| OCR Text |
Show Museums lecture series addresses water Monday The role of water in the heavily populated areas of Utah will be the topic Monday in the Utah Museum of Natural History's Wasatch Front Lecture Series. A panel discussion entitled Water. Water Everywhere? will be presented in the Highland High School Auditorium, 2166 S. 1700 East. Admission is $3. Sara Michl will moderate the panel. She is national resources for the Utah League of Women Voters and adviser to the Intermountain Water Alliance. Ted Arnow, district chief of the Water Resources Division of the U.S. Geological Survey, will explain the sources, amounts and quality of water resources available to the Wasatch Front. Arnow has been in his present position since 1966, and before that was district geologist in charge of ground water investigation in Utah. ir Jay M. Bagley, professor of civil and environmental engineering at the Utah Water Research Laboratory at Utah State University, will discuss the issues surrounding various types of water development, how water is turned into a resource and historical lessons that have been learned. Following the presentations, the panel will discuss current water issues, beginning with responses by individuals representing specific points of view in water issues facing Utah. Robert B. Hilbert, general manager of the Salt Lake County Water Conservancy District, will represent the need of developers for water resources, while Dorothy Harvey, coordinator of the Intermountain Water Alliance, will speak for conservationists. After the responses, the discussion will be opened for questions from the audience. Sleeping Beauty on sale Tickets are currently on sale for Ballet West's premiere production of Sleeping Beauty, which will be presented Feb. 2 at the Capitol The- at all ZCMI stores and Datatix out- lets. 12-2- atre, Conrad Ludlow, center, is surrounded by his students at the University of Utah. Ludlow is a former principal dancer i I with the New York City Ballet, and he has directed troupes in Wyoming and Oklahoma. He recently joined U. faculty. West calls dancer Conrad Ludlow again By Helen Forsberg Tribune Staff Writer Conrad Ludlow saw his first ballet in Idaho, began his career in that field in California and made a name for himself in New York. He then moved south to Oklahoma, returned briefly to his childhood home in Marin County, and thereafter settled in 'he mountains of Wyoming. Then, following one brief stint in Oklahoma, the dancerteacher would move west once again, this time to Salt Lake City where he is the newest faculty member of the University of Utah Department of Ballet. Utah Home Ask Ludlow how he feels about his new home and he says, Oh, I think the most important thing is that one is happy in one's work. And I am happy working here, so I like this place. While Ludlow was not particularly familiar with Utah when he moved here last fall, he was familiar with several of his colleagues. As a onetime member of the San Francisco Ballet, he was acquainted with Bene Arnold and Gordon Paxman, both professors of ballet aad also former dancers with the West Coast troupe. "Bene's practically like a sister to we grew up together in SFB, me and Nancee Charles (now Nancee Cortes, chairman of the U. of U. Ballet Department) and I once danced together in a pas de trois in New' York. And it so happened that I took my first ballet class ever from Wiliam Christensen, who was the substitute teacher on that particular day. ;That first class was in San Francisco. where the Ludlow family had moved from Caldwell. Idaho. My mother had seen a performance of the SFB in Boise and was very impressed. I had always liked to dance, so when we moved to Mill Valley, she enrolled me in the company's school. remembered the dancer. Principal Dancer Ludlow became a member of SFB at the age of 17, a principal dancer two years later and .a 1957 joined the New York City Ballet. After a stint in the lS. Army, he rejoined the Balan was chine company and from 1961-7a principal dancer. He then became, along with his wife, Joy Feldman, a founding director of Ballet Oklahoma. By his own admission, Ludlow's gift as a dancer was in the art of partnering. Im not exactly sure what that gift was, but it had a lot to do with timing and intuition." His