Dance in Saratoga Springs

by Denise Warner Limoli

  Début performance of New York City Ballet at the Saratoga Performing Arts Center. Program provided by the Saratoga Performing Arts Center archives.

  A Midsummer Night’s Dream, choreography by George Balanchine. ©The George Balanchine Trust, Arthur Mitchell and Suki Schorer with dancers. Photo by Fred Fehl.

  The ballets Firebird, A Midsummer Night’s Dream and Harlequinade required the addition of young dancers to the cast. Many local ballet students auditioned for the opportunity to appear onstage with the company. These performances generated a surge in ticket sales as family and friends flocked to the Saratoga Performing Arts Center to see the young performers on stage.

  In addition to performances by the New York City Ballet and by the Philadelphia Orchestra, the American Dressage Institute presented demonstrations of baroque equestrian art. Riders from the Viennese Spanish Riding School and their famous Lipizzaner stallions performed on the lawn in the evenings before the ballet. Balanchine himself learned to ride so he could participate in the beautiful ballet of horses that “danced” to the music of Handel, Hayden, Mozart and Lanner.40 Mr. Balanchine later gave the dancers horse blankets to stay warm offstage in the wings on chilly evenings. He even had them embroidered with the dancers’ names.41

  NEW YORK CITY BALLET MAKES ITSELF AT HOME IN SARATOGA SPRINGS

  This was the beginning of a love affair between Saratoga Springs and the dancers from the New York City Ballet. Many company dancers shared fond memories of the first season. Edward Villella, one of the company’s biggest stars, recalled, “My first and lasting impressions are of the great outdoors, the beauty of the trees and grass and sunshine, light and air, a connection with nature.”42

  Soloist Robert Maiorano remembered, “All the dancers loved being in Saratoga right from the beginning. How lucky we were to be dancing in such a beautiful place that had been built for us! It was summertime outside; there were little boys running on the lawn and a cacophony of tree frogs and bugs all around you.”43 Melissa Hayden said, “We danced on that big stage in the fresh air with more abandon, more freedom; everyone danced from their hearts.” Shaun O’Brien described a sense of family: “There was a special camaraderie. We were very close that first summer because it was a new experience, and Mr. B. was so pleased it was working out; he was a little closer to us.”44

  Principal dancer Suzanne Farrell at the Saratoga Race Course. Photo provided by the New York City Ballet archives.

  Andrew Wentink, author, archivist and a former dancer, explained, “Balanchine embraced America, and to him, Saratoga represented America. His enjoyment gave his dancers permission to enjoy it all themselves, to respond and become a part of it all.” Wentink went regularly to see the company perform in New York. He marveled at the effect that the Saratoga experience had on the dancers: “Seeing the performances outdoors on a beautiful summer night was magical. All the dancers were much more relaxed here in Saratoga. Their dancing was different—transformed somehow. They were really dancing for the local audience, knowing the audience loved having them here.”45

  That first summer, the dancers stayed a bit out of town at the Ashgrove Inn. Maiorano explained, “We were New Yorkers, and nobody drove in those days. We were bussed in and out, and we walked up and down on Broadway. People saw us and stopped to talk; they were thrilled that we were here. I recall there were only a few restaurants downtown back then—D’Andrea’s, The Executive on Phila Street and especially Hatties on the west side of town that stayed open late, even after the late-night poker games!”

  Both Balanchine and Robbins had hoped to use time in Saratoga for creative work, away from the urban pressures of New York City. However, “it soon became clear that there would be little time available for preparation of new ballets. Current repertoire was maintained with efficiency, but swimming pools, horse racing, and Lake George were relaxations too powerful to resist. The dancers needed rest. In the exuberance of enjoyment, there were hazards—broken toes from soccer games played recklessly in bare feet, ferocious sunburn, and too much dosing with mineral water.”46

  They rehearsed, performed and relaxed right there in the park. A favorite destination of all the dancers was the Victoria Pool, where they could rest in the sun and soak their tired legs and feet in the cool water. Peter Martins said, “I always loved summers in Saratoga, and my favorite part was the Victoria Pool, where I lived when I wasn’t dancing.”47 Some dancers even cast fishing lines from the surrounding boulders into the creek near the amphitheater. This certainly was not the way they relaxed between rehearsals at Lincoln Center!

