Source Notes

All personal letters, memoir notes, newspaper clippings, radio interviews, and transcripts referenced in The Making of Markova are part of the Dame Alicia Markova Collection at the Howard Gotlieb Archival Research Center at Boston University, Boston, Massachusetts. Director Vita Paladino, Associate Director Sean Noel, and the entire Gotlieb staff provided immeasurable help and consideration during the lengthy research process.

Chapter 1: Another Pavlova

2. “If Markova springs like a winged fairy,” “Alicia Markova”, by Cyril Beaumont, The Ballet Annual (1963) Mary Clarke and Arnold Haskell.

2. “The risk was too great,” “Markova in Edinburgh,” Scotsman, 4/26/37.

2. “Her weight had to be poised with absolute,” AP Newsfeatures Writer, Trudi McCullough, dateline New York.

2. “I saw her in Les Sylphides,” Ballet Magazine, 9/30/77, Jane Simpson.

3. “The more you see her the more you value her,” Modern Music, January–February 1942, Edwin Denby.

3. “Who Markova is, nobody knows,” New York Herald Tribune, 10/18/43, Edwin Denby.

3. “the perfect epitome of the classical ballerina,” “Concerning Art and Alicia Markova,” John Martin, The New York Times, 4/11/43.

3. “I once asked the great Russian-American prima ballerina,” Ted Shawn: Father of American Dance (1976), Walter Terry.

4. “both my inspiration and my despair,” BBC Television program: “This is Your Life, Alicia Markova”, 1/11/60.

4. “Always about her there was an aroma,” Portrait Gallery: Artists, Impresarios, Intimates (1990), Agnes de Mille.

5. “her name was synonymous with the art,” Dance to the Piper (1980), Agnes De Mille.

5. “I have seen two dancers,” Ibid.

7. “The lithe, slim figure danced across the stage,” “How a Mother’s Prayer was Answered”, Everybody’s Weekly, London, 1/12/35.

8. “Mother was quite a talented singer.” “Alicia Markova’s Sister Looks Back,” by Doris Barry, Birmingham Gazette, 10/18/49.

9. “You are going to enter fairyland,” Nijinsky, Pavlova, Duncan: Three Lives in Dance (1977), Paul Magriel.

10. “The child certainly danced well,” The Diaghilev Ballet: 1909–1929 (1953), S.L.Grigoriev translated by Vera Bowen.

10. “I was interested in most things around me. I just didn’t speak much,” BBC Radio interview: “Myself When Young,” with Claire Rayner (unknown year).

11. “silent, but not unsociable.” Memoir notes from Markova’s archives.

11. “I didn’t even look a typically English little girl of the period,” Ibid.

11. “Everyone laughed, but I wore a little black satin dress,” “Britain’s No. 1 Ballerina Sets the record Straight,” Lois Lehrman, New York Journal-American, 5/30/59.

12. “I also earned another nickname at this time,” Memoir notes from Markova’s archives.

12. “I was trotting along the beach when I was about maybe seven,” Radio interview: John Dunne Show, 12/5/84.

12. “Thank God that man was interested in the ballet,” Ibid.

13. “I rather enjoyed it because I met other children,” BBC Radio program: “Markova Birthday Tribute,” December, 1970.

13. “as fragile as Venetian glass.” Portrait Gallery, Agnes de Mille.

14. “My mother thought it was a dodge to get more fees out of her.” Memoir notes from Markova’s archives.

14. “When you watch Markova, the music seems to come from her,” “Alicia Markova,” by D.P. Daniels, Ballet Today, 1959.

15. “Alicia would produce, design, choreograph, and teach,” “My Sister … The Ballerina,” Doris Barry, 1957.

16. “I was very attached to my father,” Memoir notes from Markova’s archives.

17. “Her manager, Alfred Katz, of New York,” Johannesburg Sunday Times, 4/10/49.

17. “One of our favorite games was traveling,” “My Sister …The Ballerina,” Doris Barry, 1957.

17. “Mother, to me, always seemed to be waiting,” interview with Louette Harding, Daily Mail, 12/1/02.

18. “One doesn’t expect Princess Aurora or the Sugar Plum Fairy,” “Why I Love London,” Alicia Markova, The Star, London, 12/2/57.

18. “First my father had a Buick.” LBC Radio interview: Steve Allen show, 7/1/96.

18. “She was a wizard at mental arithmetic,” “My Sister … The Ballerina,” Doris Barry, 1957.

19. “How little the daily life of a ballet dancer,” Pavlova: Portrait of a Dancer (1984), presented by Margot Fonteyn.

19. “At week-ends my father,” “Why I Love London, Alicia Markova,” The Star, 12/2/57.

20. “I envy people who have had serious education,” Memoir notes from Markova’s archives.

20. “I often wondered what the Cinema audience must have thought,” Ibid.

20. “I shall never forget the thrill I had when I literally,” Ibid.

22. “presumably contributed towards the large flat in which Pavlova lived,” Anna Pavlova (1973), Oleg Kerensky.

23. “how they came to live at the tranquilly situated Ivy House.” Anna Pavlova (1972), Victor Dandré.

24. “I love London best of all,” Home Chat, London, 1924.

24. “Pavlova herself was allergic to cats,” Anna Pavlova: Her Life and Art, Keith Mooney.

25. “I myself married her off in the press,” Impresario (1946), Sol Hurok.

27. “When it was a case of parents,” Anna Pavlova in Art and Life (1932), Victor E. Dandré.

28. “Nobody dreamed of daring to ask for her autograph,” Pavlova: Portrait of a Dancer (1984), presented by Margot Fonteyn.

29. “What ordinary ballet-goer had the chance,” Ballet Today, January/February 1957.

29. “when efforts were being made to engage,” Anna Pavlova (1973), Oleg Kerensky.

29. “I have a tremendous admiration for Markova,” Ballet (1951), Cecil Beaton.

30. “It was a beautiful summer day,” BBC Radio interview to celebrate the opening of the Pavlova Museum at ivy House, June 3, 1975.

32. “Your life will be all work and unless you’re prepared to give,” BBC Radio program: The Alicia Markova Story, 10/3/60.

33. “Pavlova was Miss Markova’s ideal,” interview with Markova and Dolin, Winnipeg Free Press, 12/12/47.

33. “I recalled Pavlova telling me,” “Markova Pays Penalty of Fame, by John Bolton, Yorkshire Evening Post, 5/27/50.

34. “As a student, Pavlova was talented and also different.” Anna Pavlova: Her Life and Art (1982), Keith Money.

35. “When you talk to her you forget,” “The Dancer Who Thinks,” The Strand Magazine, London, October 1924.

35. “I chatted with her for a short while in her dressing room,” Newcastle Journal, 5/28/34.

36. “And what of another now-retired ballerina,” “Ballet Stars Without the Body Beautiful”, New York Herald Tribune, Walter Terry, 9/15/63.

37. “I was stirred by this comparison,” Giselle and I (1960), Alicia Markova.

39. “Markova’s ‘Swan’ is a lovely, ethereal creature,” Unknown newspaper, 1942.

39. “During the Diaghilev season at the Princess Theatre,” BBC Radio program: The Alicia Markova Story, 10/3/60.

41. “She was sitting in the box at the Sarah Bernhardt Theatre,” Radio interview: Round Midnight with Brian Matthew, 1986.

41. “her undeveloped androgynous body and fearless,” “Alicia Markova Queen of British ballet dies at 94,” Ismene Brown, The Telegraph, London, 12/3/2004.

41. “appetite for modernity,” “Dame Alicia Markova,” Nadine Meisner, The Independent, London 12/3/04.

42. “Whenever Markova dances in London,” Bristol Evening World, December 1937.

42. “What can I recall of her gestures?” Sheffield Telegraph, 1/12/56.

42. “If I had a daughter, she,” Everybody’s Weekly, January 12, 1935.

43. “It was funny,” Memoir notes from Markova’s archives.

43. “The spirit of Pavlova has entered Markova.” Manchester Evening News, 5/8/35.

44. “People said all sorts of things because,” Markova: The Legend (1995), Maurice Leonard.

44. “dancing appeared spontaneous and elusive,” Apollo’s Angels (2010), Jennifer Homans.

45. “She wore only the soft slippers,” AP Newsfeatures Writer, Trudi McCullough, dateline New York.

45. “frailty turned out to be her greatest asset.” Apollo’s Angels (2010), Jennifer Homans.

45. “Pavlova at that time hardly realized,” Theatre Street (1961), Tamara Karsavina.

46. “Every country, of course, has its admirable born dancers,” Anna Pavlova in Art and Life, Victor E. Dandré.

46. “You have a Russian soul!” interview with Nijinska, New York Post, 1/5/48.

Chapter 2: Diaghilev’s Prodigy

49. “I think perhaps, she missed a lot of the fun,” “Alicia Markova’s Sister Looks Back,” Doris Barry, Birmingham Gazette, 10/18/49.

51. “I think the ermine caused these orange-sucking youngsters,” Markova: Her Life and Art (1953), Anton Dolin.

51. “the very shy little girl with big sad eyes.” BBC Radio program: The Alicia Markova Story, 10/3/60.

52. “[Markova] did this little dance,” Ibid.

53. “My secret fear all through the rehearsals for Dick Whittington,” Memoir notes from Markova’s archives.

54. “It was my very big number which used to stop the show,” interview for BBC Television documentary “Markova” (1981).

54. “I can remember that at the end I finished,” Memoir notes from Markova’s archives.

54. “You remember how in Giselle at the end of the Mad Scene,” London Sunday Times, unknown year.

54. “I loved it because I learned,” Ibid.

56. “There, in a circle of flame,” Markova: Her Life and Art, Anton Dolin.

56. “I was extremely impressed with this little girl.” BBC Radio program: The Alicia Markova Story, 10/3/60.

56. “a secret passage led from the Grand Duke’s box directly,” “How Ballet Fell for Flower-Giving,” Judith Mackrell, The Guardian, 12/18/12.

57. “Sima [Astafieva], a dancer from the Imperial Theatre,” Bronislava Nijinska: Early Memoires (1981), translated and edited by Irina Nijinska and Jean Rawlinson.

57. “carrying a peacock on her shoulder,” Ibid.

58. “vultures waiting for the tired and weary bodies to emerge from class.” Memoir notes from Markova’s archives.

58. “Fearfully, I rang the bell.” Doreen Young’s remembrances of Princess Astafieva, part of the Alicia Markova archives.

59. “Occasionally, Astafieva took me,” Ibid.

59. “not really dirty, just near-white.” Balletomania Then and Now, Arnold Haskell.

60. “Tallish, aged about 60, worldly and elegant,” Margot Fonteyn: Autobiography (1977), Margot Fonteyn.

64. “[H]er classes were a revelation,” Balletomania Then and Now, Arnold Haskell.

64. “a pair of brown velvet knickers,” Anton Dolin: Autobiography (1960), Anton Dolin.

65. “Madame adored him as a son,” Doreen Young’s remembrances of Princess Astafieva, part of the Alicia Markova archives.

