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A little Light Relief a la Makarova ....


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I just now stumbled (again) across this footage of Makarova making a speech after doing a White Swan PDD at an early Erik Bruhn Competition Gala.  One thing you can rest assured of ... her wit is certainly much more rapid than the tempi she would have taken that adagio at.  (And, yes, I am supposed to be working but it is late on a Friday after all.)  

 

Makarova always did give great stand-up ... and that essence oft marked even the most radiant of her performances on stage.  She ALWAYS was capable of making grand errors ... and delightfully got away with them.  Just when you thought it surely would be impossible this time ... Natasha would prove you wrong.  How well I recall the turns at the end of each rescue and those quizzically innocent looks she would issue in the direction her adoring audience.  While she did not exactly wink - she would issue one of those tantilizing smiles that always seemed to telegraph:  'You see'!

 

The humility of her humanity always did mark her out as a star.  I still find it refreshing even now ... and thought others - who may not be old enough to have seen this spectacle live ... or, indeed, this film clip - might well enjoy her little chat here.  

 

At least it lightens the tone from so much serious debate we find engulphing our world; balletic and otherwise ... and surely that is no bad thing. 

 

Edited by Bruce Wall
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On similar lines, on a night, somewhere around the UK, way back in the days of the RB Touring Company.  The dancer who was to be the 'vision' of the White Swan Queen, appearing whilst Odile worked her wily charms on the hapless Prince, had the support on which she was standing collapse as she did her earnest pleading.  No injury sustained, happily, but probably some loss of dramatic impact.  (Told to me by the lady concerned.)

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Very amusing, Bruce..  

 

I am still wondering how she managed to cover up her late arrival on stage in Swan Lake.  I have visions of her head peeking up above the stage, while the rest of her remained hidden!

 

Oh, and the racket emanating from that Russian lift shaft.  A Gracie Fields of the ballet world.  Just imagine.  Bliss.  

 

Now THAT'S what I call an entrance.  

 

In that regard even the beloved Trocks had little on Natasha's comedic stealth .... Her unique sense of theatrical spontaneity was always sublime ... even - amazingly - when perhaps not - certainly at first light - entirely apt.   With Makarova you never soon forgot. You could count on that.  Sara Mearns today has a touch of that same screwball (and i say that with huge admiration) glory.  

 

Somehow Makarova ALWAYS managed to twist situations to suit.  And she did so with a sincere determination to serve the work before herself.  in that regard, no Guillem she - (as admirable a standout as the latter was.  Both were - of course - in their own unique ways.).  

 

Spontaneity marked Makarova's artistry.  She was always sufficiently skilled to make us believe that she could remember to forget.  Mark that finger in her mouth.  Makarova tested the air.  

 

A gift in deed.  

 

She made her music her own .... even when she wasn't particularly 'on it' ... which was ... (just as with her 'parrot') ... often the case.  

 

(Bless Dowell and Nagy for defeating those odds).   In each and EVERY case, a heroic service ... I might almost say 'effort' ... were it not for the fact that you could ALWAYS 'feel the love'.  

Edited by Bruce Wall
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