TitleInterview with Stanley Zompakos
NamesBalanchine, George (Choreographer)Zompakos, Stanley (Interviewee)Reynolds, Nancy, 1938- (Interviewer)George Balanchine Foundation (Presenter)
CollectionPopular Balanchine
Dates / OriginDate Created: 2001-02-16
Library locationsJerome Robbins Dance DivisionShelf locator: *MGZIDVD 5-7317
TopicsBalanchine, GeorgeZompakos, StanleyGansert, JackPopova, NinaHeath, Barbara, dancerMerry widow (Choreographic work)
GenresInterviews
NotesVenue: Videotaped during an interview at the Kansas City Ballet Studios, Kansas City, Mo., on Feb. 16, 2001.Acquisition: Gift; George Balanchine Foundation. NN-PD
Physical DescriptionVideocassetteExtent: 1 videocassette (VHS) (68 min.) : sound, color ; 1/2 in.
DescriptionStanley Zompakos speaks with Nancy Reynolds about The merry widow and working with George Balanchine; Reynolds asks Zompakos about his dance background and dancing at the School of American Ballet (SAB); Balanchine asking him to perform in The merry widow; Reynolds asks Zompakos if the 1943 and 1944 productions were the same; Reynolds also mentions that Zompakos was the assistant stage manager for the show; Zompakos learning most of the choreography by rehearsing with Balanchine's assistant, Bill [William] Dollar; about the tour to Los Angeles, San Francisco, and Seattle; how the show was not expected to become a hit; how the production was created New Opera Company which was founded by Yolanda Mero-Irian; how Balanchine was connected to the New Opera Company; productions that Balanchine choreographed; Zompakos being 17 years old when he joined this show; when Eddie Weston was drafted during war Zompakos became assistant stage manager due to his 4F military status for the draft; Zompakos speaks about the opening prologue number in Merry widow and the Broom dance (polka); Reynolds shows Zompakos a photograph of the Broom dance with Jack Gansert and Nina Popova; Zompakos describes the Act I finale with mingling and a couple waltzing as curtain comes down; Zompakos continues with discussion of the movement and staging for Act II including Vilia number, and the In Marsovia number; Reynolds plays the music for Act II begining with the opening with In Marsovia music and Maxim's (Girls, Girls, Girls) with June Graham and Babs Heath; discusses Babs Heath's career; ballet dancers not having many opportunities to perform back then; Zompakos speaks about leaving New York City Ballet to perform in Columbia Concert tour, starting a film company with his Brother-in-law in South Carolina, and then teaching at Kansas City Ballet; Zompakos speaks about the Gold and Silver number being the dance highlight; about the waltz costumes worn; Balanchine moving scenery off stage to make more room for dancers; some of the entrances and pantomime used in this section; Reynolds shows Zompakos a xerox of photograph with costumes and photographs of Babs Heath & Jack Gansert and Milada Mladova; also publicity photographs are shown of performers including Lubow Roudenko, Alex[andra] Alexander, Melville Cooper, Jan Kiepura, Marta Eggerth, Etheleyne Holt, and possibly Lisette Verea; Reynolds plays music from Gold and Silver while Zompakos describies stage movements of couples and waltzing; Dollar working with him on his waltzing; Reynolds shows Zompakos photocopies of Girls in Can Can outfits and from souviner book; Zompakos speaks about opening scene in Act III in Maximes restaurant and the opening steps performed by Roudenko with other girls joining in; Reynolds plays music from Act III while Zompakos speaks about the movement the girls are performing; not recognizing the original music because Robert Stoltz changed it; and concludes with Reynolds thanking him for the interview.
Type of ResourceMoving image
LanguagesEnglish
IdentifiersNYPL catalog ID (B-number): b19683801Universal Unique Identifier (UUID): 19697400-f79b-0130-73c7-3c075448cc4b
Rights StatementThe copyright and related rights status of this item has been reviewed by The New York Public Library, but we were unable to make a conclusive determination as to the copyright status of the item. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use.
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