65. “always the first to arrive and the last to leave,” BBC Radio program: The Alicia Markova Story, 10/3/60.

65. “Her technique was really quite extraordinary,” Ibid.

65. “After class I would rehearse with Alicia.” interview for BBC Television documentary “Markova” (1981).

65. “extraordinary fondness of cats.” BBC Radio program: The Alicia Markova Story, 10/3/60.

66. “At that time, he treated me like a very small sister,” interview for BBC Television documentary “Markova” (1981).

66. “The early years of training I had,” Memoir notes from Markova’s archives.

67. “One morning there was great excitement.” Memoir notes from Markova’s archives.

69. “bizarre, very quiet, very reserved,” BBC Television program: “This is Your Life, Alicia Markova,” 1/11/60.

70. “Olga Spessivtseva and Anna Pavlova are like two halves,” “Sergei Diaghilev,” by Arnold L. Haskell, Ballet Review, Summer 1996 (written in 1990).

70. “That was where I think I started to acquire all the knowledge,” “My Life as a Dancer,” Markova’s recorded talk at the Royal Ballet School, London, 9/27/72.

71. “Arthur was without work again,” Markova: The Legend, Maurice Leonard.

71. “suddenly found himself penniless.” Markova: Her Life and Art, Anton Dolin.

71. “While we were still in London,” Choura: The Memoirs of Alexandra Danilova (1987), Alexandra Danilova.

74. “When she was a little girl,” Speech “Preparation for Ballet,” given by Nadine Nicholaeva-Legat.

76. “He [Diaghilev] said he would come back,” “My Life as a Dancer,” Markova’s recorded talk at the Royal Ballet School, London, 9/27/72.

77. “I met Alicia at a Christmas party,” Balletomania Then & Now, Arnold Haskell.

77. “I saw a great deal of Alicia,” Ibid.

78. “I met her and her three sisters,” interview for BBC Television documentary “Markova” (1981).

78. “Her legs were like arrows,” Balletomania Then & Now, Arnold Haskell.

80. “I had visions of being Olga Tredova,” BBC Radio program: “Markova Reminiscences” (circa 1990s).

Chapter 3: The Ballets Russes

82. “People said I appeared ‘foreign,’” Memoir notes from Markova’s archives.

82. “No one ever knew what Diaghilev looked like.” “Ballerina’s Career in Retrospect,” Scott Cain, Columbia Record, South Carolina, 11/14/83.

83. “He was a monster in a way,” “Dancing For Diaghilev,” interview with Henry Fenwick, Radio Times Magazine, August 1979.

83. “force the family into bankruptcy,” Diaghilev: A Life (2009), Sjeng Scheijen.

83. “I had learned very early on,” Memoir notes from Markova’s archives.

84. “There were no unions,” Ibid.

84. “I knew he was the greatest man in ballet,” “Alice’s Wonderland,” The Sunday Times, London, 7/7/68.

85. “He was my artistic father,” Jewish Chronicle, 12/2/60.

86. “The dream and purpose of my life are to work creatively,” Diaghilev: A Life (2009), Sjeng Scheijen.

86. “never to utter the words ‘I can’t,’”: New York Times Book Review of Sjeng Scheijen’s Diaghilev: A Life, Jennifer B. McDonald, 9/22/10.

86. “I am first a great charlatan,” “Letter from London—exhibit honoring Sergei Pavlovich Diaghilev” by Margaret Willis, Dance Magazine, September 1996.

87. “Only a fighter and an absolute autocrat could have succeeded,” “Sergei Diaghilev,” by Arnold L. Haskell, Ballet Review, Summer 1996 (written in 1990).

87. “maintained that Diaghilev’s Ballets Russes,” “The Divine Vision of Diana Veeland,” Laura Jacobs, The Wall Street Journal, 12/29-30/2012.

88. “The theory of art for art’s sake never enjoyed a clear victory,” Diaghilev: A Life (2009), Sjeng Scheijen.

89. “had the most tremendous influence,” Charles Spencer being interviewed on BBC Radio program “Woman’s Hour” (1994), on the occasion of his museum exhibit “Designers and Dancers of the Ballets Russes” held at Pallant House in Chichester, England.

89. “The era 1909–1929 was the Diaghilev era,” “Sergei Diaghilev,” by Arnold L. Haskell, Ballet Review, Summer 1996 (written in 1990).

90. “All eyes were on Diaghilev.” Bronislava Nijinska: Early Memoirs (1981), translated and edited by Irina Nijinska and Jean Rawlinson.

91. “I was a very shy, timid person,” BBC Radio interview: “Frankly Speaking,” 2002.

91. “I did not dance with the Company that season,” Memoir notes from Markova’s archives.

92. “admired him; it almost amounted to worship;” “Sergei Diaghilev,” by Arnold L. Haskell, Ballet Review, Summer 1996 (written in 1990).

92. “‘Frightening’ is a word used over and over,” “The Master of Motion,” Robert Gottlieb reviewing John Drummond’s Speaking of Diaghilev, The New York Times, 8/1/99.

93. “He was crazy about her,” interview for BBC Television documentary “Markova” (1981).

94. “Who is this man Basket,” Balletomania Then & Now (1977), Arnold Haskell.

95. “I would spend hours thinking up all sort,” Memoir notes from Markova’s archives.

96. “I was saying Good-bye to my dear Mother,” Ibid.

96. “I was one of those sorts of adopted aunts.” interview for BBC Television documentary “Markova” (1981).

97. “the deal would give Monaco the world’s most prestigious dance,” Diaghilev: A Life (2009), Sjeng Scheijen.

98. “he found common or unsuitable for the Russian Ballet,” “Sergei Diaghilev,” by Arnold L. Haskell, Ballet Review, Summer 1996 (written in 1990).

98. “He advised me,” Memoir notes from Markova’s archives.

99. “I don’t suppose many people think,” Radio program: “The Alicia Markova Story,” 10/3/60.

99. “with Guggy it was a grim ritual without a scrap of pleasure,” Markova Her Life and Art, Anton Dolin.

100. “Everything had to be done her way,” London Jewish Chronicle, 12/2/60.

100. “I was bathed, dressed, changed, as if I were a doll,” Memoir notes from Markova’s archives.

100. “She sat and watched everything,” interview with Jane Kelly, London Daily Mail, 5/21/96.

102. “That first year at Monte Carlo was,” Ibid.

103. “Every penny went into his dreams.” “Sergei Diaghilev,” by Arnold L. Haskell, Ballet Review, Summer 1996 (written in 1990).

103. “I was so delighted when I heard,” Memoir notes from Markova’s archives.

104. “an unpardonable affront to the family name.” Memoir notes from Markova’s archives.

106. “Lydia Sokolova, Paris, June 1926” From Markova’s personal autograph book in her archives.

108. “It seemed a very precarious business to me,” Memoir notes from Markova’s archives.

108. “The thing that Diaghilev adored,” BBC Radio program: “Markova Reminiscences,” (unknown year).

108. “Thank God I danced impeccably,” Ibid.

108. “From that day on, I never moved without adhesive,” Ibid.

110. “I was thought particularly suitable for roles,” Radio interview: John Dunne Show, 12/5/84.

110. “In the first scene I had to emerge,” Ibid.

111. “In the morning I would have my classes,” Speaking of Diaghilev (1997), John Drummond.

112. “There were several acrobatic steps,” Memoir notes from Markova’s archives.

112. “more, more, more!” explained Peter Martins, 60 Minutes interview with Lesley Stahl, November 2012.

113. “Alicia’s incredible virtuosity thrilled Balanchine.” The Independent, 12/3/04.

113. “He planned that she,” George Balanchine: Ballet Master (1988), Richard Buckle.

113. “I remember the very first rehearsal,” Radio program: “Myself When Young” with Claire Raynor (unknown year).

114. “He was very kind,” The Birmingham Post Weekend, 11/24/90.

115. “Henri Matisse in particular was going through a brief critical slump,” “Matisse: In Search of True Painting,” 2012/13 exhibit at the Metropolitan Museum of Art, New York.

115. “Just after we arrived in Paris,” Memoir notes from Markova’s archives.

117. “I’m very amused,” BBC Radio program: “Markova Reminiscences” (circa 1990s).

117. “Honors go to the ‘baby’ of the ballet,” London Press, 7/20/27.

118. “Again, my size seemed to fit me,” 1963 talk shortly after Markova’s retirement and subsequent directorship appointment at the Metropolitan Opera Company in New York.

119. “I didn’t know that,” Radio interview: John Dunne Show, 12/5/84.

119. “I was pirouetting quite alone across the stage,” “Markova in Edinburgh,” Scotsman, 4/26/37.

119. “I found it totally absorbing and deeply exciting,” Memoir notes from Markova’s archives.

120. “He believed in, and encouraged,” Markova’s speech at Forbes House, 1/16/55, in honor of the current Diaghilev Exhibition.

121. “Alichka, you are to go to the Maestro himself,” Memoir notes from Markova’s archives.

121. “Spotlessly clean and tidy,” “Alicia Markova Reminisces About Cecchetti,” Dance News, September 1953.

122. “Now I don’t think we’re allowed,” “My Life as a Dancer,” Markova’s recorded talk at the Royal Ballet School, London, 9/27/72.

122. “My Russian training,” Memoir notes from Markova’s archives.

123. “With Cecchetti we had to wear,” Ibid.

124. “Sometimes they would go on for four,” Ibid.

125. “How old was I?” Ibid.

125. “She used to sit beside me,” Dance and Dancers, January 1955.

127. “She had no one.” interview for BBC Television documentary “Markova” (1981).

127. “I was put in your care,” BBC Radio tribute to Ninette de Valois, 1998.

128. “From the very beginning,” Dance and Dancers, January 1955.

128. “For the first time someone treated me as an equal,” Memoir notes from Markova’s archives.

129. “Diaghileff said to me,” Berlingske Aftenavsi, Denmark, 9/24/55.

130. “One can truly say that he was a genius,” “Ballerina’s Career in Retrospect,” Scott Cain, Columbia Record, South Carolina, 11/14/83.

130. “He used to have a trick,” London Observer, 11/13/32.

130. “Grigoriev takes pride in recording,” Hampshire Telegraph, 11/18/60.

131. “I was so shy and wooden in my dancing,” Unidentified London newspaper clipping, Markova archives.

131. “[A]t that time it had just come out,” Herald Scotland, unknown year.

132. “Go shop!” Markova Remembers, Alicia Markova.

132. “Spessivtseva created it and had an accident,” Speaking of Diaghilev, John Drummond.

132. “I thought, I don’t want to hurt my foot,” Ibid.

133. “The Cat of Alicia Markova was flawless,” Liepsig Zeitung, Berlin, 11/26/29.

133. “Mlle. Markova has shown herself,” L’ami du Peuple, Paris, 12/21/28.

133. “Sergypop explained to me” BBC Radio interview: “Myself When Young,” with Claire Rayner (unknown year).

133. “He genuinely loved ‘his English girl,’” Balletomania Then & Now, Arnold Haskell.

