When Dreams
Throughout, Alonso seeks to
Explode" is the most explicit. A
reveal the hidden influences be-
voice-over tells the tragic tale of
hind urban, civilized Cuba, the
an immigrant Mexican woman.
African spirit dancer lurking on
Another voice intones a recur-
the edges of the ballroom, the
ring chant: What do you have?
Indian ritual behind the masked
What do you dream? What do you
street revelers. In one shocking
want inside your life?
scene, a woman is singled out,
The dance is like a dream. It
ostracized and, apparently, sacri-
unfolds in semi-darkness, in epi-
ficed.
BENNY SIEUATARY PHOTOGRAPHER
sodes with little stylistic relation
Nebrada's "Batuiada Fantasti-
Emanuela Lattanzi and Pedro Ruiz of Ballet Hispanico perform at the
to one another. A fairly conven-
Pabst Theater, part of the 11th annual Slice of Mexico. The performance
tional waltz, for example, butts
ca" comprises eight solo varia-
was sponsored by Latino Arts Inc. and the United Community Center.
up against what might be a bi-
tions and an ensemble coda.
zarre rhythmic therapy session,
Each is to a different Afro-Brazil-
with the dancers confined within
ian rhythm, and each takes a
a ring of chairs. That session be-
form of Brazilian Carnaval danc-
gins with fierce, lockstep rhyth-
ing to dizzying virtuoso heights.
mic chanting and pounding of
The dancers soared high above
hands upon the floor. We ready
them.
By ToM STRINI
Journal Sentinel dance critic
The Hartford Courant
Saturday, March 2, 1996
Troupe brings contemporary flair to Spanish dance
By TONY ANGARANO
Courant Dance Critic
quartet of Linda Caceres and Pedro
B
allet Hispanico, the 12-mem-
Ruiz, Veronica Ruiz and Lopez, one
ber company performing at
woman wearing high-heeled danc-
The Bushnell this weekend,
ing pumps, the other in ballet
raised the temperature in unexpect-
slippers.
ed ways. Spanish dance uses gravi-
Alonso's choreography frequent-
ty to ground the intricate steps and
ly uses leg extensions of ballet and
undulating body rhythms emanat-
majestic shoulder/arm/hand move-
ing from the torso; classical ballet
ments associated with traditional
defies gravity to create light, airy
Spanish dance; the Ballet Hispanico
movements. Ballet Hispanico ac-
artists integrated both in beautifully
complishes both, fusing balletic
coordinated gestures.
grace and Spanish style in a com-
Oller's "Good Night Paradise,"
pletely contemporary idiom.
set to sultry music by Rodriguez,
Performing recent works by such
Rossell and Villavecchia, presented
diverse choreographers as Alberto
three men and four women (Morris-
Alonso, Ramon Oller and Graciela
sey, Calamia, Corona, Pedro Ruiz,
Daniele, the company provided fas-
Vilaro, Jefferson and Levitin) en-
cinating examples of the varieties of
closed in a claustrophobic space
Spanish dance updated.
theatrically lighted with stark in-
Alonso's "Si, Senor! Es Mi Son!,"
dustrial lamps and atmospheric
set to songs by Gloria Estefan,
shadows. An expressive. moodv
evoked Cuban culture and its
work that explored shifting rela-
changes through five sequences.
tionships, it created an intense
Wearing black and white costumes
world of dangerous passions. The
designed by Randy Barcelo, the en-
steps and movements leading to the
semble, featuring Lynne Morrissey
stunning final moment reflected
and Pedro Ruiz, Yael Levitin and
complex, challenging choreogra-
Marc Calamia, Rebecca Jefferson
phy that revealed the naked soul.
and Eduardo Vilaro, Alessandra Co-
How do contemporary Hispanics
rona and Amir Levy, Natalia Zisa
perceive life in America? Daniele's
and Donald Roman Lopez as the
"El Nuevo Mundo" offered a spin
seductively sinuous partners, in
on history through the gestures and
lithe, hip-swiveling movements
attitudes of elegant young people
rooted in traditional Spanish dance
having fun with their musical cul-
interpreted from a New World per-
ture. It's also a fun piece for the
spective. Particularly memorable
audience as the Ballet Hispanico
was the "Bolero" section with the
ensemble moves with energizing,
perfectly controlled abandon.
Los Angeles Times
THURSDAY, MARCH 30, 1995
Ballet Hispanico: On the Move in So Many Ways
Several Different Cultures Influence the Company's Work, Known for Mixing Classical Ballet With Spanish Dance
also performs Saturday at Orange
sort of just happened. As the com-
Coast College in Costa Mesa.
pany and the school grew, I found I
The company has toured three
had to devote myself to building
continents and played for an esti-
the institution."
mated 1.5 million people since its
The obstacles have been consid-
1970 inception; it is known for
erable, however. A particular
mixing classical ballet technique
problem is the difficulty in per-
with Spanish dance forms. It per-
suading patrons to pick up the tab
forms mostly commissioned works
for building the repertory. "Money
set to Spanish and Latin American
for new choreography is hard to
music, ranging from traditional to
get," says Ramirez, who recently
avant-garde, that are as varied as
announced a $6.8-million fund-
Latin culture itself.
raising drive to pay for new reper-
The company's 12 dancers-who
tory.
hail from Argentina, Italy, Cuba,
Ramirez's goals have not
CORI WELL BRAUN / For The Times
Israel and the United States,
changed since the company began,
POPULAR: Variety is key to
among others countries-are
she says. "I was aiming for people
Ballet Hispanico's popular ap-
trained in ballet and modern dance.
who were not Hispanic to know us
peal. The troupe, nearing its
Their particular brand of Spanish
and need us." She wanted, in
25th anniversary, performs at
dance employs "weight and move-
particular, to remedy the popular
Occidental College tonight.
ment in the upper torso," as Rami-
misapprehension of Latinos as
rez describes it, but with a distinct-
monocultural and strictly
Above, Tina Ramirez, the com-
ly Latin flavor.
working-class. "Twenty-five
pany's artistic director. F1
The eclecticism is deliberate and,
years ago, the conception that
says Ramirez, not without preced-
people had of Hispanic people was
ent. "From the beginning I saw the
[limited]," she says. "The only ones
By JAN BRESLAUER
possibilities of the mixture," she
people saw were the ones in low-
SPECIAL TO THE TIMES
says. "It exists in Spanish dance:
paying jobs. They didn't see the
allet Hispanico is the antidote for
Look at the turnout of the feet.
Hispanic people who go to the
B
anyone who thinks Spanish dance is all
"It has been in modern dance for
Metropolitan Opera."
clacking castanets and combustible
a long time too," Ramirez contin-
Her second motive was even
cha-cha-chas. So says Tina Ramirez, the
ues. "Look at the way Martha
more pragmatic. "I was teaching
Graham would have her costume
kids dance and I saw that there was
company's artistic director.
cut low on the hip. That's from
a lack of opportunities for them in
"Twenty-one nations speak Spanish and
Spanish dance."
the market. There was no Hispanic
there are variations, similarities and differ-
Ramirez's agenda was to refine
company expressing what we are
ences in the cultures." says Ramirez,
and encourage the growth of this
expressing today. I wanted to give
speaking by phone from her company's
hybrid form. She has accomplished
opportunities to the dancers that I
New York studios. "Although people call it
that goal in large part through an
was training."
folklorico, there's actually a great mix of
emphasis on new work.
Today. the situation is better.
styles. I am proud of my culture and want
Indeed, she prides herself on
"We've been accepted more now
to show it in all its beauty."
being forward-looking. "I am a
and more doors have opened,"
In fact, several diverse traditions com-
woman of the 20th Century," she
Ramirez says. "I see more dancers
bine under the rubric of Spanish dance.
says, having commissioned more
who are Hispanic now. but I wish
"There is European dance, and all of that
than 50 new dances for her compa-
there were more who were chor-
culture that was transported to the Ameri-
ny from such recognized artists as
eographers."
cas." says Ramirez, a Venezuelan-born
Vicente Nebrada, Graciela Daniele
The faces in the house are also
and Susan Marshall.
changing. "We've always attracted
protégée of New York Spanish dance
legend Lola Bravo. "Then there was the
Yet newness is certainly not her
a mixed audience," says Ramirez.
only criterion. "I like dramatic
"The difference is that now I get
influence of the Indians and the blacks.
That's why, in one type of dance. there is
works because that is the way that
more Hispanics in the audience
I see dance," Ramirez says. "And
than I did at the beginning, espe-
such a great variety."
more young choreographers are
cially when we go to California.
That variety is key to Ballet Hispanico's
trying to get back into dramatic
The population is rising and their
popular appeal. The company, which is
form, too, though maybe not in the
salaries are rising, so they have
soon to celebrate its 25th anniversary.
same narrative way as before."
more money to go places."
performs at Occidental College tonight,
Ramirez used to choreograph for
And perhaps most important, the
where the bill will include the West Coast
Ballet Hispanico, but she stopped
culture at large has begun to
premiere of "iS{ Señor! ¡Es Mi Son!," a new
about 15 years ago, turning her
regard diversity as an asset rather
work by Cuban choreographer Alberto
full-time attention to administra-
than a liability. "We were always
Alonso, set to music from Gloria Estefan's
tive matters. "I didn't set out to
multicultural," says Ramirez.
Grammy-winning album "Mi Tierra." It
make an institution," she says. "It
"Now, people have caught up to
us."
The New York Times
THURSDAY, DECEMBER 1, 1994
Alessandra Corona with other members of Ballet Hispanico in "Good Night Paradise," by the Catalan choreographer Ramon Oller.
Johan
Barcelona's Demons Pay a Searing Visit
By ANNA KISSELGOFF
If Mr. Ollér's piece strikes a deep-
Catalan lyrics, sung beautifully on
er chord, it is because he reaches
tape by Marina Rossell, the piece
It may look like the usual Euro-
into the universal while preserving
conveys a wide and recognizable
pean dance theater: a man keeps
something distinctive and national.
range of emotions.
throwing wine out of a glass into the
Bunuel did the same with his films.
For all his theatricality (the set is
air, and women smack wet shawls
In this sense, the current modern-
by Chris Barreca, the magical light-
against the floor within a space
dance boom that has emerged in
ing by Roger Morgan), Mr. Ollér
penned on three sides by a carved
Spain, especially in Barcelona, has
makes his point through movement.
balustrade.
produced a generation of experimen-
The basic athleticism of his style is
Nonetheless Ramón Ollér, a young
talists who could be called the chil-
focused on curved shapes, quick dy-
Catalan choreographer, has created
dren of Bunuel and even of Salvador
namic changes and repetitive motifs
one of the most riveting dance pieces
Dali.
that acquire new meaning in differ-
of the year and he has a fierce way
At the same time, thèir dance idi-
ent contexts. Early in the piece, the
with movement and a wondrous ca-
om is part of an international style of
women beat the backs of their wrists
pacity to surprise. No one interested
highly physical partnering, favored
against their partners' chests. By
in experimental work of any kind
also by Americans like Amanda
the end, the men do the same to the
can afford to miss Mr. Ollér's "Good
Miller and Susan Marshall. Tina Ra-
women.
Night Paradise," which had its pre-
mirez, Ballet Hispánico's artistic di-
At the end of the piece, the rela-
miere on Tuesday night when Ballet
rector, has invited both choreogra-
tionships have changed and evolved.