  After a few seasons, dancers began renting houses or apartments for the month in Saratoga Springs. Some had learned to drive especially for the summers in Saratoga, and they rented cars from Rent-a-Wreck. Dancers were now able to enjoy outings on Saratoga Lake, swim at the quarry or explore the Adirondacks on days off.

  Dancers fishing off the boulders in Spa State Park during rehearsal break. Photo provided by the New York City Ballet archives.

  The New York City Ballet was becoming a real part of the community during the summer. Locals frequently ran into dancers in grocery stores or at gas stations, and folks knew many dancers by first name. Some of the company members stayed downtown at the Adelphi Hotel, and others stayed on the Skidmore College campus in the Scribner Village apartments.

  George Balanchine and Eddie Bigelow at River Run Farm. Photo provided by Mrs. Kay Leach. BALANCHINE is a trademark of The George Balanchine Trust.

  Many dancers bought vacation homes in Saratoga. Michael Steele was the first in 1968, and he encouraged his friends to follow. Dancers Shaun O’Brien, Robert Maiorano, Anthony Blum, Leslie Roy and David Otto and musicians LaMar and Ruth Alsop all settled here permanently.48

  Every July, George Balanchine stayed in a guest cottage at River Run Farm, the rural property of Richard and Kay Leach. Eddie Bigelow, production manager of the company, took the second-floor apartment. Balanchine was passionate about cooking, and he loved to garden. His dancers say he often used cooking imagery to describe what he wanted in the studio. Kay Leach explained:

  I tried to prepare everything he might need. We planted a special garden for George with herbs like coriander and sorrel. In the mornings, he sat outside on the patio in his wrap, drinking café au lait and enjoying pastries from Mrs. London’s. One of my dogs loved George and insisted on staying in the cottage with him. We had heaps of dogs and heaps of cats, heaps of goats, horses, and donkeys. July was the happiest time—like a dream; it was such a wonderful period in our lives.49

  Mrs. Leach often carried bundles of Mrs. London’s pastries when she visited Mr. B. in New York. “He says he doesn’t want to talk ballet, and that all he dreams about from July to July are these confections!”50

  THE NEXT DECADE—THE BALLET BOOM OF THE 1970S

  The decade of the 1970s was a high time for ballet across the country. In Saratoga Springs, New York City Ballet audiences enjoyed several noteworthy “firsts.” The Saratoga Performing Arts Center commissioned two new ballets for the Saratoga season. The full-length ballet Coppélia, featuring principal dancers Patricia McBride and Helgi Tomasson, had its world premier in Saratoga in 1974. This charming nineteenth-century French ballet was staged by George Balanchine and Alexandra Danilova. Mme. Danilova was a famous ballerina with Ballet Russe de Monte Carlo and a beloved teacher at the School of American Ballet. The second commissioned ballet, Balanchine’s The Steadfast Tin Soldier, had its world premier in July 1975. Based on a tale by Hans Christian Anderson, this ballet also starred Patricia McBride, with guest principal dancer from Denmark Peter Schaufuss.

  The company continued to bring repertoire from its Lincoln Center seasons to premier in Saratoga. The New York City Ballet broke all box office records when it brought George Balanchine’s Nutcracker to Saratoga in July 1972. This holiday ballet was performed for an audience of more than six thousand people.51 Ballet master Jerome Robbins premiered his ballet Goldberg Variations in Saratoga in 1971. R
obbins’s Dances at a Gathering was especially successful in the open-air setting, which enhanced the ballet’s atmosphere with breezes and fireflies on the lawn.52 New works by principal dancer Peter Martins were introduced, foreshadowing his future as a prolific choreographer for the company.

  Cris Alexander, Steven Caras and Paul Kolnik are among the many photographers who specialized in photographing the dancers of the New York City Ballet. Kolnick has been taking photos of the New York City Ballet since the 1970s and is still the official photographer for the company. Kolnick said:

  Coppélia, Act III, choreography by George Balanchine and Alexandra Danilova. ©The George Balanchine Trust, Patricia McBride, Helgi Tomasson and dancers. Photo by Martha Swope.