Chapter 4: Starting Over

137. “I remembered the last time I saw him,” Choura: The Memoirs of Alexandra Danilova, Alexandra Danilova.

138. “When Serge Diaghileff died in 1929,” World Book of Modern Ballet (1952), John Martin.

138. “Now, to all intents and purposes,” Ibid.

139. “For the second time in my 18 years,” Memoir notes from Markova’s archives.

139. “My home and my roots were in the physical structure,” Ibid.

139. “I was surrounded with people so much older,” BBC Radio program: Parkinson Show, 1/11/75.

140. “The following season, as he put it,” Memoir notes from Markova’s archives.

140. “The first time one noticed her,” BBC Radio interview: “Myself When Young,” with Claire Rayner (unknown year).

141. “The ‘real’ end of the season each year,” Memoir notes from Markova’s archives.

143. “I must inform you,” From Markova’s archives.

144. “He was an old devil,” Markova’s speech “My Life as a Dancer,” to the Royal Ballet School, 9/27/72.

145. “I lived in a waking nightmare,” Memoir notes from Markova’s archives.

146. “high minded planning for a better world,” Juliet Gardiner, author of The Thirties: An Intimate History (2009), writing on the topic in the London culture blog The Dabbler.

146. “The ‘dream palaces’—the massive fantastical cinemas,” Ibid.

147. “At that time, I hate to say,” Forces Radio interview with Tommy Vance, 12/12/78.

147. “English Ballet an odd sense of release,” Come Dance With Me (1980), Ninette de Valois.

148. “My mother gave me the name,” Ibid.

149. “a woman of high religious fervour,” Margot Fonteyn (2004), Meredith Daneman.

149. “Staff asking for a pay rise,” Lilian Baylis: A Biography (2007), Elizabeth Schafer.

150. “I don’t care. It will have to go back to Berts.” Ibid.

150. “I have no wish to join the ranks of those,” Come Dance With Me, Ninette de Valois.

150. “Where de Valois and Baylis,” Lilian Baylis: A Biography (2007), Elizabeth Schafer.

150. “wooden hand,” Ibid.

151. “The Polish-born Marie Rambert,” No Intermissions: The Life of Agnes de Mille (2000), Carol Easton.

151. “Sometimes, Mim merited a scolding,” Dance to the Piper (1951), Agnes de Mille.

153. “The actors made great friends,” Quicksilver: An Autobiography (1972), Marie Rambert.

153. “annus mirabilis,” Sadler’s Wells Ballet: A History and an Appreciation (1955), Mary Clarke.

154. “With Diaghileff alive, such competition,” Balletomania: The Story of an Obsession (1934), by Arnold Haskell.

154. “Both Richardson and Haskell believed,” Sadler’s Wells Ballet: A History and an Appreciation (1955), Mary Clarke.

154. “It is significant that when the Camargo Society.” Markova: Her Life and Art, Anton Dolin.

155. “The aim of the society was production.” “The Camargo Society,” Kathrine Sorley Walker, Dance Chronicle, 1995.

155. “These people are idiots in business.” Shaw’s postcard was re-printed in several newspapers at the time.

156. “This was read out and got us a lot of publicity,” interview for BBC Television documentary “Markova” (1981).

156. “The Camargo Society was my first experience,” Balletomane at Large (1972), Arnold Haskell.

156. “Lydia Lopokova was full of surprises,” Dancing For Diaghilev: The Memoirs of Lydia Sokolova (1960), edited by Richard Buckle.

157. “She [Lopokova] was so gay and feckless,” Ibid.

157. “Lydia had a remarkable sense of sincerity,” Ibid.

157. “She should have been content with this,” Balletomania (1934), Arnold Haskell.

158. “drawn to the promise of security and power,” Bloomsbury Ballerina (2009), Judith Mackrell.

159. “I am no judge of his,” Balletomane At Large, Arnold Haskell.

159. “Bloomsbury made much of personal relationships,” Ibid.

160. “almost the only attitude the two,” “Was Keynes Anti-Semitic?” Anand Chandarkar, Economic and Political Weekly, 5/6/2000.

160. “On all occasions, Lydia Keynes,” Come Dance With Me, Ninette de Valois.

160. “Lydia rapidly found herself,” Bloomsbury Ballerina, Judith Mackrell.

160. “lubricated by Maynard’s claret,” Ibid.

161. “Lydia had never liked the younger ballerina,” Ibid.

161. “Lydia may have initially been fond of Marie,” Ibid.

161. “A Bomb-shell. Fred under influence of Mim,” Lydia Lopokova letter to John Maynard Keynes, 11/14/31.

162. “a delicious little person of irresistible charm.” Quicksilver: An Autobiography (1972), Marie Rambert.

163. “When Diaghileff died Alicia began a new and very difficult career,” In His True Centre (1951), Arnold Haskell.

163. “Naturally, I was pleased at this success,” Ibid.

163. “Cephalus and Procris [1931] was Alicia Markova’s,” “The Camargo Society,” Kathrine Sorley Walker, Dance Chronicle, 1995.

164. “I can say that I have known Alicia,” Dancing Times, June 1931.

164. “Imagine what it must be like to,” Come Dance With Me, Ninette de Valois.

165. “At that time her beauty had not bloomed,” Markova: Her Life and Art, Anton Dolin.

166. “The fact that had to be faced,” Memoir notes from Markova’s archives.

Chapter 5: Pioneering British Ballet

167. “The thing that a choreographer really needs is an eye,” Frederick Ashton: A Choreographer and His Ballets (1971), Zöe Dominic and John Selwyn Gilbert.

167. “Peru, with its ‘particular interweaving of lightness,’” Secret Muses: The Life of Frederick Ashton (1996), Julie Kavanagh.

168. “[Ashton] felt cheated, and said so out loud,” Ibid.

169. “I always felt that Fred was,” Ibid.

169. “As a child, Freddie Ashton was considered special,” Ibid.

169. “she injected me with her poison,” Frederick Ashton: A Choreographer and His Ballets (1971), Zöe Dominic and John Selwyn Gilbert.

170. “Massine was very aloof and uncommunicative,” Frederick Ashton: A Choreographer and His Ballets (1971), Zöe Dominic and John Selwyn Gilbert.

171. “Fred had a loose-jointed, delicate physique,” Ballet Contexts: “Ashton the Dancer,” Leo Kersley, Ballet.co.uk.

171. “Cecchetti’s training stayed with me my entire life,” Memoir notes from Markova’s archives.

171. “I was brought up with the idea, that well,” BBC Radio program “Frankly Speaking,” 2002.

171. “found himself thrust overnight into,” Secret Muses: The Life of Frederick Ashton, Julie Kavanagh.

172. “She only had a part-time studio,” Frederick Ashton: A Choreographer and His Ballets (1971), Zöe Dominic and John Selwyn Gilbert.

172. “an extraordinary cultured woman,” “Two Letters,” Jane Pritchard, ballet.co/uk.

173. “I remember seeing her, this trim little,” interview for BBC Television documentary “Markova” (1981).

173. “I saw her with Diaghilev,” Ibid.

174. “notoriously lazy about going to class,” Frederick Ashton and His Ballets (1977), David Vaughan.

174. “small, nervous and touchingly eager to please.” Come Dance With Me, Ninette de Valois.

174. “I never had time off, but I didn’t seem to require it,” Memoir notes from Markova’s archives.

174. “Unlike his exact contemporary, George Balanchine,” Playbill Arts, July 2004, Julie Kavanagh.

175. “Witty and well mannered, Ashton was the ideal escort,” Secret Muses: The Life of Frederick Ashton, Julie Kavanagh.

175. “whether imitating Garbo,” Playbill Arts, July 2004, Julie Kavanagh.

175. “a brilliant evocation of the period,” Secret Muses: The Life of Frederick Ashton, Julie Kavanagh.

175. “I thought I was made for life,” Frederick Ashton: A Choreographer and His Ballets (1971), Zöe Dominic and John Selwyn Gilbert.

176. “must never lose her essential mystery,” Markova: Her Life and Art, Anton Dolin.

177. “without pay or well-defined position,” Balletomania: The Story of an Obsession (1934), Arnold Haskell.

177. “Arnold saw the possibilities of many new books,” Anton Dolin: Autobiography (1960), Anton Dolin.

177. “At the time, Arnold Haskell’s criticisms,” Ibid.

177. “My dear Pat,” Ibid.

178. “humble member”, “inexperienced, half-trained,” Come Dance With Me, Ninette de Valois.

178. “Nijinska, in particular helped me tremendously” Frederick Ashton: A Choreographer and His Ballets (1971), Zöe Dominic and John Selwyn Gilbert.

178. “She [Nijinska] is a beautiful dancer & a dancer above,” “Two Letters,” Jane Pritchard, ballet.co/uk.

179. “a half-witted canary,” Lytton Strachey: The Years of Achievement 1910–1932 (1968), Michael Holroyd.

179. “Lydia’s pranks put us all on edge.” Virginia Woolf (1994), James King.

179. “I asked her [Lopokova] whether she,” Quicksilver: An Autobiography, Marie Rambert.

179. “Coming from a generation that considered itself,” Bloomsbury Ballerina, Judith Mackrell.

180. “‘Poor Fred,’ she would report to Maynard,” Ibid.

180. “He had seen her perform on many occasions,” Secret Muses: The Life of Frederick Ashton, Julie Kavanagh.

181. “I’ll know you.” Ibid.

181. “When Sir Nigel gave me leave to,” Markova Her Life and Art, Anton Dolin.

181. “I’d only just met Fred,” Markova: The Legend, Maurice Leonard.

182. “It is not Ashton’s habit to demonstrate,” Frederick Ashton and His Ballets (1977), David Vaughan.

185. “I had thought at the time,” Markova: The Legend, Maurice Leonard.

185. “As Procris, in this ballet,” Dancing Times, March 1931.

186. “If anyone could dart about the stage,” Dancing For Diaghilev: The Memoirs of Lydia Sokolova, edited by Richard Buckle.

186. “a friend and mentor, rather than a muse,” Secret Muses: The Life of Frederick Ashton, Julie Kavanagh.

187. “[Lopokova] suspected that Markova,” Bloomsbury Ballerina, Judith Mackrell.

187. “Fred came over and asked me,” Markova: The Legend, Maurice Leonard.

188. “boxed herself into a moral corner,” Bloomsbury Ballerina, Judith Mackrell.

189. “it was gall and wormwood,” Ibid.

190. “Ashton attempted to create a genuinely,” Frederick Ashton and His Ballets, David Vaughan.

193. “[Ashton] went to Marie Rambert,” Balletomania: The Story of an Obsession, Arnold Haskell.

194. “I do not remember in all my career,” Ballet Go Round (1938), Anton Dolin.

194. “Since the laws in pre-revolutionary,” Dance Today, Israel, July 2000, Ruth Eshel.

195. “[Lopokova] considered that the majority of her,” Bloomsbury Ballerina, Judith Mackrell.

196. “Working with Markova was an,” Secret Muses: The Life of Frederick Ashton, Julie Kavanagh.