Hispánico opened a two-week sea-
phers to present premieres on the
At one point the women are left out
son.
company's second program, begin-
when two pairs of men yank them-
The two other new works on this
ning tomorrow. If Mr. Ollér's suc-
selves into unexpected embraces.
program at the Joyce Theater (175
cess is a portent, then Ballet Hispá-
But later there are repeated runs by
Eighth Avenue, at 19th Street, Chel-
nico has turned a corner, comple-
the women into the men's arms.
sea) were choreographed to record-
menting its mainstream repertory
"Paradise" is too long, but one
ings by the pop superstars Gloria
with a challenging innovative wing
never knows what Mr. Ollér will do
Estefan and Willie Colon. As such,
that its admirable dancers introduce
next. Even the final desperate and
they are worlds removed from the
with stylishness and gusto.
tender embrace has a surprise. The
dark demons that haunt the avant-
When I saw Mr. Ollér's work at the
commissioned music by Eduardo
garde precincts of Barcelona.
1992 Lyons Dance Biennial devoted
Rodriguez, Ms. Rossell and Maurici
"Sí Senor! Es Mi Son!," a smooth
to Spanish dance, it stood out in its
Villavecchia is a perfect emotional
piece to Ms. Estefan's music, sig-
choreographic sophistication and
and rhythmic fit.
naled the local comeback of the Cu-
also shared his colleague obsession
The superh cast included Lynne
ban choreographer Alberto Alonso.
with sexual and religious taboos.
Morrissey, Marc Calamia, Alessan-
Mr. Alonso is best known for "Car-
"Good Night Paradise" is typical-
dra Corona, Pedro Ruiz, José Costas,
men," created at the Bolshoi for
ly joyless, and might or might not
Rebecca Jefferson and Eduardo Vi-
Maya Plisetskaya and also danced
take place in a symbolic brothel. One
laro.
here by Alicia Alonso, his former
has only to recall the young Picas-
Mr. Nebrada's ballet is a murky
sister-in-law. Vicente Nebrada, the
so's images of Barcelona's bordellos
tale about a Puerto Rican wake, with
artistic director of the National Bal-
to recognize the atmosphere of
the hero's life seen in flashback.
let of Caracas. contributed a less
pleasure made routine. And yet the
Mr. Alonso, who now lives in Mexi-
conerent piece, "El Baquiné," to Mr.
three couples and odd man out on-
CO, has a more interesting take on
Colon's salsa music.
stage might also be the residue of a
Ms. Estefan's songs from the album
Both are suites that draw shrewd-
dinner party gone wrong.
"Mi Tierra." Past and present
ly from folk traditions and contem-
Bedspreads are on the floor. A
merge in his prologue with Cuban
porary social dance. But compared
woman squeezes water. from a
carnival figures and romantic en-
with Mr. Ollér's grim and witty ex-
sponge above a sleeping man. Wine
counters. The idiom is a mix of ballet
ploration of human relations, they
bottles and glasses on a table evoke
and social dance. Mr. Alonso is never
have only a surface polish.
earlier refreshment. The women are
less than a professional and his ball-
Paradoxically, such hip-swinging
in ruffled underpants and halters,
room episodes are especially ele-
dances carry the risk of trading on
the men in vests and pants (the
gant. Randy Barcelo designed the
Latin stereotypes. The rejoinder
costumes are by Mr. Ollér and Susan
striking costumes.
night be that one man's cliché is
Ruddie). Macho relationships ob-
another man's truth.
tain. Yet even with its local color and
Dayton Daily News
MONDAY, OCTOBER 17, 1994
Hispanic ballet
winningly offbeat
By Terry Morris
DANCE CRITIC.
REVIEW
A
S we jockeyed for parking
with football fans headed
gave us the Nina, Pinta and Santa
for a nearby high school
Maria as three women with long
game Friday, those of us going to
braids that were the ships' tethers
the Ballet Hispanico at the
and lifelines to Spain.
Northmont Community Auditori-
The middle work, direct from
um might not have given much
Barcelona, offered the taste and
thought to the unusual
mystery of the unknown.
juxtaposition.
Ramon Oller's Good Night
But it was there for the taking.
Paradise, performed to the subtly
Sports fans want their chosen
irresistible Catalan vocals and
teams to win, but what really
guitar of Marina Rossell and
thrills them is the unexpected.
Eduardo Rodriguez, was both
That's what this touring New
low-key and passionate.
York-based dance company deliv-
Friday's performance was co-
ered to at least 1,000 audience
sponsored by the Puerto Rican
members who were perhaps bet-
Cultural Society of Dayton and
ter acquainted with the showy,
the University of Dayton Arts Se-
sexy side of Hispanic dance via
ries in a building well equipped
the tango and flamenco.
for dance.
Friday's pleasing performance
The cast of seven, at first a dis-
included a lot more than those
parate collection of people who
highlight clips, however.
gradually crystallized into ever-
With apologies to Spanish-
changing combinations with
speaking people, for whom foot-
shared qualities and experi-
ball is soccer, all three works on
ences, included four men in tight-
the program scored touchdowns.
fitting pants and sleeveless
The opener, Venezuelan ballet
shirts, and three women in under-
choreographer Vicente Nebrada's
garments who later put on long
revel, El Baquine, set the stage
skirts that had previously served
with fine dancing and good pro-
as everything from blankets to
duction values. It also was load-
towels.
ed with sex appeal and color.
Save for the spindled 10-foot
The closer - Broadway direc-
high barrier at the sides and rear
tor and dance maker Graciele
of the stage, nothing and no one
Daniele's urban update of the
served only a single purpose, in
Christopher Columbus story -
fact. Much was suggested. Noth-
was sophisticated fun with an
ing was explained. And, for once
edge of commentary. Besides a
at least, knowing the score
Cristobal in denim and leather, it
wasn't important.
San Antonio Express-News
Saturday, May 15, 1993
Ballet Hispanico
choreography
delights crowd
By Jennifer Scott
Special to the Son Antonio Express-Newt
Ballet Hispanico's performance Fri-
day night in the Lila Cockrell Theater be-
fore a near-capacity crowd combined
fresh choreography and impressive tech-
nique to create a dance form with multi-
cultural appeal.
The highlight was "Inez de Castro," a
ballet which at once captured the ele-
ments of Greek tragedy, Shakespeare's
"Romeo and Juliet"and a Grimm's fairy
tale.
Alessandra Corona and Pedro Ruiz
beautifully portrayed nobelwoman Inez
de Castro of Spain and Prince Pedro of
Portugal, lovers who never get to marry
because of their nationalities. Jose Cos-
tas as King Alfonso and Eduardo Villaro
as the assassin also gave energetic, in-
spired performances.
The creative choreography, excellent
dancing technique and eleborate cos-
Ballet Hispanico members do the Coda Noche' tango choreograph ed. by Graci-
tumes kept the audience entranced until
ela Daniele with music by Astor Piazzolla. They are (left to right) Jose Costas,
the chilling finale when Pedro becomes
Nancy Turano and Pedro Ruiz. Tina Ramirez is the troupe's artistic director.
king and carries his dead bride to the
throne to be crowned
Review
showcased the talent of three of the com-
A more modern piece, "El Nuevo
pany's male dancers. The twists, turns
Mundo." is a lively 1993 interpretation of
and quick moves of Ted Thomas were
Christopher Columbus' journey to "the
A relaxing selection to just sit back
particularly striking as he portrayed one
New World" in 1492. Dressed as street
and watch, "Ola Chica" capitalized on the
of three immigrants who come to the
kids. nine company members jeer, cheer
flexibility and technique of the Ballet
United States. Lighting and set designers
and create some very sensual duets and
Hispanico dancers. Five dancers moved
Tim Hunter and Pepon Osorio also de-
original moves as they contemplate his-
effortlessly, energetically and gracefully
serve kudos for placing an old car with
tory.
to both waltzes and upbeat tempos.
flashing headlights as the single prop.
A sharp change of pace from the mys-
Constant transitions on and off the
Perhaps the only downfall was a voice
terious "Inez de Castro," this piece even
stage were as smooth as the ebb and flow
blurting a message from the "Immigra-
intertwines comedy into the dancing as
of the tide in this piece translated as "Lit-
tion Service" over what sounds like a
sirens Nina. Pinta and Maria dance in.
tle Wave."
loudspeaker 10 inform those who did not
out and around their floor-lengthibraids
The first selection. "Cafe America.
read their program notes
The Washington Post
MONDAY, APRIL 19, 1993
PERFORMING ARTS
Ballet Hispanico
In its first Washington appearance
Dramatic intensity and sharply
since 1975, the New York-based
etched dancing likewise infused the
Ballet Hispanico proved there's
other works on the program. "El
more to Hispanic dancing than fla-
Nuevo Mundo," by Graciela Daniele
menco and the cha-cha.
with throaty music by Paco de Lucia,
Artistic director Tina Ramirez has
treats Columbus's voyage from the
tapped an eclectic array of contem-
perspective of street kids, with
porary choreographers, among them
enough sizzle to steam the Atlantic.
Talley Beatty and George Faison (of
Three dancers in hot pants-La Ni-
"The Wiz"). Thursday's program at
na (Miriam Kescherman), La Pinta
the Kennedy Center's Terrace The-
(Rebecca Jefferson) and Maria (Ales-
ater featured a premiere by Amanda
sandra Corona)-flirt with Cristobal
Miller, former dancer with and now
(Pedro Ruiz), who also has a sinuous
resident choreographer of the
Isabel (Nancy Turano) to contend
Frankfurt Ballet.
with. El Duende (Jose Costas)
Miller drew her work, "Two by an
weaves among the others with a gui-
Error," from the Uruguayan Eduar-
tar, passionately embodying the His-
do Galeano's "Las Caras y las Mas-
panic spirit brought to the New
caras" ("Faces and Masks"). The
World. The movement is strongly
novel depicts life in the Spanish-
flamenco-inspired; the dancers'
dominated 18th and 19th centuries.
heels on the floor are as crisp as cas-
Miller took her title from a line re-
tanets.
ferring to lovers in a forbidden rela.
Opening the program was Fai-
tionship: "They are two by an error
son's "Cafe America," in which three
that the night corrects."
mechanics (Costas, Ruiz and Ted
The dance is dark, steeped in dra-
Thomas) are swept up in a reverie of
ma, and somber. The music is a col-
escape and excitement in America.
lage of Bach's St. Matthew Passion
Though soulfully danced, the work
and Paco Pena, among others.
sagged during a long stretch of disco
There is no definite plot, yet a feel-
dancing in which it wasn't clear if
ing of pent-up emotion is clear from
this was fantasy or life after (illegal)
the alternately taut and broken lines
immigration. Also on the bill was
of the choreography, superbly ren-
William Whitener's "Ola Chica" ("Lit-
BY BRUCE LAURANCE
dered by the six dancers; however,
tle Wave," after the seaside evening
Jose Costas in Ballet Hispanico's "El
without the program notes one
it evokes), a set of lighthearted
Nuevo Mundo," which views
would be hard-pressed to discern the
dances to five Venezuelan waltzes.
Columbus's voyage from the
stated themes of cultural confluence
-Sarah Kaufman
perspective of street kids.
and spiritual power.
The New York Times
NEW YORK, THURSDAY, DECEMBER 3, 1992
Nan Melville
José Costas of the Ballet Hispanico performs in "El Nuevo Mundo" at the Joyce Theater.
Review/Dance
Ballet Hispánico Presents Columbus With a Twist
in the company is its insistence on a
with the showgirls' braids serving as
By ANNA KISSELGOFF
Hispanic flavor or subject, no matter
his reins.
the diversity of dance idioms that
The flamenco rhythms of the ac-
Ballet Hispánico, ever vibrant, re-
come into play.
companying recording by the popular
turned to the Joyce Theater on Tues-
Pure flamenco, in fact, is rarely
Spanish guitarist Paco de Lucia lead
day night, with a premiere by Gra-
seen in Ballet Hispánico, and this
Miss Daniele into a jazzed-up flamen-
ciela Daniele that is certainly one of
absence, one suspects, stems from
CO vocabulary, full of stamps and
the kinkiest references to the Colum-
the definition of the company as an
claps, but also loose in the hip. Per-
bus Quincentenary.
