JANUARY 1977

HIGH GEAR

THE AMERICAN BALLET

THE

PAGE 23

1630 payne ave

Zanzibar

When American Ballet Theatre was launched in the! autumn of 1939, the aim was to develop a repertoire of the best ballets from the past and to encourage the creation of new works by young, gifted choreographers wherever they might be found.

Now, more than three decades later, American Ballet Theatre boasts a repertoire that more than lives up to the dream of those early years. It includes most of the great nineteenth century ballets, the finest works from the early part of this century, and ballets by all the contemporary masters. Furthermore, the Company is still as open to the works of young choreographers as it was in the beginning.

A troupe of 70 dancers presents the repertoire, artists from this country and abroad, numbering among them some of the finest dancers in the world today. All are capable of translating the different styles of the huge repertoire with ease and finesse. The Principal dancers are: Karena Brock, Fernando Bujones, William Carter, Eleanor D'Antuono, Cynthia Gregory, Gelsey Kirkland, Ted Kivitt, Ivan Nagy, Terry Orr, Marcos Paredos, John Prinz, Marianna Tcherkassky, Clark Tippet, Mar. tine van Hamel, Charles Ward, Sallie Wilson, Gayle Young.

American Ballet Theatre annually tours the United States and has also made more than 15 international tours and, as the most representative American Ballet Company, has been sponsored by the United States Department of State on many of them. It was under this sponsorship that American Ballet Theatre visited the Soviet Union twice, the first time in 1960 as the first American company ever to perform there, and later, in 1966.

In 1971, American Ballet Theatre was named the Official Company of the John F. Kennedy Center for the Performing Arts, Washington, D.C., where it appears several times each year.

Now, for the first time in eight years, through the sponsorship of CLEVELAND BALLET, American Ballet Theatre is coming to Cleveland on February 3, 4, and

Gayle Young, who comes from Lexington, Kentucky, began studying ballet with Dorothy Pring while attending the University of California at Berkeley. After coming to New York, he studied further at the American Ballet Theatre School. Mr. Young has danced with both the Robert Joffrey Ballet and with the New York City Ballet. He was appearing in "Redhead" on Broadway when he joined American Ballet Theatre in 1960. In addition to dancing with American Ballet Theatre, he has made concert appearances with Maria Tallchief in Venezuela and with Lupe Serrano in Puerto Rico, and has appeared as guest artist with regional companies in Denver, Colorado; Lake Charles, Louisiana and Richmond, Virginia. His repertoire includes leading roles in TALES OF HOFFMANN, BILLY THE KID, CONCERTO, DARK ELEGIES, FALL RIVER LEGEND. JARDIN AUX LILAS, THE MAIDS, PILLAR OF FIRE, THE RIVER and LES

SYLPHIDES.

5 at the Music Hall.

The program will include the Following La Bayadere, The Leaves are Fading, Pillar of Fire, Tharp Ballet, Swan Lake, and Rodeo. For reservations and ticket information call (216) 6213634.

Ted Kivitt, one of this country's strongest and most exciting dancers, is a native of Miami, Florida. He began to study dance on the advice of his doctors, who felt the disciplined exercise would help him overcome some serious childhood ailments. His early training was with Alexander Gavrilov and Thomas Armour in Miami. He showed such early promise that at fifteen he was chosen to dance the Young Prince in the Royal Poinciana production of THE PRINCESS. Mr. Kivitt joined American Ballet Theatre in 1961 and moved up through the ranks to become a Principal Dancer in 1967. He is in great demand as a guest artist and makes frequent guest appearances throughout the country. Mr. Kivitt's repertoire includes COPPELIA, GISELLE, RAYMONDA, SWAN LAKE, TALES OF HOFFMANN, LA FILLE MAL GARDEE, LA SYLPHIDE, LA BAYADERE, CONCERTO, ETUDES, THEME AND VARIATIONS, VARIATIONS FOR FOUR, and THE SLEEPING BEAUTY, and the pas de deux from LE CORSAIRE, DON QUIXOTE and GRAND PAS CLASSIQUE.

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