197. “When I first worked with her,” interview for BBC Television documentary “Markova” (1981).

197. “Markova is a genius of phrasing,” Dance Writings (1986), Edwin Denby.

197. “When young, his weakness lay,” Come Dance With Me, Ninette de Valois.

197. “Legat, another great ballet master,” “My Life as a Dancer,” Markova’s recorded talk at the Royal Ballet School, London, 9/27/72.

197. “familiarize himself thoroughly with the music,” Frederick Ashton and His Ballets, David Vaughan.

198. “As far as I can remember,” BBC Radio interview: “Myself When Young,” with Claire Rayner (unknown year).

198. “She was extremely musical,” Ibid.

198. “After we appeared in the Marriage a la Mode,” BBC Radio program: “Markova Birthday Tribute,” December 1970.

198. “I first saw her dance,” BBC Television program: “This is Your Life, Alicia Markova,” 1/11/60.

199. “The stage at the Mercury Theatre” interview for BBC Television documentary “Markova” (1981).

199. “as intimate as dancing in a cabaret.” Eric Johns, Theatre World, 1963.

199. “We would come offstage after we danced,” Markova: The Legend, Maurice Leonard.

199. “In 1927, Ashley bought the freehold,” Quicksilver: An Autobiography, Marie Rambert.

200. “But don’t you think that is life,” Radio interview: “Round Midnight,” with Brian Matthew, 1986.

201. “I had to live and I always had a great appetite,” Manx Radio program: Concert Classics, 12/31/74.

201. “Nobody realizes what the situation,” BBC Radio program: Beryl Grey in Conversations with Dame Ninette de Valois, Dame Alicia Markova, and Darcey Bussell, 1/17/93.

202. “One day, Fred, when I got to rehearsal,” interview for BBC Television documentary “Markova” (1981).

203. “I just got an impression of being dazzled,” Ibid.

203. “in all-over brown leotard, large bushy tail” and “I had to flee the pack by spinning as fast,” Markova Remembers, Alicia Markova.

204. “At the end of each show,” Radio program: “The Alicia Markova Story,” 10/3/60.

204. “Dame Ninette and Lilian Baylis,” interview for BBC Television documentary “Markova” (1981).

204. “She was always successful,” Ibid.

205. “One morning after class,” Speak to Me, Dance with Me (1973), Agnes de Mille.

205. “Venus was Alicia Markova,” Ibid.

206. “drew a distinction between the pictures,” “Talk of the Town: Photo Dept.” Judith Thurman, The New Yorker, 11/14/11.

206. “I enjoy comedy,” Markova: The Legend, Maurice Leonard.

206. “I always look back with particular pleasure,” Frederick Ashton: A Choreographer and His Ballets (1971), Zöe Dominic and John Selwyn Gilbert.

206. “I was really thought of as a classical dancer,” Radio interview: “Round Midnight,” with Brian Matthew, 7/8/81.

207. “She is such an exquisite dancer,” Music Lover, 12/19/31.

207. “[Façade] was half based on classical dancing,” interview for BBC Television documentary “Markova” (1981).

208. “Her most unusual role for the Club,” Radio program: “The Alicia Markova Story,” 10/3/60.

208. “cast Alicia as the chief lady of easy virtue,” Dance and Dancers magazine (1955).

208. “Cedric [sic] Ashton is the head waiter.” Sketch, 5/23/34.

209. “The joke was that Fred should set me,” Markova Remembers, Alicia Markova.

209. “I think her technical ability fascinated me,” BBC Radio interview: “Myself When Young,” with Claire Rayner (unknown year).

210. “It must have been something of a surprise,” Markova Remembers, Alicia Markova.

210. “I again was fortunate to work with,” “My Life as a Dancer,” Markova’s recorded talk at the Royal Ballet School, London, 9/27/72.

211. “[High Yellow] was very advanced in its day,” interview for BBC Television documentary “Markova” (1981).

211. “terror of boring people,” The New York Times, 8/20/88.

211. “The dances derived by Frederick Ashton,” The Illustrated London News, 3/12/32.

211. “Another lesson she,” Radio program: “The Alicia Markova Story,” 10/3/60.

211. “La Péri, Persian, come along,” Frederick Ashton and His Ballets, David Vaughan.

212. “Fred, Billy Chappell—also a Rambert dancer,” Markova Remembers, Alicia Markova.

212. “In La Péri the drama is interpreted,” Dancing Times, June 1931.

212. “Markova as La Péri is brilliant,” Press quote printed in The Ballet Club program, 1931.

212. “There was never any money to speak of,” Dancers of Mercury, “The Ballet Club,” (1962), Mary Clarke.

213. “in ‘cinematic’ black and white, incredibly chic,” Frederick Ashton and His Ballets, David Vaughan.

213. “forced Ashton into understatement,” Ibid.

213. “She [Markova] is on the stage when the thing,” interview for BBC Television documentary “Markova” (1981).

214. “Alicia Markova, the lovely Russian dancer,” The Modern, 8/28/33.

214. “Alicia Markova surpasses her considerable,” Time & Tide, 3/18/33.

215. “[Markova] is more responsive than any dancer I know,” interview for BBC Television documentary “Markova” (1981).

215. “She was always like a most beautiful picture painted.” Ibid.

217. “Are we becoming ballet-minded?” and “According to Alicia Markova,” Daily Sketch, 11/7/32.

Chapter 6: Becoming Giselle

219. “Scotsman John Logie Baird,” John Logie Baird: A Life (2002), Antony Kamm and Malcolm Baird.

221. “It was the size of a postage stamp!” Radio interview: “Round Midnight” with Brian Matthew, 7/8/81.

222. “It’s extraordinary what we went through,” Ibid.

226. “It has no serious portent at all,” The Sadler’s Wells Ballet: A History and an Appreciation (1955), Mary Clarke.

226. “[T]he leading role gave Markova her finest,” Vic-Wells, A Ballet Progress (1942), P.W. Manchester.

226. “It really brought out every gift,” Dance Magazine feature: “Pioneers of the Royal Ballet,” Gordon Anthony.

227. “I think of all the ballets I did for her,” BBC Radio program: “Markova Birthday Tribute,” December 1970.

227. “The Sadler’s Wells company at this point was merely,” Dance to the Piper (1987), Agnes de Mille.

227. “I have spoken to Ninette,” Letter from Lilian Baylis to Alicia Markova, dated 6/14/33, in Markova’s archive.

227. “Alice did the main corps de ballet work,” Interview for BBC Television documentary “Markova” (1981).

228. “It was wonderful, this extraordinary lightness,” Ibid.

228. “When the choreographer commences,” BBC Radio program: “Markova Reminiscences” (circa 1990s).

228. “Well, you know with me, I’m afraid,” Ibid.

229. “She had a very wide repertoire,” BBC Television program: “This is Your Life, Alicia Markova,” 1/11/60.

230. “It’s like an opera singer or a concert pianist.” LBC Radio program: interview with Steve Allen, 1/1/96.

230. “I used to get frightfully irritated,” Ibid.

231. “doing finger-turns on Ashton’s hand,” Dance to the Piper, Agnes de Mille.

231. “What a great choreographer Bronia,” Speaking of Diaghilev, Richard Buckle.

231. “She was an amazing woman,” Radio interview: “Round Midnight” with Brian Matthew, 7/8/81.

231. “very, very great… . Markova has the SOUL!” New York Post, 1/5/48.

232. “Her [de Valois’s] success as a choreographer,” Balletomane at Large, Arnold Haskell.

232. “I think of all the artists,” Come Dance With Me, Ninette de Valois.

233. “Dedicated and devoted, she wasted no time,” Dance and Dancers magazine, January 1955.

233. “She was friends with everybody,” interview for BBC Television documentary “Markova” (1981).

234. “hers was a changeling personality,” Ibid.

234. “[T]he world was a difficult place for Antony,” Shadowplay: The Life of Antony Tudor (1991), Donna Perlmutter.

234. “watched everything with remembering eyes,” Dance to the Piper, Agnes de Mille.

236. “Break off a piece and wear it,” Markova: Her Life and Art, Anton Dolin.

237. “I went to the ballet,” Margot Fonteyn: A Biography, Meredith Daneman.

238. “Peggy as a plump though beautifully proportioned,” Ibid.

238. “Markova has exquisite feet,” Ibid.

239. “When I first went to the then Vic-Wells,” BBC Radio program: “Markova Birthday Tribute,” December 1970.

239. “Margot was always rather like,” Margot Fonteyn: A Biography, Meredith Daneman.

240. “obstinate” and “strangely lacking in warmth, charm,” Ibid.

240. “I remember her first performance,” Ibid.

241. “Ashton read the glowing reviews,” Four Saints: Gertrude Stein, Virgil Thomson, and the Mainstreaming of American Modernism (1995), Steven Watson.

242. “the propaganda of Mr. Arnold Haskell.” Unidentified London newspaper clipping, Markova archives.

242. “All those concerned with the Society,” The Camargo Society, Katherine Sorley Walker, Dance Chronicle, 1995.

245. “yards and yards of white tulle,” Giselle and I, Alicia Markova.

245. “A combination of sad circumstances,” Ibid.

245. “Suddenly she remembered I was to dance,” Ibid.

247. “What Baylis had to offer in return,” Lilian Baylis: A Biography, Elizabeth Schafer.

247. “We were lucky that from the beginning,” Dance and Dancers magazine, January 1955.

249. “threatening to cut me off from Giselle,” Giselle & I, Alicia Markova.

251. “One night Ashley took a box to see,” Quicksilver: An Autobiography, Marie Rambert.

252. “The actual classical Italian variation,” Radio interview: “Round Midnight” with Brian Matthew, 7/8/81.

252. “To most of us [Markova] was,” Vic-Wells, A Ballet Progress (1942), P. W. Manchester.

252. “When I was a youth,” From the Sunday Pictorial (precursor to the Sunday Mirror), 4/11/1934.

253. “He advised me against it,” Frederick Ashton and His Ballets, David Vaughan.

253. “But you know how it is in America,” Ibid.

254. “I’m afraid our Ashton has grown,” Secret Muses: The Life of Frederick Ashton, Julie Kavanagh.

254. “Some people thought Markova miscast,” London Referee, 6/7/34.

254. “talented, enthusiastic, extremely intelligent,” Helpmann: The Authorized Biography (1981), Elizabeth Salter.

255. “a grim story in the vein of The Fall of the House of Usher.” London Times, 4/4/34.

255. “It was a series of 32 of this,” BBC Radio interview, “Woman’s World,” Linda Van Alpen, April 1980.

256. “Everyone who sees Markova, that exquisite ethereal,” Dance and Dancers magazine, January 1955.

256. “I used to have my meal,” LBC Radio program: interview with Steve Allen, 1/1/96.

257. “Dame Ninette was very worried about me,” Radio interview: “Markova Reminisces” (circa 1990s).

257. “Oh, I know. I have something I will send her” and “I’ll always remember at Sadler’s Wells,” Ibid.

258. “knew the secrets of the fouettés!” Markova Remembers, Alicia Markova.