American dance troupe, not a Span-
haps too hip, or too slick, for its own
In "El Nuevo Mundo," the Niña,
ish one. The very conceit behind "El
good, "El Nuevo Mundo" obviously
the Pinta and the Santa Maria are
Nuevo Mundo" is its perspective on
celebrates something or other.
represented by three showgirls in fe-
Columbus's journey to the New World
Liliana Morales is listed as Miss
line costumes, and a surrogate for
from the vantage point of Hispanic
Daniele's assistant for the choreogra-
Queen Isabella wears a camisole. The
young people in New York,
phy, and Ann Hould-Ward did her
controversial hero is in jeans and a
José Costas begins as a young man
customary fine job with the cos-
leather jacket, and Miss Daniele's
who has a love affair with a guitar in
tumes. Donald Holder's lighting was
overall idiom here is strictly Las
a brilliantly danced solo that exudes
especially life-giving.
Vegas flamenco.
life-giving energy in all its leaps and
The narrative pretext in "El Nuevo
bounds. Mr. Costas, is named here El
The program opened with
Mundo" need not be taken too seri-
Duende, after the soul of flamenco,
"Stages," which traces Miss Ramir-
ously. In what is becoming an annual
and brings the other dancers to life.
ez's own career through images of
tradition at the Joyce (175 Eighth
Pedro Ruiz, another eye-catching
learning through dance. Melissa Soto
Avenue, at 19th Street, Chelsea), this
performer, is the Columbus figure,
was the delightful child who dreams
two-week season is a promise of a
alternating his flamenco stamps with
of becoming a dancer, exemplified
good time.
ballet's pas de chat jumps when he is
later by Miss Turano and; in the fool-
Unusually, the opening program
not playing a bullfighter.
proof surprise ending, by Miss Ra-
consisted entirely of works by Miss
At this point, the action becomes a
mirez herself.
Daniele. In addition to the local pre-
bit confused. María, La Niña and La
Miss Daniele is at her best in
miere of "El Nuevo Mundo," there
Pinta (Alessandra Corona, Miriam
"Cada Noche
Tango." her lowlife
were the familiar "Stages" and
Kescherman and Rebecca Jefferson,
tango ballet, superbly dramatized by
"Cade Noche
Tango." An Argen-
respectively) each have a long braid
Miss Morissey as an elegant but
tine-born choreographer who made
and are glitzy fugitives from a chorus
tough madam, Miss Turano as the
her name on Broadway and in indus-
line. Sexy wife-swapping occurs be-
thrill-seeking bourgeoise, and the
trial shows, Miss Daniele has now
tween a pair identified as a lady
men whose macho gait is wonderfully
found a more consistent artistic out-
(Lynne Morrissey) and a priest (Gui-
captured by Mr. Costas, Mr. Ruiz, Mr.
let for her theatricality.
llermo Asca), and Fernando
Vilaro, Mr. Asca and Ted Thomas.
One of the great achievements of
(Eduardo Vilaro) and Isabel (Nancy
The women, including Celeste Over-
Tina Ramirez as the director and
Turano). Miss Turano, the stand-in
boe, threw themselves around with
founder of Ballet Hispánico is the
for the Spanish queen, wears a jew-
gusto.
versatility with which she has imbued
eled cross on her neck that Cristobal
her dancers without making them
(Mr. Ruiz) finally grabs. He holds it
merely eclectic. The unifying esthetic
up exultantly as he exits, a charioteer
The Miami Herald
MONDAY, OCTOBER 19, 1992
Ballet Hispanico shows spunk, sass
Fine dancing
Morrissey as the frustrated,
DANCE REVIEW
scheming princess; and Vilaro as
displayed in
the sinuously evil Eastern assas-
sin, all giving wonderfully
Ola Chica, by modern/ballet
danced, strongly felt perfor-
mix of styles
choreographer William Whit-
mances. The ending, as Ruiz des-
ener, was both a verbal and phys-
perately tries to recreate his lyri-
By JORDAN LEVIN
ical play on the meanings of ola
cal duets with Corona with her
Special to The Herald
chica (little wave) and hola.
now limp body, finally enthron-
Tina Ramirez' Ballet Hispan-
chica! (hey, girl!). The dancing
ing her with his father's robe and
ico has a lot of style, but it's an
abounded with wavelike motion
crown, was genuinely poignant.
amalgamative one - of classical
and flirtatious interplay among
Spanish, flamenco, modern, bal-
Celeste Overboe, Lynne Morris-
Columbus re-enactment
let. and funky salsa. Saturday
sey, Laura Taber, Eduardo
afternoon at Bailey Hall in
Vilaro, and Jose Costas. To a
The final piece, Graciela Dan-
Davie, the company showed dra-
Spanish-flavored jazzy score
iele's El Nuevo Mundo (The New
matic punch and sexy sass at its
recorded by Paquito D'Rivera,
World), was also the newest.
the dancers undulated their tor-
Staged as a tongue-in-cheek re-
best, with consistently fine danc-
ing. If the company has a fault,
sos with a flip of the wrists, wig-
enactment of the Columbus story
it's a tendency toward flash and
gled their hips, wove rapid steps
by contemporary Latino kids, it
fluff, but it is always entertaining
around each other, got caught in
was an exuberant celebration of
elaborate interlocking partner-
pure style and attitude done in a
and impeccably performed.
ings. It was fluffy and show-offy,
clever pastiche of flamenco, jazz
Cafe America. choreographed
by Broadway and film veteran
but the dancers' flirtatious exu-
and hip-thrusting street dance.
berance made it engaging, espe-
Ann Hould-Ward's trendily char-
George Faison, was a bittersweet
evocation of the immigrant
cially Morrissey and Vilaro's
acterized costumes were an
preening, sensual duet and
essential element.
dream. An early, ominous INS
voiceover hung over Guillermo
Taber's quicksilver sparkle.
To a flamenco score by Paco de
Asca, Pedro Ruiz and Ted
Vicente Nebrada's Inez de Cas-
Lucia, the dancers slipped
Thomas, who danced to music by
between flamenco palmas (rhyth-
Ruben Blades and Julio Iglesias
tro was a beautifully crafted story
dance of a kind they just don't
mic claps) and footwork to butt-
against a glowing car designed by
Peopon Osorio.
make any more. It was aided by
wiggling struts and cries of anda!
Cristobal Colon (Ruiz) was a
In Bernard Johnson's outra-
Donald Holder's smoky melo-
loner in tight jeans urged on by
geously bright suits, they moved
dramatic lighting and Patricia
black-clad ultra-sexy Costas and
through Faison's lushly stretched
Zipprodt's elaborate costumes.
his phallic/inspirational guitar.
arabesques, spinning turns, and
Nebrada used complex group
In a floor-rolling seduction of
social dance references, arms cra-
patterns and richly characterized
Isabel (Turano), clad in a red vel-
dling invisible partners. The cho-
individual choreography to tell
vet micro-mini, Ruiz gets her
reography tended to become
the story of a Portuguese king
bejeweled cross. Then the whole
repetitive, but the dancers cre-
whose son's royal Spanish lover
crew parades him triumphantly
ated vivid characterizations:
is killed through the machina-
across the stage behind Corona,
Thomas a sexy-cool survivor,
tions of a jealous princess. The
Overboe and Rebecca Jefferson
Ruiz cocky and energetic, and
dancers were excellent: Costas as
as the Niña, the Pinta and the
Asca the yearning, naive dreamer
the King; Ruiz the passionate,
SantaMaria, in mod DeeLite-es-
who disappears, leaving the other
yearning prince: Alessandra
que outfits and six-foot-long
two to stalk the stage in anger.
Corona the sweetly open Inez:
braids. Anda! indeed.
The Atlanta Journal
THE ATLANTA CONSTITUTION
Sunday, October 18, 1992
Ballet Hispanico:
sass, class and substance
The mixed program of sizzle and tragedy that
Ballet Hispanico of New York performed Tues-
day at Agnes Scott College was a winner all
around. This powerful, modern troupe with the
Spanish flair may be unique in the nation. The
company's choreography often combines tradi-
tional flamenco technique with a modern vocab-
ulary redolent of Martha Graham.
Both were certainly evident
in the darkly passionate "Ber-
DANCE
narda," based on Federico Lor-
ca's "The House of Bernarda Alba," a story of a
monster mother who, at the death of her hus-
band, locks up her daughters emotionally and de-
nies them - through her watchdog maid (mar-
velously performed by Celeste Overboe) - all
freedom of choice and love. (The mother is rep-
resented only by a strident voice.) The resulting
volcano of repressed emotion erupts into strife,
lust and the murder of the youngest daughter -
to prevent her from losing her virginity.
"Bernarda" was the heavy - and most com-
pelling - work of the evening, though each of the
other dances had its own merits. Notable among
them were George Faison's "Cafe America,"
which centers on three immigrants, their Volks-
wagen bug (stalled on the border between Mexi-
CO and the United States), and their dream of a
better life. By stage magic, the car becomes Cafe
America and the men imagine themselves as real
cool dudes - before reality sets in again.
Other works included "Llamade," a sensual
solo of longing performed by Nancy Turano;
"Ola Chica," a suite of high-spirited dances in the
Latin style; and "El Nuevo Mundo," ostensibly
about Columbus and his voyage into the un-
known, but more like a menu of raging hormones.
Depicting today's street-smart youth, the danc-
ers taunted, tempted and torched each other with
the fire of flamenco and the sass of the streets.
- Helen Smith
THE DENVER POST
Friday, April 17, 1992
OVERNIGHT IN COLORADO
Ballet Hispanico distinct
Dance troupe offers slice of historical, present culture
By Glenn Giffin
solo for Nancy Turano for a study of both
Denver Post Dance Critic
the very Spanish uplifted back and sharp
Without doubt the Ballet Hispanico, di-
footwork, but softened by fluid arms. The
rected by Tina Ramirez, occupies a dis-
choreography was by William Whitener.
tinct place in American dance. Using
But the biggest hit of the evening was
themes of particular Hispanic interest, the
"Ola Chica," also by Whitener, who has an
company of a baker's dozen is a bridge for
exceptionally good. feel for the social
Hispanic culture - both historical and
dance vernacular as be raises it to theatri-
current.
cal status.
On the historic side, "Inez de Castro" is
an unusual piece, a
"Ola Chica" is done to a group of popt-
REVIEW
bloody bit of 14th centu-
lar works, including five Venezuelan
ry Iberian history where
waltzes, which allows each of the five
a prince enthrones his dead lover. But then
dancers to solo. The finale, "Tico, Tico"
Spain and Portugal were always places of
all but brought the house to its feet.
particular passion.
The dancers, Merciditas Manago, Lynne
And dramatics aside, the works that
Morissey, Miriam Kescherman, Pedro
won the audience's heart last night at
Ruiz and Brian Chung are young, exuber-
Macky Auditorium in Boulder were the
ant and fetching personalities in this
pure movement pieces, such as "Cafe
piece. The whole is a summation of what
America," choreographed by George Fai-
one thinks of as "Hispanic" movement: the
son wherein a trio of young men, stranded
free torso, the sudden and sharp focuses,
by a recalcitrant car, dream of how they'd
tricky little essays of the feet.
trut their stuff at the Cafe America. Jose
In dramatic works, such as Vicente Ne-
Costas. Gary-David Shaw and Eduardo Vi-
brada's "Inez," the technique is a cross be-
laro were the heros of this piece.
tween modern and ballet much, to mv eye.
Another short work. "Llamada" was a
indebted to Jose Limon.
JARVIS THEATRE & FILM PROJECTS LTD.
171 West 57th Street NYC 10019 Tel: (212) 541-7776 FAX: (212) 397-0864
presents
BALLET HISPANICO of NEW YORK
in
CUBA
A Tour & Television Show
Only ninety miles off the coast of Florida, Cuba remains an island shrouded in mystery and
misconception. Most American know little about this island or the Cubans themselves, a proud
people with a colorful passionate heritage. As the post-cold war world continues to evolve, it
seems an appropriate time to take a closer look at this island nation, its people and its vibrant
enduring culture.