  Balanchine changed my life. He happened to use the language of ballet, a clear and articulate language. Now, all I want to do is illuminate Balanchine’s work. I like photographing in Saratoga, because different things happen here. At SPAC, with the sound of the little stream, the birds, the smell of the pines, there’s an added dimension that fills up the senses. The ballets seem to expand here. Half of my best pictures are taken here, though I only spend one-eighth of my time here. Saratoga is ballet heaven for me.53

  Saratoga dance fans were thrilled to learn that world-famous dancer Mikhail Baryshnikov would be performing with the New York City Ballet during the summer of 1979. Peter Martins remembers, “In recalling times in Saratoga, I particularly enjoyed when Misha was there, performing with us. Misha had so many fans that he had to escape via the orchestra lounge back door, so he wouldn’t be swamped by autograph seekers. There would be a car waiting for him, and I always enjoyed the ride up the hill (not that anyone was looking for my autograph!).”54

  The local audience saw familiar dancers retire and new artists emerge. Many who were in the corps de ballet in 1966 were now soloists, including Shaun O’Brien, Robert Weiss and Robert Maiorano. Some soloists from the 1960s had become principal dancers, such as Kay Mazzo, Sara Leland and Carol Sumner. The company itself had grown tremendously. Back in 1966, the New York City Ballet was an ensemble of 56 dancers; by 1980, the roster had increased to 101.

  George Balanchine and Jerome Robbins share a light moment in rehearsal. Photo from the collection of the National Museum of Dance. BALANCHINE is a trademark of The George Balanchine Trust.

  Public relations icon Ed Lewi began working for the Saratoga Performing Arts Center in 1969. He says, “I was conscripted to work for SPAC by the first president, Gene Robb. I was a sports nut who didn’t know anything about ballet. In the beginning I worked for free with a paid assistant. For the first time in my career, I didn’t know my topic—I had to investigate and learn more about SPAC and this New York City Ballet.”

  Ed Lewi tried some creative ideas to identify the New York City Ballet specifically with life in Saratoga Springs. To the delight of the local audience, Lewi convinced a well-known local banker to participate in a performance of the ballet Slaughter on Tenth Ave. He photographed ballerinas with Thoroughbreds and brought Edward Villella to speak at local Rotary and Kiwanis Club meetings. Ed Lewi organized groups of ballet dancers and musicians to perform at a prison near Plattsburg.

  George Balanchine coaches Mikhail Baryshnikov in Orpheus, choreography by George Balanchine. ©The George Balanchine Trust. Photo from the collection of the National Museum of Dance. BALANCHINE is a trademark of The George Balanchine Trust.

  In the effort to increase attendance, Lewi initiated the “Theme Nights,” which proved to be very popular. The programming for each evening followed a particular theme, such as American Composers Night, All-Russian Night or All-Stravinsky Night.

  Ed Lewi told the story of his first experience with George Balanchine:

  Balanchine came to me early on and said, “Lewi, I hear you don’t like the ballet.” He gave me a list of ballets he wanted me to see—the lighter ones so I would learn to like it. Those that weren’t on the list, Balanchine told me to stay in my office. It worked—I learned a lot about the ballets, the dancers and the audience. I even got on stage! One night Balanchine told me, “Lewi, you’re going to be in Firebird tonight.” Like hell I am! There I was, a super on stage in tights in the final scene.

  “Not a highlight of my life,” he added with a grin. Even after his retirement, Ed Lewi has remained with the Saratoga Performing Arts Center, serving as the secretary of the board of directors.55

  Dancers had several favorite destinations for relaxing after performances. Sperry’s and Hattie’s were popular, and those former dancers who now lived in Saratoga frequently hosted their friends. The primary nightspot was the garden lounge at the Adelphi Hotel, where dancers mingled with local fans. The ballet orchestra members often played chamber music in the hotel ballroom, creating a scene reminiscent of Saratoga’s gilded age.