258. “‘real Markova weather.’” Bayswater Chronicle, 12/1/34.

261. “willing to fight hard, and dirty,” Lilian Baylis: A Biography, Elizabeth Schafer.

262. “Good luck to you.” Tonight and Every Night, Vivian Van Damm.

262. “I would have been happiest of all if our two Companies,” Giselle & I, Alicia Markova.

263. “It was obvious that no merger,” The Sadler’s Wells Ballet: A History and Appreciation, Mary Clarke.

263. “not for him.” Ibid.

266. “When I first made contact with her,” “Dick Cavett in New York,” PBS, 1981.

267. “I look forward to the day,” Home and Empire magazine, July 1935.

267. “Markova is, in my mind,” Dance and Dancers magazine, January 1955.

Chapter 7: Leaving the Nest

271. “I want you to do lots of well paid work,” From a contract letter Lilian Baylis wrote to Alicia Markova, from Markova’s archive.

271. “I am so happy that you want to return,” Ibid.

271. “We just feel that we would hate to lose you,” Ibid.

273. “Helpmann shared the dance world’s admiration for Astaire,” The Astaires: Fred & Adele (2012), Kathleen Riley.

273. “[H]e should have ruined his career,” Balletomania Then & Now (1977), Arnold Haskell.

273. “I don’t want people to say about me,” Ibid.

274. “dangerous for Serge,” Letter from Lopokova to Keynes, 1/14/24, from Lydia and Maynard: The Letters of Lydia Lopokova and John Maynard Keynes (1990), Polly Hill and Richard Hill Keynes.

274. “also made an effort to tutor Dolin,” Diaghilev: A Life (2009), Sjeng Scheijen.

274. “[A]s a partner Dolin has always,” Balletomania Then & Now, Arnold Haskell.

275. “I danced many times for Lilian Baylis,” Anton Dolin Autobiography (1960), Anton Dolin.

276. “Markova, if she is honest,” S. Hurok Presents: A Memoir of the Dance World (1953), Sol Hurok.

276. “Though Alicia has always said that Anna Pavlova,” Markova Her Life and Art, Anton Dolin.

276. “all he [Diaghilev] really wanted was a few extras,” Last Words: A Final Autobiography (1985), Anton Dolin, Kay Hunter.

277. “Dolin was internationally known,” Portrait Gallery (1990), Agnes de Mille.

278. “Saturday evening I finished dancing,” Anton Dolin Autobiography (1960), Anton Dolin.

278. “This is the first time that a British ballet,” Birmingham Mail, 8/22/35.

280. “‘Oh, Mr. Dolin,’” Anton Dolin, Autobiography, Anton Dolin.

280. “Who is this Markova?” Markova Her Life and Art (1953), Anton Dolin.

280. “markkova—the supereme artist,” Glasgow Daily Express, 8/7/35.

280. “dramatic markova,” Glasgow Bulletin, 8/9/35.

280. “madame markova, the famous ballerina,” Glasgow Daily Express, 8/9/35.

284. “When the royal couple,” Portrait Gallery, Agnes de Mille.

284. “I dreaded being surrounded,” Giselle & I (1960), Alicia Markova.

285. “I wouldn’t say we match at all.” Radio interview: Concert Classics (1974).

285. “On the stage we had a similar mental approach,” Markova Her Life and Art, Anton Dolin.

285. “never felt a need to be secretive,” Shadowplay: The Life of Antony Tudor (1991), Donna Perlmutter.

285. “I had always understood that Dolin,” Speaking of Diaghilev (1997), John Drummond.

286. “Neither was seen without the other,” Markova Her Life and Art, Anton Dolin.

286. “I wonder dear if you will ever know”and (289) “I wonder if you would write the forward to it,” Personal letters from Anton Dolin to Alicia Markova, from Markova’s archive.

290. “I didn’t want to be recognized on the business side,” Radio interview: “Round Midnight” with Brian Matthew, 7/8/81.

290. “bulging muscles that make most ballerinas,” Birmingham News, 10/23/37.

291. “tights made too tight,” Yorkshire Observer, 1/18/38.

292. “It was generally Dolin,” Markova The Legend, Maurice Leonard.

293. “A friend who took her on a drive,” “Secrets of a Dancer,” Leeds Mercury, 9/4/35.

293. “Dolin would take the company practice,” Markova The Legend, Maurice Leonard.

294. “I think dear the suggestion should come from you” and (295) “The world is before us now.” Personal letters from Anton Dolin to Alicia Markova, from Markova’s archive.

296. “simply because her dresses had to be properly hung,” Anton Dolin: Autobiography (1960), Anton Dolin.

297. “had a far wider range than Spessiva,” Markova Her Life and Art, Anton Dolin.

297.”there is no one living whose performance,” Anton Dolin: Autobiography (1960), Anton Dolin.

298. “You were quite wonderful (except at Beaulieu),” Personal letter from Anton Dolin to Alicia Markova, from Markova’s archives.

298. “Don’t run away with the idea,” Markova: The Legend, Maurice Leonard.

299. “He was a terrible man,” Ibid.

299. “The immediate years to come,” Preface to Alicia Markova (1935), Gordon Anthony.

300. “It was always hard for me to remember,” Choura: The Memoirs of Alexandra Danilova (1987), Alexandra Danilova.

300. “She would come over and give you,” Frederic Franklin: A Biography of the Ballet Star (2004), Leslie Norton.

301. ‘“Aren’t they sweet children?” “Fairy Godmother of the Ballet,” The Daily Mail, 11/12/36.

301. “You see, many things have to be taken,” “Women Stars,” interviewed by Leila S. Mackinlay, 1936.

301. “Mme. Nijinska really started me thinking about the role,” “Alice’s Wonderland,” The Sunday Times, London, 7/7/68.

302. “It is the most complete ballet,” Radio program: “The Alicia Markova Story,” 10/3/60.

302. “declaring forcefully that I did not seem to know,” Giselle & I, Alicia Markova.

302. “It’s the first time,” BBC Radio program: “Markova Birthday Tribute,” December 1970.

303. “That particular pantomime is one,” BBC Radio interview: “Myself When Young,” with Claire Rayner (unknown year).

303. “Ballet used to be a very closed world,” Speech to the Women’s Canadian Club, 10/22/63.

306. “It is a little disconcerting,” “Markova—Our Only Prima Ballerina,” interview by Eric Johns, Theatre World, January 1935.

307. “famous ballerina at the circus,” West Lancashire Evening Gazette, 6/3/36.

312. “We must have more fun in ballet,” Yorkshire Evening Gazette, 11/28/35.

313. “But it was counted as money well spent,” Tonight and Every Night The Windmill Story (1952), Vivian Van Damm.

313. “the 225-foot vessel was said at that time,” “Julius Fleischmann Dies at 68; Stage Producer and Art Patron,” New York Times, 10/24/68.

314. “Massine always gave himself the best parts,” Choura: The Memoirs of Alexandra Danilova, Alexandra Danilova.

314. “You’ve danced for eight years,” BBC Radio interview: “Myself When Young,” with Claire Rayner (unknown year).

315. “British ambassador for dance,” Ibid.

315. “I’ve been so fortunate,” Forces Radio interview with Tommy Vance, 12/12/78.

316. “Danilova is not only a prodigious technician,” Dance Writings (1986), Edwin Denby.

316. “My nose doesn’t dance!” Frederic Franklin: A Biography of the Ballet Star (2004), Leslie Norton.

318. “Massine did not want Dolin,” Ibid.

320. “Markova’s Dresser has never seen a Ballet.” Bristol Evening World, 11/16/37.

321. “If you don’t, you begin to wonder,” Bristol Evening Despatch, 12/10/37.

321. “close to forty of them were immediately let go by Massine,” Rene Blum & The Ballet Russes (2011), Judith Chazin-Bennhahum.

321. “There are so many stars,” De Basil’s Ballets Russes (1983), Kathrine Sorley Walker.

321. “an important addition to his company,” Markova Remembers, Alicia Markova.

322. “Two aspects of Massine’s method were especially,” Massine: A Biography (1995), Vicente Garcia-Márquez.

322. “If he [Massine] had an idea, he would absolutely break,” Choura: The Memoirs of Alexandra Danilova, Alexandra Danilova.

322. “He would say to me, ‘Are you free,’” “Big Dame, Tiny Feet,” The Telegraph, 6/26/02.

324. “For many years Lifar has been the darling,” PIC Magazine, 12/13/38.

325. “[O]n his first entrance, Lifar ran around the stage,” Ballet Mystique: Behind the Glamour of the Ballet Russe (2000), George Zoritch.

325. “If Albrecht had left me,” Choura: The Memoirs of Alexandra Danilova, Alexandra Danilova.

Chapter 8: Only in America

329. “Jealousies,” Impresario: A Memoir by S. Hurok (1946), Sol Hurok and Ruth Goode.

330. “He [Diaghilev] taught the company,” Excerpt from Markova’s speech for “The Diaghilev Exhibition,” 1955.

330. “one night a hand came out,” Impresario: A Memoir by S. Hurok, Sol Hurok and Ruth Goode.

332. “There was an immediate change of pace and mood,” De Basil’s Ballets Russes (1982), Kathrine Sorley Walker.

332. “He was not gracious, neither was he unpleasant,” Dance to the Piper (1951), Agnes de Mille.

333. “He considered lifting a ballerina or supporting her,” Choura: The Memoirs of Alexandra Danilova, Alexandra Danilova.

333. “His eyes used to click like cash register signs,” Margot Fonteyn: Autobiography (1977), Margot Fonteyn.

334. “toity tousand dollars” and “nervous about ‘thicket’ sales.” Ibid.

335. “I thought this—this—I’ve only seen this,” interview for BBC Television documentary “Markova” (1981).

336. “A threat of possible violence,” S. Hurok Presents: A Memoir of the Dance World (1953), Sol Hurok.

336. “In Act II, Giselle has to pick two flowers,” Memoir notes from Markova’s archives.

337. “In Act II he [Lifar] insisted upon carrying,” Ibid.

337. “Markova triumphed that night in Giselle,” Impresario: A Memoir by S. Hurok, Sol Hurok with Ruth Goode.

338. “She [Markova] was described by the critics as ‘breathtaking,’” The New Yorker, Barbara Heggie, 4/15/44.

341. “Lifar, like many people holding important posts,” “‘ICARE’: Remembering Serge Lifar,” Dance Research: The Journal of the Society for Dance Research, Vol. 20, No. 2 (Winter 2002), by Clement Crisp.

342. “Some of Markova’s enthusiasms,” The New Yorker, 10/22/38.

344. “Magnificent scenery and costumes,” Boston Post, 11/9/38.

345. “Tamara was with us.” Frederic Franklin: A Biography of the Ballet Star, Leslie Norton.

346. “It was in America that Alicia,” Choura: The Memoirs of Alexandra Danilova, Alexandra Danilova.

346. “From then on, Massine posted a notice,” LBC Radio program: interview with Steve Allen, 1/1/96.