Jarvis Theatre & Film Projects, Ltd. is an innovator in cultural programming with a long history
of identifying ideas and creating experiences that merit the attention of wide audiences. In 1962,
President John F. Kennedy opened the door for Lucy Jarvis to make a deal with Nikita Khrushcev to
film inside the great halls of Soviet power. The result was an Emmy Award winning television special
called "The Kremlin," which presented the era of detente to the American people. She then won the
exclusive right from the French Ministry of Culture to film inside the Louvre. She was awarded the
"Chevaliere de L'Ordre des Artes et des Lettres" for her efforts there. Ten years later, she anticipated
the normalization of diplomatic relations with The People's Republic of China and won permission to
film inside that country. This spectacular coup resulted in another Emmy Award winning television
special, "The Forbidden City." Again in 1988, she created the first ever American/Soviet joint
venture of a Broadway musical, Duke Ellington's "Sophisticated Ladies," which won worldwide
acclaim.
Now, Jarvis Theatre & Film is bringing this expertise in cultural filmaking to Cuba. We will
bring Ballet Hispanico of New York, America's premier interpreter of Hispanic culture in
dance, to Cuba for a three city performance tour and film their activities while there. We will
record not only what happens on stage, but what happens behind the scenes. The interaction
between our dancers, some of whom are Cuban born, will create wonderful and moving stories of
artistic exchange between peoples of similar cultures but of different origins and circumstance
By having our dancers participate in the cultural life of this vibrant and colorful island nation we
will create a fast paced, informational and entertaining television program depicting Cuba today, a
show that will appeal to both American and international audiences.
The completed television program will be broadcast throughout the United States as part of
Public Broadcasting's (THIRTEEN-WNET) prestigious and award winning series, "GREAT
PERFORMANCES" and distributed worldwide.
IMC
ORDER
Jan. 3. 1989 DATE
JARVIS COLLECTION
STREET DATE
Jan. 23. 1989
SEVEN EMMY AWARDS
TWO PEABODY AWARDS
TWO CHRISTOPHER AWARDS
THE RADIO AND TELEVISION CRITIC'S AWARD
THE THOMAS ALVA EDISON AWARD
TWO GOLDEN MIKE AWARDS
INTRODUCING
THE
A happy
JARVIS COLLECTION
NEW
THE AWARD-WINNING SPECIAL INTEREST SERIES
THE
LOUVRE
THAT WAS THERE FIRST!
RELEASE
for 1989.
B
efore this film, no
one else was ever
permitted to film the
Louvre. The priceless
treasures and incompa-
rable art can now be
shared. Set against the
panoramic history of
France, the Louvre,
regal palace and home to much of
the world's greatest art, becomes
CHARLES
BOY400
THE LOUVRE a film which won fourteen
national and international awards, SO rich in
Hosted by
CHARLES
its story that even the Mona Lisa smiles.
BOYER
THE
LOUVRE
CAT# 32934
so RICH IN ITS STORY
THAT EVEN THE MONA LISA SMILES
THE
Other available titles
THE
JARVIS COLLECTION
JARVIS COLLECTION
THE
THE
FIRST
THE
THE
JARVIS COLLECTION
JARVIS COLLECTION
THE AWARD-WINNING SPECIAL INTEREST SERIES
THE AWARD-WINNING SPECIAL INTEREST SERIES
THAT WAS THERE FIRST
THAT WAS THERE FIRST
EDWIN
EDWIN
NEWMAN
NEWMAN
LUCY
JARVIS
Hosted by
CHICA & THE
THE KRE
VIDEOCASSETTE
DAVID NIVEN
FORDIDDEN CITY
INSIDE THERAL LOWED HALLS
OFSOVIET RUSSIA
Scotland Yard
H
A UNIQUEJOURNEY OF MYSTERY AND GRANDEUR
INCAS REMEMBERED
THE KREMLIN
A RARE LOOK AT THE EXTRAORDINARY
EXPLORE THE MYSTERIES OF AN
CHINA & THE
BRITISH POLICE FORCE
ADVANCED CIVILIZATIONS DISAPPEARANCE
E
nter and discover the rich
Scotland Yard
T H E
FORBIDDEN CITY
treasurers and history of a
INCAS REMEMBERED
government who's ideology has
swept half the modern world.
A
rare behind-the-scenes
look at the extraordinary
E
J
oin us for a very special inside
xplore the mysteries and
look at the mystery, opulence
miracles of a lost civilization.
and grandeur of mankind's
CAT#32579
British police force.
CAT#32574
greatest treasures & civilization.
CAT#32583
CAT#32547
Introduction by EDWIN NEWMAN with LUCY JARVIS.
Color. 60 MN. Suitable for all ages.
DISTRIBUTED BY
monterey home video
FRIES HOME VIDEO
o division of the
$24.95
a subsidiary of Fries Entertainment Inc.
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media
LUCY JARVIS:
Sophisticated Lady
A media icon for more than 30 years, she has bitten of the apple
and gained great knowledge.
by Jeanette Friedman
I
took myself to Lincoln Center in search of facts about
dress in my whole life!! I hate pink! The day you see me in
Lucy Jarvis, TV pioneer and award-winning produc-
pink, I'll be laid out! I didn't say 'sex and corn.' I would nev-
er-a handsome, exuberant lady with a large laugh and
er say that. This stuff sounds like the things the guys said
a very sharp mind. Last spring she teased me with intriguing
when I was the only female in the industry. See, I really felt
tidbits of her past. At the Center's library, I perused a folder
very strongly that these wonderful places I enjoyed going to
of yellowed clippings-Woman Field Marshal Conquers
would be places people would like to see on TV. And it
Kremlin," "Lucy's Scoop Made the Russians See Red,"
worked!"
"Madison Avenue's Miss Machiavelli." and "A Modern
Lucy was the first American to ever film the Louvre and
Marco Polo Visits China." All of them describe a self-
the Kremlin. as well as the Forbidden City. She also did spe-
assured whirlwind who knows how to get what she wants.
cials with Pablo Picasso, evenings at the White House with
One writer said Lucy achieved one of her most
the Kennedys. and news specials that proved to be pre-
acclaimed successes-bringing NBC camera crews to film
scient. She's won. Emmys, Peabodys and a host of other
the Kremlin in 1962-by
distinguished awards.
appearing at a cocktail par-
including her appointment
ty in a cloud of pink chiffon
as a Chevalier in the
and batting her false eye-
Order of Arts and Letters
lashes at Khrushchev. It was
from Charles De Gaulle.
rumored that in fractured
She brought the success-
Russian she whispered
ful Broadway musical,
sweet nothings in his ear.
Sophisticated Ladies, to
"Sex and corn are two
Russia in a diplomatic
foolproof ingredients for a
coup during the early
lady trying to get ahead in
glasnost days. Raisa
business," the article in
Gorbachev said that she
Status magazine quoted
didn't think that she could
Lucy. And then it claimed
Photo: Bachrich
afford to accept the co-
she had "parlayed" her eye-
lash abilities into "a reputa-
Lucy Jarvis
chairmanship of the open-
ing gala with Nancy
tion as the hottest producer in television today." That was in
Reagan. Lucy told her she couldn't afford not to do it, and
1975.
Mrs. Gorbachev accepted. Lucy's a lady who makes things
That same afternoon. I visited Lucy at her Creative
happen.
Productions office in the CBS complex on West 57th. a
block from the Hudson River. We were discussing her trip
to China (she was the first American to film inside the
A
graduate (she refuses to say when) in Home
Economics from Cornell University, Lucy learned
Forbidden City). and she was telling me about the extraordi-
about independence at her mother's knee. "It nev-
nary women she met there.
er occurred to me that I wouldn't do what I wanted to do.
That's when I told her about the pink chiffon and sweet
My mother was my role model. The teacher called my
whatevers in Khrushchev's ear.
mother to school and said, 'You know, Mrs. Howard, Lucy
"Oh my G-d!" she said. "I never owned a pink chiffon
has a long tongue and she talks too much.' My mother
22 Lifestyles
media
looked her straight in the eye and said, You think I'm going
to cut it off? I've encouraged her.' And walked out.
L
ucy's family was from France. Russia. and Wales.
Photo: 'ecil W. Stoughton
Her grandfather went to South Africa at the turn of
the century for the diamond rush. The idea of going
down a hole appalled him, but since the miners wouldn't
leave their stakes to get water, her grandfather made a for-
tune bringing water to them. Then he came back to Wales,
picked up his family, and emigrated to America. He lived.
off the money he made in South Africa and sent Lucy's four
uncles to college. The women were not permitted to attend.
"My mother and my aunt were very talented and had
tremendous style. as did my grandmother. They used to do
the illustrations for McCall's Pattern magazine, but weren't
permitted to go to the office. The younger boys would mes-
senger the drawings over to the magazine and collect the
pay, which was given to my grandfather. The girls were not
allowed to touch it until they married.
"Grandfather was a tyrant, and he looked like Ho Chi
Minh. After my mother married, she was even more liber-
ated-she was born 40-50 years too soon. There was noth-
ing she felt you couldn't do if you really set your mind to it.
Lucy Jarvis with
"I was told that I was going to be given all the tools so
President
that I could walk into a room anywhere in the world and
John F. Kennedy
never feel inadequate. I went to dancing school and was giv-
...and Bobby
will anD
en elocution and language lessons. I learned how to walk
Kennedy (inset).
into a room. how to sit in a chair and how to get up. I was
and a year after she graduated thev were married in a
given not just the lady things, but everything you could pos-
national landmark on Riverside Drive. overlooking the
sibly imagine. And I was the first in my group to go away to
Hudson River. "My mother decided that it would be a great
college."
place for a wedding. and it was. We had this outdoor wed-
Two major professions women could enter at that time
ding on the hottest day of the year. I didn't feel a thing."
were fashion and nutrition-so Lucy chose Home Ec. Her
They had two children-a daughter who is an artist and
brother, also at Cornell. became an aeronautics engineer
filmmaker in Hawaii and her son. Peter. an expert on
and eventually built the lunar module that brought the first
English as a second language. Her granddaughter is the 13-
humans to the moon.
year-old Hawaiian State Champion in horsemanship.
I wondered if there was time for romance in such a busy,
Lucy became a nutritionist at New York Hospital, then a
peripatetic life. She'd met Serge Jarvis a year before she
food editor at McCall's. After a stint doing good works for
graduated Cornell. "One night my aunt told me that she
the Jewish community. she wound up cutting her TV teeth
noticed Serge sitting in his car, watching my front door. He
as a producer for David Susskind. the TV pioneer. Before
had it bad. but he wasn't going to give in. He was never
the TV career began. Lucy traveled the world for ORT (the
going to let me know.
Organization for Rehabilitation through Training) in the
"He was a lawyer and much older than I was. He had a
'40s as international vice president of membership. "I gave
whole entourage of expatriate Europeans from the major
about 15 years of my life to ORT and it was very important.
capitals who had escaped when the war came. All of them
I thought the solution for all the refugees coming out of the
were very well placed and were high livers. The women all
concentration camps would be to give them something they
wore haute couture and were all in business. They would
could live with anywhere in the world.
hire gypsy orchestras for dinner parties and dancing. When
"ORT went into the displaced persons' camps and
they met me-and I thought I was the most sophisticated
taught trades-radio mechanics. tool-and-die making.
thing that ever lived, after all, my mother prepared me for
teaching anything you could take with you in your head and
exactly this-I felt like a country bumpkin. But I quickly
your hands. We set up ORT schools in France. Italy. and
absorbed their way of life. Serge played the dyed-in-the-
Spain. I believe it you teach a man a trade and make him
wool bachelor and it was not easy to bring him around."
self-sufficient. there is no need for charity. Eventually we
Finally he gave in, [she doesn't remember the proposal!]
went to Israel. We spent a fortune there. and then we went
Lifestyles 23
media
Those who run the news departments. the entertain-
ment departments, and the advertising divisions have
to be creative and competitive for the ratings. They
also have to worry about the growing force of public
broadcasting and the cable networks. where they buy
a lot, of wonderful movies and talent on the cheap.