talents in those areas were continually tested in his years with NYCB. Among other things, George Balanchine did not like his dancers to establish partnerships. If he could do anything to avoid a pair he would." Most people-thinexplained Ludlow. that you work better if you continually dance together as a pair. But if you do that, there's a power struggle that develops and Balanchine did not like that. 3 New York City Ballet Thus, during Ludlow's tenure with the New York City Ballet he partnered virtually every one of the companys ballerinas. Among those were Diana Adams, Merrill Ashley, Su- zanne Farrell, Melissa Hayden, Alle-gr- a Kent, Gelsey Kirkland, Patricia McBride, Maria Tallchief, Lupe Serrano and Violette Verdy. Reminiscing about some of those partners he says: Pat McBride was an interesting one. We'd work together and then she'd never do the same thing on stage. 1 preferred working with someone with whom I could rehearse and get the piece to perfection." However in some instances. Ludlow remembers. McBride's spontaneity paid off. Balanchine choreographed a piece especially for us, a pas de deux in the Quartet. It the duet extended her powers as a dancer and it extended my capabilities to the ultimate place. It was so nicely choreographed for us, that I found it better not to rehearse it with her. Then at performance I'd used my instincts and Pat would do her flying around. Surprisingly. that dance would be the highlight of my career, letting it all hang out." He remembers Suzanne Farrell, often considered the ideal Balanchine Brahms-Schoen-ber- g ballerina, as being "very good, very intelligent, very musical. Oh. I don't know if she was the ideal Balanchine dancer, but he Mr. B. just loved her and so he created things for her. and the technique did change because of it. Suzanne was a little so he created movements around that." Regular Guy As lor Balanchine himself, he says. I always considered him a genius, a great person. On the other hand, he never acted like he was great. He was just a regular guy, a very sweet and kind man. He was always an artist, and a lot of people dont realize that he allowed a little bit of play within his pieces for the dancers. He provided the framework, but he allowed for personality." Though Ludlow voluntarily left the New York City Ballet, it is a movq he now sometimes regrets. He was 37 when he quit dancing and by his own account, ready to stop. I thought I was leveling off and that I wasnt going anywhere as a dancer. In retrospect, especially after having taught. I see that it was not a wise decision. I see now that instead of concentrating on throwing my body and jumping higher, it was the time to place my body and dance with finesse, and use all those little tricks I had acquired over the years." Still, when Ludlow left NYCB he found another opportunity knocking at the door. "I wanted the chance to choreograph, to see if I could and Oklahoma was a very good dance place. There are no slopes to ski on and no big lakes, so ballet becomes a recreational thing in more ways than e, one." Ludlow did have the chance to cho- reograph for Ballet Oklahoma, but eventually the experience of directing a ballet company became a sour one. In the end we weren't moving and we were working very hard. Since wed done it in the past, they were expecting Joy and I to do it all along. Essentially, we were chief cook and bottle washer of everything, and it basically got down to being a problem with the board of trustees." The mention of boards leads Ludlow to say: Now were in the period where the boards have come of age classic ballet has The three-ac- t been staged for the company, after the choreography of Marius Petipa to the music of Tchaikovsky, by assistant artistic director Denise Schultze and ballet master Louis Godfrey. The two also staged Ballet West's critically acclaimed Swan Lake. Sets and costumes for Sleeping Beauty, one of the most elaborate productions to be presented in the of the company, have been deand it's not very good. Most directors history Peter Cazalet of South Afrisigned by dont know where they're going; they ca, who also designed the sets and go where the boards tell them to go. costumes for Ballet West's Giselle Right now if I was a dancer I and Swan Lake. wouldn't know where to go . . . the Leading roles in Sleeping Beaucompanies today are not very excitbased on the fairy tale by Charles ty, ing. a Perrault, will be danced by Lee Lisa Bruce Caldwell, Day, Wyoming Ballet Joseph Clark, Karen Scal-zitt- i, Ludlow, however, does not dismiss Wendee Fiedddey and Robert the idea that he would one day like to Arbogast. direct another company. Since his experiences in Oklahoma, California Tickets are on sale at the Ballet (where he was director of Ludlow West box office, 50 W. 200 South, and Pro-vanch- Ballet Company) and Wyoming (where he was director of Wyoming Ballet Theater), he says, I know I don't want to manage a company, but I might want to direct one. Meanwhile, Ludlow appears thoroughly satisfied with his new position at the U. of U. The one drawback is that the career of his wife, with whom he has worked closely for years, has temporarily come to a stop. This is. in fact, the first time the two have not worked together since leaving New York. While Ludlow does not approach choreographing with the zeal that he once did, he looks forward to creating works for his students and will have his local debut as a choreographer this week. I've found, he says, that I don't need to choreograph unless there's a necessity. I choreographed a whole lot of things in Oklahoma because there was a need. I knew the people and I wanted to make them look good. My impetus seems to be the individual needs of the dancer. I work with people, not abstract ideas, and there are opportunities here." Ludlow's new work will be premiered Friday and Saturday by Ballet Ensemble, a group of student dancers of which he is director, at the Dance Building Theatre on the U. of U. campus. The program, which will be presented Friday at 5 and 8 p.m. and Saturday at 8 p.m., also will feature new works by David Jackson and Raymond Van Mason of Ballet West. Tauna Hunter, a former principal dancer with Ballet West, and Anne Van Gelder, a U. bf U. graduate Ballet program sets auditions 50 W. 200 South. The Ballet West Summer School in Snowmass Village, Colo., has scheduled its Salt Lake City audition for Feb. 17 at the Capitol Theatre, 50 W. 200 South, 3rd floor studio. Check-i- n time is 4 p.m., with the audition beginning at 5 p.m. A fee of $7 is payable at the time of the tryouts. Tenley Taylor, dean of the summer auschool, will conduct the She will dition for dancers ages be available afterward to answer questions students, teachers or parents might have. Teachers of auditioning students are welcome to watch as space permits. The Ballet West Summer School, which operates under the auspices of 1 Ballet Aspen, will run July and Aug. For more informtion, contact the Ballet West Summer School, P.O. Box 8475, Aspen, Colo. 12-2- 81612. Ballet school auditions set at U. Auditions for Pacific Northwest Ballet School s summer session will be held Feb. 9 at 2 p.m. at Performing Arts Building, studio 215, on the Uni- versity of Utah campus. Ballet students 13 to 18 years of age invited to attend and should bring pointe shoes and practice clothes in which to audition. The session extends from July 7 through Aug. 15 and is held at the Good Shepherd Center in Seattle, A wi(je varjety 0f courses are of- six-wee- k fered including ballet technique, at 10 AM 7PM ) Watch TalkAbout, a special new program tomorrow lUTAtliSIAIUNIVERSIX presents RUSSIA, SIBERIA ARMENIA and KAZAKH (June 22 days Contact: Dr. Kent E. Dr. Lynn R. Robson Eliason 750-121- 4 750-121- 9 (limited number of teats available) .i . 'ASHsW lORBSBGG) HMlBIi QSM&tSiS 'iMGia GEORGE SAKELLARIOU Saturday. February 8. 1986 8:00 p.m. First Presbyterian Church XMitli Temple Duma m&a&t i u'u urn till your home with the tine designer l.ihrics vouve alw.ivs " anted. We have fabric for draperies, Tickels: wi;..llv .it I lH.' Ik Ivd'-paud- next lo Capitol Thtv: .15 Wed 20 Suuth Si). 00 at the iluur 7.00 each for Season S of 2 l?l-- v I 359-277- wtg&Gltm:' 1 ot lust about anything. Our factor, seconds can save you 30 to W) on your decorating costs. 00 total 1UK INFORMATION: m Now i !' Imuth tah Classical Guitar Society I 0 y J DesignerTextiles THE ICS UR i Wi S, tilth "pM FOR I .1st ''.ilt HOME ,lkc C it V 4KtVl 1, LWEIVE adn-ar- e gio, pointe, music for dance, jazz, Spanish dance and kinesiology. QOTJHBTOUdH |