347. “There was a marble floor in one auditorium,” BBC Radio interview: “Conversation Pieces,” 4/7/88.

347. “The company made efforts of several kinds,” The One and Only: The Ballet Russe de Monte Carlo (1981), Jack Anderson.

348. “Like the frosting on your cake,” Seattle Post-Intelligencer, Suzanne Martin, 1/20/41.

348. “Sergei Denham courted high society,” The One and Only: The Ballet Russe de Monte Carlo, Jack Anderson.

349. “society greets ballet opening,” Boston Post, 11/9/38.

349. “In a crush of ermine, mink, orchids,” The Seattle Daily Times, 1939.

350. “The curtain came up and all the girls,” LBC Radio program: interview with Steve Allen, 1/1/96.

352. “She [Markova] really conquered the critics,” interview for BBC Television documentary “Markova” (1981).

354. “On the call-board the first day,” The Music News, Mary Mack, March 1940.

354. “I’ve rehearsed for a new ballet,” Radio program “Markova Reminisces” (circa 1990s).

355. “Massine, sitting out in front,” “Alicia Markova, Greatest Classical Dancer of Modern Times Creates Sensational New Role,” Marya McAuliff, 1940.

355. “There are some remarkable feats,” “Diaghilev Protegee [sic]—gives ballet world new classic role”, The Music News, Mary Mack, March 1940.

356. “was as important as that of the composer,” My Life in Ballet (1968), Léonide Massine.

356. “I pointed out to him,” Ibid.

357. “He [Matisse] suggested that Shostakovich’s music” and “The Man and Woman, danced,” Ibid.

357. “He [Matisse] was the first person to work,” Women’s Wear Daily, 4/12/65.

357. “white was for Russia, black for fascists,” Choura: The Memoirs of Alexandra Danilova, Alexandra Danilova.

358. “Markova’s translation of Massine’s conception was a revelation,” Cleveland News, William Gates, 1939.

358. “A fine musician she,” “Diaghilev Protegee [sic]—gives ballet world new classic role”, The Music News, Mary Mack, March 1940.

358. “The audiences today identify me as a romantic,” BBC Radio program: “Frankly Speaking,” 2/21/59.

359. “Those first days of war were very dismal,” “Under War Clouds,” A. E. Twysden (early 1940s).

362. “Nobody knew whether we would reach New York,” “Britain Had Never Had A Ballerina Before Me,” The Daily Mail, Louette Harding, 12/1/02.

363. “I would always ask what the shortages were,” BBC Radio: “Conversation with Dame Ninette de Valois, Dame Alicia Markova, and Darcey Bussell,” 1/17/93, host Dame Beryl Grey.

364.”Hastily I auditioned a number of young dancers,” My Life in Ballet (1968), Léonide Massine.

365. “We used to call it ‘Hurok’s Special,’” interview for BBC Television documentary “Markova” (1981).

365. “I had bought a large Lincoln,” Ibid.

365. “Because ballet was, in the late 1930s,” Markova Remembers, Alicia Markova.

365. “Just before we were leaving the Metropolitan, the list,” interview for BBC Television documentary “Markova” (1981).

366. “It all had to be down to the absolute minute,” Ibid.

371. “I have never danced for an audience,” Choura: The Memoirs of Alexandra Danilova, Alexandra Danilova.

378. “the dapper, delirious Catalonian placed in one window,” Time magazine, 3/27/39.

378. “On a table, a telephone transformed into a lobster;” The Secret Life of Salvador Dalí (1942), Salvador Dalí.

379. “I got along quite well with Léonide Massine,” Ibid.

380. “Dalí centered the décor on an enormous swan,” Massine: A Biography, Vicente Garcia-Márquez.

382. “[T]hese dancers would execute a shuffle,” “Behind The Scenes” Walter Terry, New York Herald Tribune, 9/22/40.

382. “I want you should be Hurok attraction.” Portrait Gallery: Artists, Impresarios, Intimates, Agnes de Mille.

383. “It was an adventure,” BBC Radio: “Conversation with Dame Ninette de Valois, Dame Alicia Markova, and Darcey Bussell”, 1/17/93, host Dame Beryl Grey.

383. “We used to room together,” BBC Radio interview: “Conversation Pieces,” 4/7/88.

383. “It was in Hollywood,” Ibid.

383. “I was exposed to a broad range of ideas and interests,” Choura: The Memoirs of Alexandra Danilova, Alexandra Danilova.

385. “On her head she wore a balloon,” Ibid.

385. “Waterloos,” “Alicia Markova: A Sketch for a Portrait,” Clement Crisp,” Dance Research, 2006.

385. “The rule was: You may die, but you must not be ill,” The Sunday Telegraph Magazine, interview with Duncan Fallowell, 4/30/2000.

385. “‘Alicia Markova’ for the two were shopping together,” “The ballerina and The Mirror,” A. E. Twysden, The American Dancer, July 1941.

387. “I had no star billing with the Company,” Anton Dolin: Autobiography (1960), Anton Dolin.

389. “I was thrilled to see this transformation taking place,” Markova Her Life and Art, Anton Dolin.

389. “dull and ordinary” and “scarcely opened her mouth.” Ibid.

390. “He was Irish, extrovert and temperamental,” interview with Jane Kelly for London’s Daily Mail, 5/21/96.

390. “dancers and slippers,” Markova Her Life and Art, Anton Dolin.

392. “basking in her fame,” Ibid.

392. “He was very grand at these séances,” Portrait Gallery: Artists, Impresarios, Intimates, Agnes de Mille.

Chapter 9: Spreading Wings

393. “was absolutely void of any idealism,” The Last Impresario: The Life, Times, and Legacy of Sol Hurok (1994), Harlow Robinson.

394. “Comfortably and advantageously positioned as an,” “Sol Hurok: America’s dance Impresario,” by Harlow Robinson, Dance Magazine, 11/1/94.

395. “By 1941,” The Last Impresario: The Life, Times, and Legacy of Sol Hurok (1994), Harlow Robinson.

397. “‘S. Hurok Presents’ was like a seal of approval,” American Ballet Theatre (1978), Charles Payne.

397. “He admired Hurok,” Ibid.

398. “Sevastianov saw to it that dancers,” Shadowplay: The Life of Antony Tudor (1991), Donna Perlmutter.

399. “took full advantage of the fact that dancers, The Last Impresario: The Life, Times, and Legacy of Sol Hurok, Harlow Robinson.

400. “From my side, there is no reason,” Anton Dolin letter to Alicia Markova, dated February 14, 1938, from Markova’s archive.

400. “I should have been with you & you with me.” Anton Dolin letter to Alicia Markova, dated November 7, 1938, from Markova’s archive.

402. “[T]he souvenir program would be printed,” American Ballet Theatre, Charles Payne.

403. “The difference between the two companies,” “The American Ballet,” Edwin Denby, The Kenyon Review, Vol. 10, No. 4.

404. “This was not a new experience for St. Denis,” Ted Shawn: Father of American Dance (1976), Walter Terry.

405. “The first performances were held in the summer of 1933,” Ibid.

405. “Creatively and artistically,” How Beautiful Upon the Mountain, a History of Jacob’s Pillow (1944), Ted Shawn.

406. “Again, I listed Jacob’s Pillow with the real estate dealers,” Ibid.

407. “As it was late in the season,” Ibid.

409. “Her artistry was akin in spirit,” “From Jacob’s Pillow—memories of Alicia Markova,” Anthony Fay, The Berkshire Eagle, 8/16/81.

410. “transcendent” and “It was all right.” Portrait Gallery, Agnes de Mille.

411. “plan was that a new, non-profit-making, artistic,” How Beautiful Upon the Mountain, a History of Jacob’s Pillow (1944), Ted Shawn.

412. “There are no preparations for the steps;” Markova Remembers, Alicia Markova.

413. “Make-up is another aspect,” “Markova’s New Career,” Eric Johns, Theatre World, 1963.

413. “I gave in,” BBC World Service Radio, Tribute to Pavlova on “Outlook,” 1/31/85.

414. “Having seen Pavlova dance her immortal version,” “Murray’s Music” column, Brighton Gazette, 6/12/54.

415. “The music followed Pavlova,” Giselle & I, Alicia Markova, introduction by Carl Van Vechten.

415. “Carl Van Vechten took a series of color photographs,” “A Royal Ballerina” P. W. Manchester, Ballet News, June 1981.

416. “The most important thing of all is the training,” BBC Radio program, “Markova Reminisces” (circa 1990s).

417. “One could buy a Stradivarius,” “Thirty Years of Alicia Markova,” Dance and Dancers magazine, January 1955.

417. “Dolin actually seemed to PULL his partner out of the air,” “Queen of the Dance,” Carl Van Vechten, Saturday Evening Review, 4/2/5/53.

417. “The great Markova boom,” Ibid.

418. “I always speak of you on Pearl harbor Day.” From a personal letter to Alicia Markova in Markova’s archive.

418. “In Rio, we’d gone to the cinema,” BBC Radio program: “Conversation Pieces,” 4/7/88.

418. ”When we used to go to the Stage Door Canteen,” Radio program: “Round Midnight” with Brian Matthew, 1986.

419. “I shan’t forget those days,” “The Night Markova Learned to Jitterbug,” T.V. Times, interviewed by Leslie Bird (unidentified year).

419. “Why is it they always think we need pop stuff?” interview for BBC Television documentary “Markova” (1981).

420. “We thought you should know how very happy,” Excerpt from letter from Bette Davis to Alicia Markova on “Hollywood Canteen” letterhead, from Markova’s archive.

420. “This letter comes from a G.I. Joe” and “You’ll be up there with Gene Tierney!” and (421) “kindness and enthusiastic cooperation,” Excerpts of letters from soldiers to Alicia Markova, from Markova’s archive.

421. “Wartime, here as abroad,” Dance Writings, Edwin Denby.

423. “full companies and full orchestras,” Impresario: A Memoir by S. Hurok in collaboration with Ruth Goode.

423. “The dancers hurried to the railroad station,” American Ballet Theatre, Charles Payne.

427. “A Russian girl I know who works in a defense plant,” “Markova’s Dance Rhythm: Tudor’s “Romeo and Juliet”, Modern Music, May–June 1943, Edwin Denby.

428. “felt it essential to visit the local beauty parlor,” “Markova—Lady With Twinkling Toes,” feature story from unidentified newspaper.

430. “It was a subject close to his heart,” S. Hurok Presents: A Memoir of the Dance World, by Sol Hurok.

430. “the quintessential Jewish artist of the 20th century,” “Art: Fiddler on the Roof of Modernism: Marc Chagall: 1887–1985, Robert Hughes, Time magazine, 4/8/88.

430. “No word sounded sweeter to me,” My Life (1922), Marc Chagall.

430. “invited by the Museum of Modern Art.” “Marc Chagall among friends in Philadelphia,” Stanley Meisler, Los Angeles Times, 4/24/11.

431. “was so intrigued by the theme,” My Life in Ballet, Léonide Massine.

432. “I used to go to the market with Chagall often,” interview for BBC Television documentary “Markova” (1981).