So, if you think the quality of the men is higher than
it once was that remains to be seen."
I
ask about the special she did on handguns. "A
Courtesy: Lucy Jarvis
Shooting Gallery Called America' was supposed
to air March 2, 1975 but didn't That didn't stop
The American Rifleman from printing a critical edito-
with Chou En-lai.
rial based solely on a TV listing in the newspapers.
"We did six months of research and verified
to North Africa.
every word, every number, every letter, every organiza-
"It blew my mind. Tunis. Even in the local Jewish popu-
tion, every fact-we had a research book that was a foot
lation there was a real difference between the haves and
thick. I felt there was an element in the population who
have-nots. We visited with the international vice president
thought they were living in the Wild West, that it was part
of ORT in Casablanca and were treated like royalty. We
of the great heritage of America for every household to
had dinner at the home of a woman we hoped would try to
have some kind of gun.
rebuild ORT. She was Mrs. Charity from Paris. We ate off
"I went to Atlanta, which at that time had one of the
gold plates-solid gold plates. I had never seen such luxury.
highest death-by-gun statistics in the country and more gun
There was one servant for every two people: the flowers
clubs per square inch than any other city after Detroit. We
were in the shape of a peacock. She outdid herself: she was
found a woman who started an organization against guns in
showing off.
the home. Her 8-year-old son found a gun she thought was
"The next day I went to the Casbah and saw the starving
safely put away, climbed into the tree house they built for
kids. One of those goddamned gold plates would have tak-
him and accidentally killed himself. She decided she wanted
en care of one family for a year and I said so. She said she
to make sure that no mother in the world would have to go
couldn't organize the women in Morocco like the women in
through what she went through. and the police offered to
America, but she believed in what I was saying.
help her. Police in general were pro-gun, but in Atlanta,
"When I came back a year later. I found she had orga-
they helped her.
nized a group of women. started a school in a warehouse
"The National Rifle Association (NRA) did everything
and was feeding the children. Talk about turning around a
they could to stop the show from airing. I didn't leave them
whole generation!"
out. But the powers-that-be sat in the editing room and
challenged every frame. We backed up every fact, every
t was this sense of enthusiasm and worldliness that
I
detail, and put it to bed. It was to air two days later.
landed Lucy a job in TV. "In those days. most of these
"I left for Rome to do a project with Fellini. While I was
guys were sitting back on their haunches. living on
gone, an NBC person went to my associate producer and
whatever they had been doing. Nobody was challenging
said the show had to be changed. They tore the show apart.
them. They all did the same thing. They worked at either
and I have never forgiven either one of them: It went on the
ABC. CBS or NBC and did the same thing at all of them.
air in a bastardized version and The New York Times ran a
Along comes the first female executive producer. full of
two-column spread saying that they couldn't believe that
wide-eyed wonder about this incredible medium
Jarvis pulled her punches.
"I first thought giants ran the networks. especially in
"Everything we said in the original came to pass. We had
those days. When you realize TV reaches millions of people
an opportunity to make a difference because there's noth-
and the influence the medium has politically. culturally, and
ing as powerful as television. There was a lack of responsi-
intellectually. you think that the people who are giving you
bility. on the part of people who could influence everyday
all this are great intellects. Then you come in and find you
living."
are working with ordinary people with ordinary taste. who
are concerned with whether they meet the budget or
L
ucy's shows about art (Picasso and the Louvre)
whether they on schedule.
"were enormously well-received. The ratings and
"Today. I think it's changed somewhat. The business is
audience share blew everybody's minds. But it sad-
tougher. The guys on top are interested in the bottom line.
dens me that no one heard about the weekly debate shows,
24 Lifestyles
media
like the health show and the show about teens on drugs.
Those are the shows I'm proudest of.'
The health show, "Who Shall Live?," was done in the
early '70s in Seattle-then the only city in America with
hemodialysis machines. It dealt with the ethics of choosing
who gets expensive medical treatment and who doesn't. It
changed the American government's health policies by
making hemodialysis available to the masses and covering
most of the costs.
"Then there was the show about kids on drugs. Of
course, it's worse now, because no one took heed at that
time. I went to Phoenix, Arizona, where the whole city gal-
vanized itself to stop kids on drugs. Eighty percent of the
Countery: Lucy Jarvis
kids in Phoenix were on drugs at that time, and we're not
the Carter family
talking alcohol, which in those days wasn't considered a
drug. But it did inclue pot and hash, which were proven to
President couldn't have held off until her project was fin-
be gateway drugs to heroin. (The local AMA told Lucy that
ished. She confirms that Kennedy later told her he'd made a
the average medicine cabinet in America contains 30 mind-
deal with the Russian premier. if he'd get the missiles out of
altering drugs.) And everybody-police, teachers, the local
Cuba. Kennedy would get Lucy out of the Kremlin.
medical association, religious leaders, businessmen-got
together to turn it around. They did an incredible job. And
a representative to Phoenix to see how it was done."
L
ucy's biggest disappointment was that Jacqueline
if I were the rest of this country, every city would have sent
Kennedy Onassis was unable to do a special art pro-
gram with her, something they were both enthusias-
tic about. They'd worked together on a number of pro-
F
or the Kremlin show, the NBC crew was in Moscow
grams about the White House and the arts. "When the
from June to December in 1962. Though the original
Kennedys came to the White House. they emphasized cul-
deal was made because Lucy took the trouble to
ture in America." she says.
study Russian with a gypsy, she later had to bring brownies
Salinger called her about the art program. saying, "Mrs.
and cigarettes from the States to finagle what she needed
Kennedy wants to prove that we are not a nation of barbar-
from the Russians. Her crew, relying on Russian box lunch-
iaris, that we have a culture of our own and an appreciation
es, went hungry most of the time-until Lucy made a deal
of the arts."
with the U.S. Marine commissary.
Lucy suggested to the First Lady that they work with
The Marine barracks became the center for fun and
Isaac Stern, the violinist, and called the Sterns to set up a
games. After quitting work at midnight on Halloween, the
lunch date at the White House the following Tuesday. Stern.
NBC crew headed to the barracks for a costume party. But
on tour in Montreal. caught the milk train to make the date.
the Cuban missile crisis began at 11 p.m. that same night.
Salinger and Jackie's secretary joined Stern. Lucy and
"NBC officials were nervous and tried to find out what was
Jackie in planning the whole thing and that's how
going on at my end. They called and called and called, and
"Evenings at the White House" came into being.
by 3:30 a.m., they still couldn't find me. They called every-
But then the President was shot and Lyndon Johnson's
body, and no one was in. They were convinced we were
idea of culture was to bring Liberace to the White House.
arrested and by the time they got through to the State
NBC canceled the series and Jackie married Aristotle
Department at 6 a.m., the president of NBC was in hyster-
Onassis. changing her image. Today Lucy is "torturing"
ics, and he was not by nature an hysterical man. He also
New York Mayor Rudy Giuliani into doing something simi-
said that if the Russians had me on their hands, he didn't
lar at Gracie Mansion. We have the greatest talent in this
envy them.
city. let's show that off!"
"So as all the embassy people are trying to find us. they
go to the hotel. But after the party we'd all gone to break-
fast with The New York Times bureau chief in Moscow.
I
n those days. Lucy had the perfect arts project for
Jackie. "I wanted to show what was happening to the
Finally, someone wondered if we'd been at the all-nighter in
great monuments of the world. The Parthenon was
the Marine barracks and tracked us down. By the time I
melting like an ice cream cone. We'd discovered that in the
contacted New York, they were ready to kill. That's how we
last 50 years there had been more destruction of these
found out about the Cuban missile crisis."
places than there had been in 2.000 years. With the right
Lucy says she sent a telegram to Pierre Salinger,
name we could sell it all over the world and raise money to
President Kennedy's press secretary, asking why the
save the monuments at the same time.
Lifestyles 25
media
guys upstairs know what was going on every step of the way.
Harry N. Abrams, the publisher of art books, said he would
do a book. The lawyers went to see Harry and Jackie was
promised a $250,000 advance, plus royalties.
"The lawyers finished their documents and they were
sent off to Athens, where Ari picked up the mail and read it
as he was flown back to the island. He saw this big thing
from the lawyers' office, opened it and read it. It was 21
pages long and promised her $3,000,000. In those days, that
was a lot of money. And every time Abrams would sell a
book, she wouldget 50% of the gross.
Aristotle Onassis did not want Jacqueline Kennedy to
feel that she could make that much money on her own for
Courtesy Lucy Javis
so little work. She was not supposed to realize that her
name knowledge and talent were worth that kind of mon-
ey: She didn't have enough money when she married him.
The Kennedys had made a modest settlement on her,
- Barbara Walters and the Duchess of Orleans
$250,000 annually, the life insurance policy, plus something
from her trust. This was not money to Jackie."
Ari called Lucy in New York, " "Are you crazy? She
should live up to 21 pages?'
'I didn't write it,' I said. 'Her lawyer did. Did you give it
to her to read?'
'No. I didn't give to her. I told her about it. You can't
let her do this.'
" "Of course, I can,' I say. We agreed. We had a meeting,
you promised and you said it was the best thing that was
ever brought to her.'
" I think you better come to Greece: we have to discuss
Official White House Photography
this. Yes. it's a great idea, but not now. I thought maybe in
the future. What's the rush?'
On the weekend of their wedding anniversary, Lucy
and her husband, Serge, were flown to Greece. NBC paid
for two tourist-class tickets to keep it on the up and up, but
at the airport they found themselves bumped-up to jet-set
- Ronald Reagan
status.
Jackie was married to Onassis and I thought If I can't
"It was the trip of trips. We had the whole top floor of a
move him about the Parthenon. what would move him?' "
747 to ourselves. We arrived in Athens and our luggage was
She went to see André Malraux. whom she knew from
waiting in a limo at the foot of the stairs. We were driven to
working in the Louvre. "I wanted to be able to tell Jackie
a private hangar, where Lee Radziwill [Jackie's sister], Ari,
that she would be working with him. and he said he would
and others were waiting. Lee said to me, I know why
help me put together a group of first-rate people.'
you're here. Lots of luck.' And I knew I was in trouble."
Pierre Salinger engineered a dinner for Lucy when the
Somewhere in transit, Ari started on Lucy's husband.
Onassises visited New York and Jackie was thrilled with the
"You're a lawyer. Did you draw up those 21 pages?"
project. "Ari said. You know. everybody wants to get her
"No. I stay out of her business."
on television: everybody wants to use her. I don't encourage
"Ari said, 'Listen, we don't need NBC lawyers. Just you
it. because the moment that happens. the crazies will come
and Bobby Sarnoff and me. We can sit down and we can
out of the woodwork and I really fear for her life. I protect
write a 2-page contract. What do we need 21 pages for? Let
her with my Navy and with my Air Force:* I. finally con-
her do this. but not now. I need her now. I need her to go
vinced him. And he said. This is really the first time some-
with me to various places to meet heads of state. I'm doing
one has come to her with an idea that is worthy of her. so
big business. I can't spare her. Maybe in a couple of years.'
there is a possibility of doing the show."
"He really didn't want her to do it. It had nothing to do
Extensive meetings with Jackie followed. "Then she
with her needs, with her wants. His argument to her, when
called in her lawyer and I called the NBC lawyers. I let the
we were not there, was that people could get at her. With
26 Lifestyles
media
him she was safe. She was very, very frightened. She was
determined to protect herself and those children. She was
terrified.
