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Sunday, September 19, 2004

Thank Cincinnatian for ballet's appeal


Your voice: Susan Redman-Rengstorf

Close your eyes. Clear your thoughts. Now think of the word ballet. What do you think of? Beautiful dancers in tutus and pointe shoes? Classical music and colorful sets? Precision dancing and demanding physicality?

If any of these images come to mind, thank the Ballet Russe de Monte Carlo, a popular and successful touring ballet company that existed from the 1930s through 1962, and the company's benefactor, Cincinnati's own Julius Fleischmann.

At the height of the Great Depression, this American dance company brought the high art of ballet, with elaborate sets, magnificent costumes and full orchestras, to communities large and small throughout the United States. Performing in venues as simple as high school gyms, the dancers of Ballet Russe, including the likes of George Balanchine and Cincinnati Ballet's artistic director emeritus Frederick Franklin, danced works created by Leonide Massine to music composed by Stravinsky and others. Some became popular hits, including Agnes de Mille's Rodeo, which was danced to Aaron Copland's musical masterpiece.

All of this was made possible by the patronage of Fleischmann, who supported the company during its heyday. Cincinnati was a frequent stop, and Fleischmann served as benefactor as well as collector of Ballet Russe memorabilia. Thanks to his support, Ballet Russe, during its 24-year history, gave work to hundreds of dancers in America while introducing ballet to the masses, popularizing it and creating a ballet heritage that thrives today.

Although never quite sure what to expect when Ballet Russe came to town, Americans were enthralled nonetheless by the infusion of European culture, dance, music and painting that included a unique American flair. That enthusiasm helped fuel the formation of other companies of all sizes, including the American Ballet Theater in 1940 and 20 years later, Cincinnati Ballet. Styles and form may have changed over the years, but the commitment to make art generally, and especially ballet, accessible to all is as strong as ever.

So the next time you see or think of ballet, tip your hat to the long-gone stars of the Ballet Russe de Monte Carlo, dancing in full regalia out in the hinterlands, and to Julius Fleischmann, for his vision and support, all of which contributed to sowing the seeds of appreciation that is the foundation for the arts in America, and Cincinnati, today.

Susan Redman-Rengstorf is executive director of the Cincinnati Ballet.

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