432. “Chagall adored fantasy,” Markova Remembers, Alicia Markova.

433. “Massine was unmerciful,” Choura: The Memoirs of Alexandra Danilova, by Alexandra Danilova.

433. “I knew that the pain was part of the artistic,” Personal notes from Markova’s archive.

433. “murderous lifts,” Massine: A Biography, Vicente Garcia-Márquez.

434. “Extraordinarily colorful and dramatic,” The Borzoi Book of Ballets (1946), Grace Robert

434. “the American stage painters’ union would not have permitted Chagall,” Marc Chagall (1978), by Sidney Alexander.

434. “sale of the Chagall backdrops,” “Massine’s ‘Aleko’,” by Leland Windreich, Dance Chronicle, 1985.

434. “It took me thirty years to learn bad French,” “The Elusive Marc Chagall,” Smithsonian Magazine, December 2003.

434. “Not knowing enough English,” Telegram from Marc Chagall to Alicia Markova, from Markova’s archive.

435. “priestess of evil,” Giselle & I, Alicia Markova.

435. “The great surprise of Aleko,” The Borzoi Book of Ballets (1946), Grace Robert.

435. “When I transferred,” Radio program: “Round Midnight” with Brian Matthew, 1986.

436. “I said to Antony, I don’t think,” Ibid.

437. “In the golden dress with its heavy pleats,” “A Royal Ballerina,” P. W. Manchester, Ballet News, June 1981.

438. “wouldn’t hear of such a lie.” Shadowplay: The Life of Antony Tudor, Donna Perlmutter.

439. “Oh, I adored when he conducted,” Radio program: “Round Midnight” with Brian Matthew, 1986.

439. “Her new Juliet,” “Ballet Theatre; Graham’s ‘Punch and Judy,’” Modern Music, January–February 1942, Edwin Denby.

439. “For once, there was a Juliet,” The Borzoi Book of Ballets, Grace Robert.

440. “On February 9, 1942, the company,” American Ballet Theatre (1978), Charles Payne.

441. “Anyone who has seen Markova’s transcendent,” The Borzoi Book of Ballets (1946), Grace Robert.

441. “Alicia Markova is, by practically unanimous consensus,” Time, May 17, 1943.

442. ”We recognize in her the greatest,” “Miracle that is Markova,” John Martin, The New York Times, 4/11/43.

442. “Dancing in the humid air five nights,” Anton Dolin: Autobiography, Anton Dolin.

443. “to confirm his contention that,” American Ballet Theatre, Charles Payne.

447. “That was supposed to be the show of all shows,” interview for television documentary “Markova”, aired 6/14/81.

448. “All it takes to make a lot of money,” The Nine Lives of Billy Rose: An Intimate Biography (1968), Polly Rose Gottlieb.

449. “darling feel nothing should break our,” Western Union telegram from Anton Dolin to Alicia Markova, 1/19/44, from Markova’s archives.

449. “to get back in harness,” Letter from Antony Tudor to Alicia Markova, from Markova archive.

450. “Long distance call for Miss Markova,” Markova Remembers, Alicia Markova.

454. “will you come to my victory party,” Western Union telegram from Elsa Maxwell to Alicia Markova, 8/14/44, from Alicia Markova archives.

455. “Greer Garson always,” interview for BBC Television documentary “Markova” (1981).

456. “I played charades with Gene Kelly,” “The Night Markova Learned to Jitterbug,” T.V. Times, London, 1950s.

456. “Very good friends of mine,” BBC Radio program: “Round Midnight” with Brian Matthew, 7/8/81.

456. “I have no desire to be an actress,” “Markova Here for Ballet,” New York News, 5/22/44.

458. “Oh, he was wonderful,” BBC Radio program: interview with Dame Beryl Grey, 1/17/93.

458. “The lift would come up,” Ibid.

458. “a little tedious,” interview for BBC Television documentary “Markova” (1981).

459. “To me dancing should be beauty.” “Alicia Markova Talks of Dancing,” Picture Plays and Players magazine, 1945.

460. “Jose Greco, a famous dancer himself,” Faces & Places column, unidentified New York newspaper, 1944.

463. “I Can’t Ask a Man,” Evening News, London (unidentified year).

Chapter 10: Taking Flight

466. “slightly exaggerated” and “if it was a narrow skirt,” Choura: The Memoirs of Alexandra Danilova, Alexandra Danilova.

468. “Hurok still maintained that it was impossible,” American Ballet Theatre, Charles Payne.

473. “had not retained any control over,” Ibid.

474. “For this we met in the studio,” Markova Remembers, Alicia Markova.

476. “thereafter I never traveled without,” Ibid.

476. “conspiring with local managers to undermine Hurok,” Ibid.

482. “primal instincts—greed and vanity,” No Intermissions: The Life of Agnes de Mille (2000), Carol Easton.

486. “the size of an average broom-cupboard.” Markova Remembers, Alicia Markova.

486. “I had a left wooden leg,” interview for BBC Television documentary “Markova” (1981).

487. “[T]he heat, it was agony,” Ibid.

488. “On the way back I think we stopped at Trinidad,” interview for BBC Television documentary “Markova” (1981).

488. “I fly on stage!” LBC Radio program: interview with Steve Allen, 1/1/96.

488. “Dolin and I were the first dancers to fly everywhere.” “Our First Ballerina”, by Duncan Fallowell, The Sunday Telegraph, 4/30/2000.

489. “big wads of cotton wool to stuff in your ears,” “Alicia Markova: A Room of My Own,” London Observer Sunday Magazine, 3/28/87.

489. “[A]t the pace were now working,” Giselle & I, Alicia Markova.

489. “there is going to be shooting today.” Markova Remembers, Alicia Markova.

489. “So we missed luncheon and the possibility,” Ibid.

492. “I could not look on it as anything,” Ibid.

492. “I take the entire blame for it,” Autobiography: Anton Dolin (1960), Anton Dolin.

492. “To add importance,” Ibid.

494. “With all his vast experience,” Ibid.

495. “We are doing our best and trying,” Autobiography: Anton Dolin (1960), Anton Dolin.

496. “Are you trying to be the richest girl,” Markova: The Legend, Maurice Leonard.

497. “Whenever people would say to me,” BBC Radio program: “Conversation Pieces,” 4/7/88.

498. “in an abandoned warehouse and give,” The New York Times, 10/12/46.

498. “I remember opening a door next to my suite,” Markova Remembers, Alicia Markova.

500. “New York is a pair of evening shoes,” “Why I Love London, Alicia Markova,” Roy Nash, The Star, London, 12/2/57.

500. “They tell me that it’s almost impossible,” “Ballerina Danced To Fame by Prescription,” Bessie Hackett, unidentified Manila newspaper, 1948.

501. “I do hope that you will soon come,” Letter from Frederick Ashton to Alicia Markova, 11/27/46, from Markova’s archive.

501. “I disagreed, being of the opinion that,” Autobiography: Anton Dolin, Anton Dolin.

502. “Well, he has gained in vulgarity,” Ibid.

502. “Madame Markova is not a great believer,” Model Housekeeping magazine, October 1959.

504. “Barely has Covent Garden experienced,” Theatre World, August 1948.

506. “My Darling Alicia,” Letter from Arnold Haskell to Alicia Markova, January 1949, from Markova’s archives.

507. “Two stalwarts of British ballet,” Weekly Scotsman, 1/13/49.

507. “It was cold,” Radio interview: “Round Midnight” with Brian Matthew, 7/8/81.

507. “An experiment in ballet presentation,” Daily Telegraph, 1/4/49.

509.”Madame Markova has reduced the necessity for,” “Traveling light with two dozen costumes,” Natal Mercury, 5/3/49.

510. “Markova-Dolin cocktails.” Giselle & I, Alicia Markova.

512. “Now I had to carry on with our tour,” Giselle & I, Alicia Markova.

514. “With bookings coming in from all over the colony,” “Ballet Comes to Nairobi,” Humphrey Claydon, Dancing Times magazine, October 1949.

514. “A ballerina’s life, of course,” “Alicia Markova Tells Her Own Story, A peep into a ballerina’s life,” unidentified British magazine, 1951.

515. “The flat belonged to [film actress] Constance Cumming’s,” “Our First Ballerina”, by Duncan Fallowell, The Sunday Telegraph Magazine, 4/30/2000.

515. “pioneers of arena ballet.” Markova Remembers, Alicia Markova.

517. “always created this aura of serenity,” Markova: The Legend, Maurice Leonard.

518. “I never like to see people in my dressing room,” “Intimate Confessions of a Ballet Dancer,” Alicia Markova, The West Indian Review, 1949.

518. “At seven,” “Getting Ready for Ballet Takes Longer than Show,” Toronto Star, 1939.

519. “My friends often laugh at me,” “Alicia Markova Tells Her Own Story,” 1950, unidentified magazine.

519. “Never become a ballet impresario,” Braunsweg’s Ballet Scandals: The Life of an Impresario and the Story of the Festival Ballet (1974), Julian Braunsweg as told to James Kelsey.

520. “Dolin was very excited about the offer.” Ibid.

522. “more than redeem a certain thinness,” Birmingham Mail, 10/18/49.

522. “Markova thought the corps,” Braunsweg’s Ballet Scandals, Julian Braunsweg.

523. “I began discussions with Markova and Dolin,” Ibid.

524. “No, but with your names I can get money.” Ibid.

524. “I wasn’t ill and I had the choice,” Autobiography: Anton Dolin, by Anton Dolin.

524. “Anton Dolin was willing to carry on,” “Ballet star ill, 20,000 tickets will go back,” London Evening Standard, 6/12/50.

526. “indecisive, temperamental, inclined to be lazy,” Braunsweg’s Ballet Scandals, Julian Braunsweg.

527. “Susan—she’s three—is just like Alicia,” “Alicia Markova’s Sister Looks Back,” Doris Barry, Birmingham Gazette, 10/18/49.

Chapter 11: Taking Charge

530. “If I took a month’s holiday,” “Markova—Our Only Prima Ballerina,” interview by Eric Johns, Theatre World, January 1935.

536. “I learned economy on stage from Alicia,” Markova: The Legend, Maurice Leonard.

536. “I was always aware of the enormous responsibility,” BBC Radio program: “Markova Birthday Tribute,” December 1970.

536. “There was never any foot stamping from her,” Markova: The Legend, Maurice Leonard.

537. “pared to the core,” Giselle & I, Alicia Markova.

538. “Regarding ballet on film, which question followed,” London Ballet Circle lecture, 12/19/54.

539. “I buy all my clothes by weight.” Daily Graphic, 5/29/51.

539. “How does she transport all her hats?” Daily Record, 10/18/50.

539. “What does a ballerina do when,” Evening Argus, 8/29/51.

540. “most perfect feet in the world.” Scottish Daily Express, 10/2/51.

540. “[Dolin] was an extrovert, happy at parties,” Braunsweg’s Ballet Scandals, Julian Braunsweg.

541. “perhaps the next Anton Dolin,” Autobiography: Anton Dolin, Anton Dolin.