"So we go out to the island, and Serge tells Ari a story:
There were two Jesuit priests who were very heavy smokers,
but they weren't permitted to smoke in church. They would
run outside and grab a smoke. Finally they decided they
would each write to the Pope and ask for permission to
smoke. Three weeks later they meet. One of them is happy
as a clam and the other one is miserable. The miserable one
wrote to the Pope and asked if he could smoke while he was
praying. "The Pope wanted to know how I could ask such a
terrible thing-such a desecration! The answer was no.'
"The happy priest said he asked the Pope if he could
pray while he was smoking. And the Pope said, Of
- Hillary Rodham Clinton
course."
On the Onassis island, "Jackie gave my husband a tour,
and then we gathered for dinner, where Ari announced that
there was going to be a fireworks celebration on the follow-
ing evening to honor our wedding anniversary. We felt like
we were in paradise.
"Then two days later the phone rings and it's the num-
ber three guy at NBC. Ari said, "I'll speak to him, I don't
want him to bother her.' He picks up the phone and he says
to the guy, 'Don't bother Lucy. It's praving while smoking!'
Click. Oh, G-d! It wasn't until I got back and told the story
that anyone understood what he meant. We had a wonder-
ful time, but Ari never let Jackie do it.
"Jackie was smart, she was knowledgeable. When you
Photo: Diane Stephing
talked to her, she was very natural and would say what she
Boris Yeltsin.
thought. She was logical and soft-spoken and you felt you
were on solid ground. She was fun to be with. And she
ship who deal with these issues. She co-chaired the tenth
adored Ari. She had enormous respect for him. When he
annual conference this October. where Barbara Walters.
regaled us with stories in French and English, she sat there,
Mickey Seibert and Leontyne Price were honored.
just staring at him with absolute admiration. If it was an act,
"Kids need role models who will tell them that struggle is
she did it brilliantly."
worth the end result. They need to be told that the founda-
tion on which to build. not just a marriage or a family, but a
L
ucy ruminates on the current state of TV. "If we're
life, is respect for each other. That's the first thing. Love may
not careful," Lucy warned. "TV can be a source of
be interesting. sex may be interesting. Those are icing on the
evil. I always hoped it would be a source of good.
cake. The cake is respect.
We live in a shrinking world because of TV, transportation,
"Today. we don't have respect for ourselves. so how can
and the new techno stuff, and we need to reach out to each
we have respect for our President, a man [Clinton] who is
other. We need to understand and demystify our differences
trying so hard to create a society in which everyone can have
so that we won't be afraid of '-isms.' I always wonder what
a better life? We don't have respect for that. We have
some people do to justify the space they take up on this
respect only for the power of the guy who steps over the
planet. At least I feel that I've done some things that will
dead body and makes money doing it. That's what we were
still be here when I am not-and maybe someone will learn
taught to have respect for. And it begins right here. in the
from them. It was this philosophy that involved me in ORT.
television industry. on the air. in cable. in the movies and on
"All the things that we talked about in the programs 20
videotape. But that's where the positive role models ought
years ago are repeating themselves today. Those problems
to be."
were never solved. Our kids get the feeling that there's no
Since Lucy's been in TV from its earliest davs. she must
tomorrow, but where did they get that from?"
know whereof she speaks. But my positive role model
That's why Lucy is so active in the Women's Forum. an
wasn't on TV. She was in an office on West 57th Street,
organization of networking women in international leader-
täking it one day at a time.
lifestyles
Lifestyles 27
NEW YORK DAILY NEWS October 3 (11, excerpt)
By PHIL ROURA & TOM POSTER
SOPHISTICATED FIRST LADY: Raisa
greets cast members of Sophisticated Lagies in
Gorbáchev, the new first lady of the Soviet Union,
Moscow. The troupe opened there on Saturday. AP
BACK STAGE Sentember 23
"Ladies" Treated To Sophisticated
U.S.-U.S.S.R. Joint Effort
The most elaborate staging of musical conductor, staff. and crew,
glasnost ever will begin in October
will consist of American talent. Soviet
when Duke Ellington's "Sophisticated
personnel will design the principal
Ladies" launches the first co-
costumes while conceiving and build-
production of a Broadway musical by
ing the sets: A 20-person jazz örchestra
combined forces from the United States
will be composed of 16 Soviets and
and the Soviet Union.
four American musicians, conducted
Ladies" will open in Moscow on
by Frank Owens.
Oct. 1: through the joint efforts of the
Hinton Battle and Gregg Burge-two
U.S.S.R. Cultural Fund, the U.S.S.R.
stars from the original Broadway pro-
Theater Workers' Union. and
duction that in 1981 earned two Tony
Soyuzteatr. with American input from
Awards from among its eight nomina-
Jarvis Theatre Projects Ltd which is
tions-will head the 19-member cast.
producing the venture. A tour that is ex-
"From Times Square to Red Square.'
pected to stop In more than 25 cities
a TV special that will chronicle the pro-
throughout Europe, Australia. Asia,
duction along its tour. is being plann-
China. South America, and the U.S.
éd for release in 1989. Among the loca-
will follow-with plans to continue in-
tions targeted for the tour after Moscow
to mid-1990.
are Leningrad. Tbilisi. Paris. Rio de
The surprisé announcement on
Janeiro, Melbourne, Sydney: Hong
Thurs. Sept. 15, was made by Charles Kong, Japan, Hawaii. Los Angeles.
2. Wick. director of the USIA, Soviet San Francisco, England. and New
ambassador Yuriy V. Dubinin, and York
James D. Robinson III, chairman and Said Dubinin. This pioneering pro-
CEO of the American Express Co. the ject opens a new page in Soviet-
underwriter of the project: which will American cultural exchange. It is par-
generate proceeds to be divided among ticularly appropriate that this joint pro-
the Soviet theatrical partners. the Jar- duction features the music of Duke Ell-
vis company. and American Express. ington. whose work is both well-known
The show's company. including cast. and highly respected in the Soviet
producers. director. choreographer. Union.'
DAILY
VARIETY
DAILY
1933-50 Years of Service To Showbiz-1983
Mon., Jan. 5, 1987
Monterey Releasing Jarvis Dox
Monterey Home Video has ac-
quired a collection of five
documentaries from producer Lucy
Jarvis; and will introduce the first
of its "Jarvis Collection" vidcas-
settes in January with "Scotland
Yard" and "The Incas Remem-
bered.
Most of the Jarvis documentaries
were filmed during her 1960-1976
stint at NBC. Included in the titles
Internationally Acclaimed
acquired by Monterey are programs
that represent firsts accomplished
Winner of 22 Awards
by Jarvis.
The "Scotland Yard" doc, host-
ed by David Niven, is the first "in-
side look'' at the London police
agency. which gave Jarvis access to
officials and high-security areas not
previously filmed.
One program features the first
work by a U.S. producer and film
crew in the Kremlin: one offers the
first American filming in Com-
munist China. and another boasts
the only tv tour ever granted of
Paris' Louvre.
The five programs acquired by
Monterey have won a total of seven
Emmys. two Peabody Awards and
two Christopher Awards. MHV is
pricing the tapes at $24.95 suggest-
ed retail.
the monthly move company
pa box 2648 maliou collarnia 90265
20 457-5595
ILLUSTRATIONS BY MISSY LONGO
ROANOKE TIMES & WORLD-NEWS
APRIL 12, 1989
SOPHISTICATED LADIES
The joint Soviet-U.S. production of 'Sophisticated Ladies' will begin Its U.S. tour with a performance in Roanoke
Sophisticated
With joint U.S.-Soviet play production,
Lucy Jarvis adds one more to her
list of international firsts
lady
Page 2 - ROANOKE TIMES AND WORLD-NEWS
APRIL 12, 1989
SOPHISTICATED LADIES
"and I guess I make other people feel that
By JEFF DeBELL
believe in it."
STAFF WRITER
Jarvis said she was doing more than ma'
MERICAN television producer Lu-
ing television with the ground-breaking pr
A
cy Jarvis was making an NBC docu-
grams. She was providing a link between pe:
mentary inside the Kremlin in 1962
ples of the world.
when previously cooperative Soviet
"I do believe that everything we do ca
officials abruptly began giving her
contribute to better understanding and peace
"lots of stony looks and silences."
she said. "Since my milieu is communication
The American ambassador would say only
I think I should use it any way I can to make
that "the President and Khrushchev are having
happen. It makes a difference when you'
an argument," whereupon Jarvis cabled presi-
engaged in a project that involves more th:
dential press secretary Pierre Salinger to the
meets the eye."
effect that John Kennedy was lousing up her
Jarvis said the genesis of the "Sophistic
show and couldn't he please wait until she was
ed Ladies" project came in the mid-198(
done to have his spat with the premier?
when the Reagan administration was looki:
Only when she later arrived in Paris,
for innovative ways to respond to the Sovi
where information flowed more freely than in
Lucy Jarvis' projects attempt to provide
Union's new openness to cultural exchange
Cold-War Moscow, did Jarvis find out that the
a link between differing cultures
Instead of merely sending an American a
"argument" has been the Cuban missile crisis.
to the Soviet Union and inviting the Soviets
reciprocate, Jarvis proposed that the two cou.
Soon after returning to Washington she
tries join in the production of a show.
was summoned by President Kennedy and im-
to China, where she filmed "The Forbidden
"The point was to show that we can wo
mediately began to apologize for the irreverent
City" for NBC.
message to Salinger. The president cut her off
together," she said.
Jarvis is breaking ground again. She is
with a smile, saying he had made a deal with
She chose "Sophisticated Ladies" becau
producer of the first joint American-Soviet
Khrushchev after seeing her cable:
the Russians love jazz in general and Du
production of a Broadway musical - "Sophis-
Ellington in particular. One of the origin
"I told Khrushchev if he got the missiles
ticated Ladies," which toured the Soviet
out of Cuba, I'd get you out of the Kremlin."
Union with great success last fall. The show is
producers, Louise Westergaard, helped
That is one of Jarvis' favorite stories from
using the Roanoke Civic Center auditorium
American Express to underwrite the Americ
side of the project.
a career that can boast an impressive number
for rehearsals.
Last April, after three months of negot
of international firsts.
In a telephone call to her New York home,
tions with the Soviet government, a proto
She was the first western television pro-
Jarvis was asked the source of her ability to get
was signed. It called for the Americans to ma
ducer to film inside the Kremlin; in fact, she
her cameras around bureaucratic barriers in
a production model for the show and for
says not even the Russians had done it at the
exotic foreign settings.
Russians to build it. The model was designed
time.
"If I told you that I would be giving away
Yuri Kuper, a Russian-born artist living in P
She was the first producer given permis-
my best secret," she joked. Then she answered
is. On April 1, the Soviets were shown the mo.
sion to film inside the Louvre (1964). She later
more seriously.
became the first western producer to be invited
"I believe in what I'm doing," she said,
Page 3 - ROANOKE TIMES AND WORLD-NEWS
APRIL 12, 1989
SOPHISTICATED LADIES
and told that the show was to open
The final deal: The Soviets
The arrangement with the So-
Oct. 1.
would build the sets according to
viet collaborators was that the show
"They said, 'We don't think
American specifications; premiere
would be taken to the U.S. and
that's possible,' Jarvis said. "I
Soviet designer Viyacheslav Zait-
elsewhere in the world - always
said, 'Watch me.' This is the only
sev would create gowns for the prin-
with the mixed Soviet-American
way you can talk to them."
cipal female performers, while the
team - in hope of recovering
rest of the costumes would be de-
Jarvis turned to a friend, Geor-
losses and perhaps making a profit.
gi Mesheshvili, chief set designer of
signed by American Willa Kim; the
All profits will be divided among
the Tbilisi Opera and Theater in the
performing company, director and
the American and Soviet partners.
choreographer would be Amer-
Soviet Georgia Republic.
icans; most of the orchestra musi-
Jarvis took on a co-producer,
"They saved our lives," she
cians would be Soviets, and the
Irving Schwartz of New York, to
said. "Those people conceived and
technical and stagehand duties
help with the complicated and ex-
built something with Yuri that we
would be shared by Americans and
pensive American and world tours.
could never have done even in the
Soviets.
The plan had been to ship the
U.S. in such a short time."
On Oct. 1, the show opened as
sets directly from Leningrad to
The set, far more elaborate
scheduled in Moscow. It went on to
Philadelphia, but the trucks from
than that of the Broadway original,
run in Leningrad and Tbilisi over a
Tbilisi arrived a day too late for the
includes 55,000 lights that are con-
period of six weeks. Jarvis said it
one monthly freighter making that
trolled by an electronics system
run. Instead, the sets and other
always sold out and always received
with more than four million solder
rave reviews.
equipment were shipped to New
points.
Jersey by way of Hamburg, arriving
Though things went well on
late last week.
"I think that's what makes this
stage, she said, there were occasion-
production so unusual, aside from
al offstage difficulties. One was a
They were moved to Roanoke
the fact that it's a joint produc-
in 10 tractor trailers that arrived
shortage of good food in Moscow. It
tion," Jarvis said. "Things happen
hurt the morale of the Americans,
Saturday.
on stage that just haven't happened
who were used to being well fed.
American and Soviet workers
anywhere else."
Jarvis solved the problem by
have been working since then to
Jarvis realized by last summer
importing a special shipment of
install them at the civic center audi-
that the project would go nowhere
torium.
spaghetti and meatballs for a festive
as long as she was trying to work
dinner before the company moved
Jarvis said the Roanoke Civic
with the Soviet government. She
on to Leningrad.
Center auditorium was recom-
found new collaborators in the
Just a day before the show was
mended for pre-production re-
U.S.S.R. Cultural Fund, the
to open in Tbilisi, the trucks carry-
hearsals and adjustments by a num-
U.S.S.R. Theatre Workers' Union
ing the sets and other gear had not
ber of people on the tour's
and Soyuzteatr.
arrived and could not be found.
management staff who had been
All are non-government orga-
there before with touring shows. It
"We were desolate," the pro-
nizations aimed at fostering Soviet
also has the virtue of being near
ducer said.
arts and culture both at home and
Washington.
abroad. Raisa Gorbachev, wife of
It turned out the trucks had
Jarvis said she was pleased to
the Soviet leader, is on the cultural
been caught in a mountain storm.
introduce the Russian crew mem-
fund board and was a booster of the
Help was dispatched and they ar-
bers and musicians to the U.S. in
"Sophisticated Ladies" project.
rived on time.
Roanoke:
Jarvis said the show made no
"They'll have the opportunity
money in the Soviet Union, where
to get to know the country in a more
tickets were held down because the
intimate way than if we had just
Russian people cannot afford west-
dumped them in New York," she
ern-level prices.
said.
The New York Post
52
Creativity a way of life
for go-getter newswoman
By ANN GIORDANO
NEVER underestimate
the powers of a woman
- especially when that
woman is Lucy Jarvis
who left a major televi-
sion network after 16
years to head her own
production company,
Creative Projects Inc.
METRO BUSINESS
A newswoman with a
no-mission-is-impossi-
ble reputation. it wasn't
really applied myself."
(through her husband. a
surprising when her
Jarvis recalled:
corporate
attorney)
New York firm took on a
Graduated from Cor-
with "Meet the Press"
highly ambitious proj-
néll University with a
originator
Martha
ect - handling public
BS In bio-chemistry of
Roundtree. The two syn-
information
for
foods, she worked as a
dicated "Capitol Close-
Ecumed. a $2 billion
dietician at New York
up" with guests Elsen-
medical complex under
Hospital, got bored and
hower. Nixon and J.
construction in Fort
moved to McCall's
Edgar Hoover. It was a
Lauderdale, Fla.
magazine as associate
blockbuster and didn't
The development is a
food editor.
escape the networks.
sprawling exhibit and
There, her report on
Jarvis wrote a four
hotel complex. The
nutrition experiments
page critique ripping a
health care information,
- linking Jack of certain
CBS: male-produced
education and tech-
nutrients to greying of
pilot about women.
nology It will generate
hair - triggered an
When its president left
will be spread across
"overwhelming" reac-
for NBC, Jarvis went
the world. by satellite
tion. One result:
with him.
broadcast - a Jarvis
McCall's financed her
As a producer, she
specialty.
Masters degree at Co-
broadcast landmark
As director of com-
lumbia University.
footage from the Krem-
munications, Indomita-
Meanwhile, TV guest
lln, China and the Lou-
hle Lucy has 60 percent
spots shirwed she could
vre museum in France.
of her office Involved
reach "10 times the
She arranged "Impossi-
Post photo by Michael Schwartz
and expects to "make a
number of people I
ble Interviews" on TV
Lucy Jarvis strikes out on own her after
lot of money" on the
reach with a magazine
with Winston Churchill,
16 years with a network.
mediplex. slated to open
article."
President de Gaulle,
late in 1987.
She conceived a suc-
Presidents John F. Ken-
Lucy's positive atti-
cessful TV show with a
nedy and Jimmy Carter.
"I Invested every
accurate film about the
tude comes from her
magazine format that
After 16 years with
penny I had, set my own
rescue of thousands of
mom, a talented dress
Included Interviews
NBC and doing "the
rules. drew up my own
children from Nazi oc.
designer who sold pat-
with health and cooking
same kind of documen-
budgets and have a
cupied France.
terns to McCall's on the
biggies.
tary only in a different
small,
well-chosen
"I believe in myself."
sly because her father
After a 12-year gap -
place." Emmy winner
staff." she said.
says Jarvis who is
disapproved.
In which she raised a
Jarvis quit but is just
Shooting on location
driven by work, but
"My mother always
family, did charity work
around the corner in her
this winter will be "Lest
hopes to maintain "my
made me feel there is
and got Involved in poll-
Rockefeller Center of-
Innocent Blood Be
sense of humor which
nothing I couldn't do if 1
tics - she hooked up
fice.
Shed." an historically
you can never lose."
The New York Times
SUNDAY, JANUARY 7, 1990
Arts & Leisure
East Woos West in a Romantic Soviet Rock Opera
By TIMOTHY W. RYBACK
An Old Moscow Hand
T TOOK SIX YEARS, THE DENOUE-
ment of the cold war and the passion of a
French couturier to bring the first Sovi-
For Lucy Jarvis (Inphotograph), producing on an Inter-
et rock opera to the United States.
national scale is hardly new, so It was natural for Pierre
"Junon and Avos: The Hope," which
Cardin, the French couturier who had financed the Paris
opens tonight at City Center, will offer New
production of "Junon and Avos," to turn to her for
York audiences a taste of contemporary So-
theM merican production. Ms. Jarvis, with the support of
viet pop culture.
Raisa Gorbachev, had brought the Broadway musical
So
"It is a rock musical with a social mes-
phisticated Ladies" to Moscow for a three-month run, and
sage, like 'Hair' and 'Jesus Christ Superstar,'
she was well known in rance, too
combined with the innovative set designs of
saw Junon and Avos' in Moscow while working on
'Cats,' says the musical's American pro-
Ladies, Ms. arvis recalled I flipped over the produe
ducer, Lucy Jarvis, who has brought the
don. knew It was the kind of thing that would reach audi-
show to America with the backing of the
eaces all over the world.'
French designer Pierre Cardin. It is sched-
uled to run through Feb. 4.
So, with Mr. Cardin's financial backing Mis. arvis
arranged to bring the $2
million production to
The Moscow production has collected some
City Center
of the Soviet Union's leading artistic talent,
Much of Ms. Jarvis's
including the poet Andrei Voznesensky, who
career has been spent in
wrote the libretto; the critically acclaimed
television production
director Mark Zakharov, and a leading chor-
Hereredits have includ
eographer of the Bolshoi ballet, Vladimir
ed taking a crew Into the
Vasiliev.
Kremlin, and she
For many Americans, however, the music
was the first American
will be of greatest interest. Composed by
invited to make news
Aleksei Ribnikov, a protégé of Aram Khacha-
turian and the creator of soundtracks for
documentaries in China
more than 30 Soviet films, "Junon and Avos"
The Russians used to
presents what Time magazine described as
calime the field mar
"a bold blend. of hard rock rhythms, shim-
shall Babe once said
mering folk melodies and traditional Russian
Rancinan/Sygma
Orthodox chants."
A scene from "Junon and Avos," which opens at City Center. Andrei Voznesensky wrote the libretto.
First conceived in 1978 in the final years of
the Brezhnev era, the rock opeΓa, a romantic
wrote it, it. was a story about the fight for
railed against pernicious Influences of rock-
sembles), these groups performed Russian
English-language version of the work. One
plea, for East-West rapprochement, has as-
freedom," recalled Mr. Voznesensky in a
and-roll.
language versions of Beatles hits and sported
Soviet literary review praised Tim Rice's
sumed a prophetic quality. "When 1 first
telephone conversation from Moscow last
Despite vigorous efforts to combat what is
innocuous names like the Happy Fellows and
treatment of the biblical story, comparing
month. "And right now in Russia we are
often described as "Western ape culture,"
Singing Guitars.
favorably with the writing of Bulgakov and
Timothy W. Ryback is the author of "Rock
having a terrible struggle for and against
rock flourished in the underground, and by
Western rock quickly secured bridgeheads
Dostoyevsky. "Vremya" ("Time"), the nights
Around the Bloc: A History of Rock Music in
freeedom."
the mid-1960's was creeping through fissures
in mainstream Soviet culture. In 1971, two
ly Soviet news program, adopted the rosk
Eastern Europe and the Soviet Union," to be
There is no small irony in the fact that
in official culture. The first state-supported
months before the London premiere of Jesus
opera's theme song as its musical signature.
published this month by Oxford University
Moscow should send a rock musical to Amer-
rock bands appeared in 1966. Known euphe-
Christ Superstar," students in the Balticially
By the spring of 1976, the Soviet youth
Press.
ica. Since 1957, Kremlin conservatives have
mistically as VIA (Vocal-Instrumental-En-
of Vilnius in Lithuania staged the complete
Continued on Page 26
NEW YORK TIMES, SUNDAY, JANUARY 7. 1990
SUNDAY, JANUARY 7, 1990
Soviet Rock Opera
Mr. Voznesensky concedes that his
stature and that of his collaborators
was crucial in breaking through offi-
clal resistance.
"Junon and Avos," intended as a
as a metaphor for the strained United
Continued From Page 25
political metaphor of the Brezhnev
States-Soviet relations of the Brezh-
era, has come to read like a lyrical
nev era.
rendering of the Soviet foreign policy
publication Yunost could write,
"It was impossible to address these
agenda in the age of Gorbachev: an
'Rock music, viewed 15 years ago as
Issues in a modern context," Mr. Voz-
East-West marriage that effaces mu-
devilment or charlatanry, has now
nesensky explained, "and so I used
tual distrust while nurturing trade
become a rather stable musical tradi-
the story to tell about life in our
relations and human contact.
tion in our country."
country at that time. I put all modern
Russia in this work. It is parallel with
In the early 1980's, as American-
the contemporary situation. That is
Soviet relations went through one of
Mr. Voznesensky said he hoped
why when Rezanov is fighting for the
that the piece would tell Americans
its periodic downturns, conservatives
freedom to trade with the West, it Is
'that "there is no Iron curtain between
in Moscow rallied and persecuted the
the fight for freedom of the Russian
Russia and America. That the love of
advocates of what Tikhon Khrenni-
people today. And even when the
two people is much stronger than all
kov, head of the Soviet Composers
Unton, had called these "deafening
systems, all governments, all armies,
all wars."
heavy-beat rhythms and truly un-
On Broadway "Junon and Avos"
earthly howls" from the West. Hun-
'Junon and Avos'
will be judged on its artistic merit,
dreds of discothèques were closed,
not its politics. In:the last two years,
and virtually every leading Western
and Soviet rock group came under
will be performed
appearances by Soviet rock stars In
the West have stirred much excite-
attack.
