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LA GLOIRE
1952 - Hugh Laing, Nora Kaye NYC Ballet production
No photo credit ; Photo courtesy of Judith Chasin-Bennahum
Synopsis:
The ballet was inspired by the film “All About Eve” as well as by memories Tudor’s bitter experiences
in an ambitious and cruel dance world; little escaped his mocking wit, especially the kinds of feuds and vendettas
associated with backstage and rehearsal behavior. La Gloire revolves around the decline of a great actress in a
nineteenth century European theater, with her remarkable moments on stage as Lucretia, Phaedra, and Hamlet at a
time when it was not unusual for a great woman actress to portray important male roles. In addition, the ballet
delved into her tense personal life and her flirtations with leading men in the wings and offered searing insights
into the magical theater world.
But the star is haunted by the Dancer in Gray who will eventually succeed her. Just as the star returns for the
final scene in her role as Hamlet, she shivers as she watches her understudy blatantly exhibit herself, gaining
control over her roles in Racine’s Phaedra, Arnault’s Lucrece, and Shakepeare’s Hamlet. During the scene when Hamlet
and Laertes duel, the Queen drinks from the poison cup, and the King is killed. With Hamlet’s death, the symbolism
of the star’s demise emerges as the understudy steals from the wings in readiness to replace the star.
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| Choreography |
| Antony Tudor |
| Music / Composer |
Ludwig van Beethoven
Overtures: Egmont,
Coriolanus ,Leonora no. 3 |
| First Performance |
New York - City Center
February 26, 1952
New York City Ballet |
| First Cast Performance |
| Nora Kaye, Hugh Laing, Barbara Walczak, Beatrice Tomkins, Francisco Moncion, Doris Breckenridge,
Edith Brozak, Arlouine Case, Kaye Sargent, Tomi Wortham, Gloria Vauges, Jacques d’Amboise, Una Kai, Walter Georgov,
Stanley Zompakos |
| Costumes |
| Robert Fletcher |
| Scenery |
| Gaston Longchamp |
| Notated |
| NA |
| Number of Dancers |
| NA |
| Average Length |
| NA |
| Licensing Information |
| NA |
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