541. “being a Diaghilev to my John Gilpin,” Last Words: A Final Autobiography (1985), Anton Dolin, Kay Hunter.

542. “For thirty-three years, since 1950,” Ibid.

542. “Sir Anton Dolin died on November 25, 1983,” Ibid.

542. “It’s you and Alicia the public will buy tickets for,” Autobiography: Anton Dolin, Anton Dolin.

544. “He’s too young and inexperienced,” Braunsweg’s Ballet Scandals, Julian Braunsweg.

544. “Quite a few people have bought seats to see Gilpin,” Autobiography: Anton Dolin, Anton Dolin.

544. “My God, he is young!” Ibid.

544. “She was a great friend of Markova’s,” Braunsweg’s Ballet Scandals, Julian Braunsweg.

545. “I feel that is Fonteyn’s ballet,” “Dancers in Profile: Alicia Markova,” Dance Magazine, June 1952.

545. “I do not feel hot enough for that,” Autobiography: Anton Dolin, Anton Dolin.

547. “the impeccable style and sense of period,” “Giselle: 1950: Three interpretations, by J.R. Austin, Tempo, No. 18 (Winter 1950–51), Cambridge University Press.

547. “still in her sable coat,” Autobiography: Anton Dolin, Anton Dolin.

548. “She had a voracious appetite and was,” Braunsweg’s Ballet Scandals, Julian Braunsweg.

549. “John’s affairs of the heart,” Ibid.

551. “because of you & because of us” and “knowledge and sanction” and “I ask nothing for myself,” Excerpts from personal letters from Anton Dolin to Alicia Markova, from Markova’s archive.

551. “What about the corps, the soloists,” Braunsweg’s Ballet Scandals, Julian Braunsweg.

552. “the internationally famous English ballerina,” “News in Pictures,” Movie Magazine The Daily Film Renter, 1952.

556. “You are always missed by me,” Letter from Anton Dolin to Alicia Markova, May 18,1952, from Markova’s archive.

559. “I long for the day when you will return happily to ‘guest.’” Excerpt from personal letter Anton Dolin to Alicia Markova, 7/27/52, from Markova’s archive.

561. “You’ve danced Giselle for over 25 years.” BBC Radio program: “Parkinson Show,” 1/11/75.

564. “We presume Starbuck’s substitution of trousers,” Dance Magazine, March 1953.

564. “His imaginative production of ‘The Dying Swan,’” The Stage, 3/26/53.

565. “Fan mail poured in by the thousands,” Manchester Daily Dispatch, 3/5/53.

565. “fan mail was so huge,” London Evening News, 3/17/53.

566. “Markova received an average of seventy letters,” Dundee Evening Telegraph, 12/10/56.

566. “I have just a room,” Berlingske Aftenavsi, Denmark, 9/24/55.

567. “Why did you step from your pinnacle,” Winnipeg Tribune, 1/11/54.

568. “She [Markova] took time to teach and coach the dancers,” Royal Winnipeg Ballet Newsletter, unknown year.

Chapter 12: The People’s Ballerina

570. “I worked a fruit-machine for over three hours,” London Sunday Graphic, 11/14/54.

571. “Do you remember me?” Markova: The Legend, Maurice Leonard.

571. “Before the kitten arrived, my young niece,” Dundee Evening Telegraph, 12/10/56.

572. “Markova received £30,000 for ten performances,” The Evening News, London, January 1954.

572. “For the first time since the days of Pavlova,” Manchester Evening Chronicle, 3/13/54.

581. “Dolin did, as Markova says in her account,” American Ballet Theatre, Charles Payne.

581. “how infuriating Alicia could be,” Autobiography: Anton Dolin, Anton Dolin.

582. “When Markova danced as a guest of Ballet Theatre,” American Ballet Theatre, Charles Payne.

582. “Markova was so clear in what,” Balanchine’s Complete Stories of the Great Ballets (1977), George Balanchine and Francis Mason.

583. “It may well be a date to write down,” The New York Times, 5/2/55.

587. “It isn’t every day a ballet dancer can stand in,” San Francisco Chronicle, 3/4/55.

592. “the most wonderful experience,” Personal letter from Alicia Markova to Stanley Burton, 11/18/58, from Markova’s archive.

593. “Viv darling,” Letter from Doris Barry to sister Vivienne Marks, November 1957, from Markova’s archive.

594. “Dear God,” Alicia Markova’s personal note, from Markova’s archive.

595. “alicia markova: She does not dance,” Ballet: A Decade of Endeavor (1956), A. H. Franks.

598. “Viv darling” and “Alicia thank goodness” and (599) “Things have been very uncomfortable,” Letters from Doris Barry to sister Vivienne Marks, from Markova’s archive.

602. “Again and again the public gasped with admiration,” Ha’aretz, June 1958.

603. “I don’t think, in the last fifty years,” Braunsweg’s Ballet Scandals, Julian Braunsweg.

604. “Stanley darling,” Personal letter from Alicia Markova to Stanley Burton, 9/28/58, from Markova’s archive.

605. “I had a half an hour program once a week,” Manx Radio program, 1974.

605. “Well, I think she might have made,” BBC Television program: “This is Your Life, Alicia Markova,” 1/11/60.

606. “A dancer’s discipline,” Women’s Own magazine, unidentified year.

607. “Reporters asked me at the airport,” BBC Radio interview: “Myself When Young,” with Claire Rayner (unknown year).

Postscript

611. “I don’t believe you have to raise your voice,” “My New Career at 53,” unidentified London newspaper, August 1964.

613. “Not long ago I had an audience,” New York Sunday Post, 4/4/65.

615. “My New Career at 53,” unidentified London newspaper, August 1964.

616. “When I first went to London,” BBC Radio program: “Markova Birthday Tribute,” December 1970.

616. “Opera ballet is a real challenge,” Des Moines Register, Iowa, 11/5/63.

617. “One wish? I wish my day could start later,” Women’s Wear Daily, 4/11/65.

619. “where David McLain heads one of the most vital,” The Saturday Review, 8/28/71.

619. “she gave “the illusion of moving,” “Markova at the Met,” Edwin Denby, Dance Magazine, December 1952.

619. “My little dance on the moon wasn’t so good.” Markova: The Legend, Maurice Leonard.

619. “I was there with a full professorship,” Manx Radio program: “Concert Classics,” 12/31/74.

620. “She remained married to her art,” The Independent, 12/3/04.

620. “I find it very exciting if one can,” BBC World Service, “Tribute to Pavlova,” Outlook, 1/31/85.

623. “had mixed emotions. While saddened,” Frederic Franklin: A Biography of the Ballet Star (2004), Leslie Norton.

Suggested Bibliography
for Further Reading

Anderson, Jack. The One and Only: The Ballet Russe de Monte Carlo. London: Dance Books Ltd., 1981.

Braunsweg, Julian, as told to James Kelsey. Braunsweg’s Ballet Scandals: The Life of an Impresario and the Story of the Festival Ballet. London: George Allen & Unwin, 1974.

Buckle, Richard (ed.). Dancing for Diaghilev: The Memoirs of Lydia Sokolova. London: Columbus, 1960; San Francisco: Mercury House, 1989.

Chazin-Bennahum, Judith. Rene Blum & The Ballets Russes: In Search of a Lost Life. Oxford and New York: Oxford University Press, 2011.

Daneman, Meredith. Margot Fonteyn: A Life. New York: Viking, 2004.

Danilova, Alexandra. Choura: The Memoirs of Alexandra Danilova. New York: Knopf, 1987.

de Mille, Agnes. Dance to the Piper. Boston: Little, Brown, 1951; London: Columbus, 1987.

de Mille, Agnes. Portrait Gallery. Boston: Houghton Mifflin, 1990.

de Valois, Ninette. Come Dance With Me: A Memoir 1898–1956. London: Readers Union Hamish Hamilton, 1959; Princeton: Princeton Book Co., 1981.

Denby, Edwin. Dance Writings. New York: Knopf, 1986.

Dolin, Anton. Markova: Her Life and Art. London: W. H. Allen, 1953; London and New York: White Lion, 1973.

Dominic, Zöe, and John Selwyn Gilbert. Frederick Ashton: A Choreographer and His Ballets. London: George G. Harrap, 1971; Chicago: Regnery, 1973.

Drummond, John. Speaking of Diaghilev. London and Boston: Faber and Faber, 1997.

Fonteyn, Margot. Margot Fonteyn: Autobiography. New York: Knopf, 1976.

Fonteyn, Margot. Pavlova: Portrait of a Dancer. New York: Viking, 1984.

Garcia-Márquez, Vicente. Massine: A Biography. New York: Knopf, 1995.

Homans, Jennifer. Apollo’s Angels: A History of Ballet. New York: Random House, 2010.

Hurok, S[ol]., and Ruth Goode. Impresario: A Memoir. New York: Random House, 1946.

Hurok, Sol. S. Hurok Presents: A Memoir of the Dance World. New York: Hermitage House, 1953.

Jackson, Kenneth. WWII & NYC. London: New York Historical Society with Scala Publishers Ltd., 2012.

Karsavina, Tamara. Theatre Street. New York: E. P. Dutton, 1961 (rev. ed.).

Kavanagh, Julie. Secret Muses: The Life of Frederick Ashton. New York: Pantheon, 1996.

Kerensky, Oleg. Anna Pavlova. New York: E. P. Dutton, 1973.

Leonard, Maurice. Markova: the Legend. London: Hodder and Stoughton, 1995.

Mackrell, Judith. Bloomsbury Ballerina: Lydia Lopokova, Imperial Dancer and Mrs. John Maynard Keynes. London: Weidenfeld & Nicholson, 2008.

Markova, Alicia. Giselle and I. New York: Vanguard, 1960.

Markova, Dame Alicia. Markova Remembers. Boston: Little, Brown, 1986.

Mason, Francis. I Remember Balanchine. New York: Doubleday, 1991.

Massine, Léonide. My Life in Ballet. London: Macmillan, 1968.

Money, Keith. Anna Pavlova: Her Life and Art. New York: Knopf, 1982.

Nijinska, Irina, and Jean Rawlinson (transl. and ed.). Bronislava Nijinska: Early Memoires. New York: Holt, Rinehart, and Winston, 1981.

Norton, Leslie, with Frederic Franklin. Frederic Franklin: A Biography of the Ballet Star. Jefferson, N.C. and London: McFarland, 2004.

Payne, Charles. American Ballet Theatre. New York: Knopf, 1978.

Rambert, Marie. Quicksilver: An Autobiography. London: Macmillan, 1972.

Robert, Grace. The Borzoi Book of Ballets. New York: Knopf, 1946.

Robinson, Harlow. The Last Impresario: The Life, Times and Legacy of Sol Hurok. New York: Viking, 1994.

Scheijen, Sjeng. Diaghilev: A Life. New York: Oxford University Press, 2009.

Vaughan, David. Frederick Ashton and His Ballets. New York: Knopf, 1977.

Walker, Kathrine Sorley. De Basil’s Ballets Russes. New York: Atheneum, 1983.