But amid this ideological on-
in Russian with
ment in the media but little enthusi-
asm among critics and audiences.
slaught, "Junon and Avos": made a
sensational debut at the Moscow
English
Last summer, CBS Records pro-
moted the Leningrad rock star Boris
Komsomol Theater in July 1981. The
production, offering flashes of nudity
commentary.
Grebenshchikov with disappointing
results.
and a musical score propelled by a
solid rock-and-roll thump, raised the
Two problems have plagued Soviet
a of officials and the enthusiasm of
pop music abroad. First, most Soviet
youth.
Czarist minister doesn't want to give
rock, be It from Tailin, Leningrad or
Rezanov a visa to go to America, It is
Sverdlosk, sounds derivative, a dim
parallel to today."
imitation of Western rock. Second,
At times, as many as 400 young
"By drawing on traditional Rus-
the lyrics, which play a more signifi-
people gathered outside the theater
sian church music and contemporary
cant role in Soviet songs than in West-
Western rock mustc," said Svetlana
hoping for tickets from last-minute
ern numbers, remain Inaccessible If
cancellations. The show was brought
Boym, a professor of Russian culture
sung In Russian and generally sound
to Paris by Mr. Cardin and has also
at Harvard University, "Ribnikov
trite when translated Into English. In
traveled to Amsterdam and cities In
made it clear that he was rejecting
"Junon and Avos," which will be per-
official Soviet culture."
Eastern Europe. It is still playing in
formed by a cast of 60 at City Center
Moscow.
But, according to Professor Boym,
In Russian (with English-language
The plot, which offers passages
the prominence of the artists Involved
commentary by an on-stage narra-
In "Junon and Avos" afforded the
from the Russian Orthodox liturgy
tor), the sound of the original lan-
and a romanticized vision of the
rock opera a degree of Immunity
guage will be an added aural element.
American West, as well as the plea
from the Kremitn's Ideological
for rapprochement, further unsettled
watchdogs. "There was certainly
many Kremlin hardliners.
censorship at this time, but this was
In providing the musical backdrop
for Junon and Avos," Mr. Ribnikov
The musical tells of an enterprising
not Stalinism," she said. "There ex-
isted niches in official culture for
19th-century Muscovite, Count Re-
employs Western rock rhythms but
zanov, who arrives in San Francisco
works like 'Junon and Avos,' if, of
reaches more deeply Into the tradi-
In 1806 with two merchant ships,
course, the right people were In-
tions of Russian folk and church mu-
Junon and Avos. While working to
volved." In the early 1980's, Mr. Voz-
sic than Into the catalogue of Beatles
establish trade relations with the
nesensky, Mr. Vasillev and the direc-
recordings. "It Is more lyrical than
New World, Rezanov falls in love with
tor, Mr. Zakharov. a member of the
Western rock," said Mr. Voznesen-
Conchita, a 16-year-old California
Supreme Soviet, represented a pow-
sky, "close to the text. It is more
erful cultural team that could wrestle
beauty. Rezanov, who is Russian Or-
Instinctual, more emotional, more
a controversial work onto the Soviet
the poet laughed, "more barbar-
thodox, returns home to obtain per-
mission to marry Conchita, a Roman
stage.
Ic. I call It 'Dostoyevsky rock.'
Catholic. Before reaching Moscow,
however, he Is overtaken In Siberia
by Father Winter and perishes in
agony. After vainly waiting 36 years
for Rezanov's return, Conchita learns
of his death and enters a convent,
where she spends the rest of her life.
Mr. Voznesensky originally con-
celved the story In 1970 as an epic
poem. Although he based it'on the life
of 8 real 19th-century count, he saw 11
America's
75
Most Important Women
By Donald Robinson
In a Journal exclusive, the author of
a book about the 100 most important
people in the world now chooses a
gallery of significant American women.
How do you select the 75 most notable
women in the United States? First, you
must establish standards. In this case.
I felt we were looking for women who
Virginia Apgar,
Hannah Arendt.
Joan Baez. folk
Ruth R. Bener
the compassionate
political scientist.
singer known nere
U.S. Governm
had made the greatest impact on our
physician whose
author and educa-
and abroad for her
chemist who
civilization within the last five years.
research. writing
tor. A relentless.
opposition to the
veloped proces
and lectures help
effective foe of to-
draft and the Viet-
to protect CC'
and who would continue to affect us
mothers prevent
talitarianism.
nam war. Her hus-
fabric aga:
significantly for the next five years. I
abnormalities in
band is in prison
shrinking. stre'
unborn babies.
for resisting the
ing and stainin
used the phrase, "women who have
draft.
done the most to shape and illuminate
the world in which we live," as I sought
the advice of hundreds of officials and
leaders in government. education, sci-
ence, women's activities, religion, in-
ternational affairs. communications, the
arts-almost every significant field of
endeavor.
I finally compiled a list of approx-
imately 200 women, which I then nar-
Helen Delich Bent-
GwendolynBrooks.
Helen Gurley
Louise A. Brc
rowed down to 75 on the basis of per-
!ey, the govern-
who has written
Brown. editor of
president of
ment's highest-
some of the most
Cosmopolitan
14-million-mer
sonal-but by now educated-choice.
ranking woman
cistinguished poet-
Magazine. Her
General Fec
The result. I believe, is a representative
expointee - Chair-
7 of the age. First
philosophy of sex-
::on of Wom-
list that speaks highly for the quality of
man of the Feder-
Negro to win the
ual permissive-
Clubs. Now if
al Maritime Com-
Pulitzer Prize for
ness nas influ-
a national =
feminine leadership in America.
mission.
poetry.
enced millions of
paign for a he:
women.
:er environme
EDITOR'S NOTE: It is an arbitrary. some-
what hazardous. venture to choose 75
people as "most important." Donald
Robinson is particularly well qualified
to make such a selection. however.
since he did similar research for his
last book. "The 100 Most Important Peo-
ple in the World Today." Why doesn't
the JOURNAL do a survey based on read-
er opinions? Someday soon we hope
Marv L. Bunting,
Mary S. Calderone.
Dorothy Chandler.
AnnaC. Chenn.
procressive presi-
merica
dynamic Los An:
suave. sveile.
to do just that. Meanwhile. we-and
cent of Radcliffe
staunchest lighter
geles Times ex.
rese-oorn WIT
author Robinson-welcome your reac-
College and first
to: responsible
ecutive and catron
.me 3:e Gen. C
woman scientist
394 education in
of the arts who
Chennault
tions to this list. Write to Important
associated to the
schools. aperal
mised money to
TECKS enorm
Women. Ladies Home Journal. 641 Lex-
Energy
birth control laws
burd LOS Angeles
Commission
and aceral accr-
MusiciCenter
conserv
ington Avenue. New York. N.Y. 10022.
non requiations.
Mashingtonia
America's
Most
Important
Women
Rep. Shirley Chis-
Kathleen Cleaver.
Joan Ganz Cooney,
Evelyn Dubrow.
Katherine Esau, 72.
Mildred S. Fenner,
Betty Frieda
holm of New York.
wife of fugitive
creator of Sesame
legislative repre-
year-old botanist
editor of Today's
wrote The
sentative of the In-
who has made sig-
Education. the of-
nine Mystiq
first Negro Con-
Black Panther El-
Street. widely ac-
claimed television
ternational Ladies
nificant discover-
ficial-and highly
president C
gresswoman and a
cridge Cleaver.
influential publi-
tional Org
statwart. stento-
Her calls for vio-
series that has rev-
Garment Workers
ies on the struc-
can champion of
'ent revolution ap-
Union. A Washing-
ture of plant cells
cation of the Na-
tion of Wome
olutionized educa-
pear in Panther
tional TV.
ton lobbyist who
and the viruses
tional Education
organized
racial and sexual
brings chicken
that attack them.
Association.
fall's Wor
equality.
and other militant
soup to Senators.
Strike for Ec
publications.
Katharine Graham.
Rep. Edith Green,
Rep. Martha Grif-
Janes Hall, physic
Ruth Handler,
Nancy Hanks,
Dorothy I. Height,
Claire Gia
indomitable pub-
Congresswom-
fiths. Michigan
cist. only woman
president of
President Nixon's
President of the
Hoffman, dat
lisher who.: has
an from Oregon.
Congresswom-
on Atomic Energy
world's largest toy
advisor on cultur
National Council of
of the found
helped to build one
Chairman of the
an in her 8th term.
Commission's
company. Mattel.
al affairs. As Chair-
Negro Women. She
the Bank of
of the nation'smost
House Special
She. helped push
General Advisory
Only woman: on
man of National
works to promote
ca. First worn
influential newspa-
Subcommittee on
the Equal Rights
Committee. Noted
Business and In-
Endowment of the
interracial. inter:
rectorofthew
pers, the Washing-
Education. A pow-
for Women Amend-
for research into
dustry Council.
Arts. she allocates
faith, international
largest bank.
ton Post.
erful force in edu-
ment through the
industrial use of
White House con-
$20 million a year
harmony.
cation.
House.
atom.
ference
to toster the arts.
name
asics
Theressa Hoover,
Ada Louise Hux
Lucy Jarvis, whirl-
Lady Bird John-
Virginia E. John-
Rose Kennedy. the
Coretta King, wid-
Virginia Kna
top woman exec-
table. feared and
wind producer of
son, who as First
son, whose scien-
magnificent matri-
ow of the martyred
advisor on
utiver of Method-
admired architec-
TV documentaries.
Lady crusaded tire-
tific research (with
arch who gave us
Dr Martin Luther
sumer affairs
ist Church. guides
ture critic of the
Her cameras have
lessly for conser-
Dr. William H. Mas-
a President. two
King. Jr. Her dig-
President N:
38.000 women's
New York Times.
penetrated such
vation and high-
ters) has brought
U.S. Senators-and
nity and fortitude
She represents
groups. A board
She airs the "sig-
forbidden places
way beautification.
new hope to many
a memorable por-
have inspired
consumers' in
member of YWCA
nificant issues in
as the Kremlin. the
The land is lovelier
couples troubled
trait of courage in
Americans. black
ests to the Ad:
and National Coun-
architecture and
Louvre-and now
for her efforts.
by sex problems.
times of sorrow.
and white.
istration and
cil of Churches.
urban design.
Scotland Yard.
Congress.
Elizabeth Koontz.
Marv Lasker. 3
Estee Lauder. the
Mary Wells Law-
Rita Levi-Montal-
Anne Morrow Lind.
Margaret Mead.
Soia Mentschi
first Negro Presi-
Lacy Bountite
founder. president
rence. beautiful.
cini. a neuropiolo-
bergh, a poetess.
seciologis: anthro-
L3W Professo
centof National Ed-
has used her
and polestar of the
blond advertising
gist whose imagi-
philosooner and
pelegist. educator.
- - iversity or
ecation Associa-
collective
cosmetics
dynamo. Her açen-
-glive experiments
novelist whose
phriosocher Her
cago Law Set
on and first black
researce
that cears ner
by ess than 5
ed ner. to the eo-
gentle. introspec-
research prim-
eading AC3C
director of the U.S.
5
the
173
She runs ev-
years sid .S ?
schal discovery o:
the reveries have
:: societies has
: lawver
L3000 Depart-
172
develop
ace: J: per
smashing success.
: special nerve
won ner 3 wice
perced erc 1.0 the
eaced draft
-ents Women's
5
:0
resurv embire.
growin factor.
100 loval following
ceravior : mod-
ersal Comme
Bureau.
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are man
Code.