  Sheila Parkert was the owner of the Adelphi at that time, and she remembered those evenings fondly:

  The relationship between Saratoga Springs and the company was very friendly and warm—like family. They loved us and we loved them. Mr. Balanchine loved all his dancers, current and past, and he always welcomed them to him. We took it all in stride; I guess we didn’t realize history was being made.56

  Former dancer with the company and musician Daniel Duell said:

  I recall very elegant evenings of chamber music supplied by the NYCB Orchestra members in the ballroom of the hotel. The décor was classic, dark wood furnishings, highly polished, very tasty cuisine and generous drinks. Robert Irving conducted in 1986–87, the two years I participated as flutist. The chamber orchestra played Tchaikovsky, Bach, Handel and other composers. Those evenings brought musicians and listeners close, as much NYCB repertoire was played. We could just play the music already dear to the audience’s hearts from having seen the ballets. It was joy, joy, joy. The warmth of the audience response and the dancers also coming in to listen because they too so loved just hearing the music they danced to—all this because Mr. B. brought us all so close to music through his ballets.57

  Andrew Wentink stated, “George Balanchine was there frequently—he was present. Talk about a heady environment! Saratoga Springs now knew the social and artistic elite of the times.”58

  For over a century, Saratoga Springs has been known for parties in the summer. Many prominent local people wanted to celebrate the dancers. The Wait family held an annual private party at their Lake George property. Mrs. Ogden Phipps entertained the dancers with a pool party every summer.

  Although Mr. Balanchine did not frequent the social scene, he did arrange a great party at his River Run cottage for Mikhail Baryshnikov. According to Kay Leach, Balanchine dictated the menu, including blini and four pounds of caviar brought up to Saratoga from Zabar’s in New York City. Balanchine himself entertained at the piano, impersonating many celebrities. Mrs. Leach told a story of one of the farm animals: “One of our goats on the farm could jump very high—high enough to get on top of the shed. We named him Misha in honor of Baryshnikov’s great leaps.”59

  As hard as dancers work, they must also have time to play. Kathryn Levy, from the New York City Ballet Education Department, remembers an amusing tradition that took place in Saratoga:

  New York choreographer Peter Anastos used to stage parody ballets in a parking lot in Saratoga. Everyone in the company would come. One time, he staged a parody of Robbins’s Glass Pieces called “Price Chopper Variations.” It involved people running across the “stage” very rapidly to Philip Glass music, pushing big shopping carts à la Price Chopper. It was a big hit!60

  SARATOGA SPRINGS CELEBRATES GEORGE BALANCHINE

  The community of Saratoga Springs looked forward to the annual return of the New York City Ballet. Every July, downtown store windows posted signs welcoming the company back, and banners hung across Broadway. Mayor Raymond Watkin exclaimed:

  When the New York City Ballet is in town, it changes the character of the city for the better. It is an exciting time that gives the people a good lift. This is a very fine
thing that happens here in Saratoga Springs.

  In the summer of 1977, Mayor Raymond Watkin declared Friday, July 15, to be George Balanchine Day, and Saratoga Springs celebrated with a grand parade down Broadway. Mr. Balanchine and Mayor Watkin rode together in a horse-drawn antique surrey. New York City Ballet dancers, dressed appropriately in the costumes from Stars and Stripes, rode a decorated fire truck. Groups of local dancers, drum majorettes and bands marched through the center of town as hundreds of people cheered for “Mr. B” when he passed by. Governor Hugh Carey sat in the viewing stand along with Balanchine’s close friend Michael Arshansky, who was in costume as the mayor from Coppélia.61

  George Balanchine Day. Mr. Balanchine with Mayor Raymond Watkin and Michael Arshansky enjoying the festivities. Photo provided by Mayor Watkin. BALANCHINE is a trademark of The George Balanchine Trust.

  After laudatory speeches, Mayor Watkin presented George Balanchine with the Keys to the City. Balanchine spoke from the podium:

  I don’t know where I can enter with this key, but I will find a place. When they accept things like this in Hollywood they say they couldn’t have done it without so and so. I must say we couldn’t have done it without the bodies, and so I will share this key with all my girls. We love to go here, and I wish we could stay longer.62

  On stage before the performance that evening, Mayor Watkin handed Balanchine a commemorative plaque. The proclamation read: