Yvonne Mounsey - A Farewell and an Appreciation
Mounsey, Robbins, Balanchine, New York City Ballet, Westside School of Ballet
Past Articles by This Author:
BWW Remembers: Frederick Franklin, June 13, 1914 - May 4, 2013BWW Reviews: Ballet in Cinema from Emerging Pictures Presents ESMERALDABWW Reviews: Juilliard Dances RepertoryBWW Remembers: Maria Tallchief--January 24, 1925 - April 11, 2013BWW Interviews: Lar Lubovitch of Lar Lubovitch Dance CompanyBWW Interviews: Tiffany Rea FisherBWW Reviews: Ballet in Cinema from Emerging Pictures Presents 'La fille mal gardee'BWW Interviews: Elisa MonteSpring Dance Coverage Coming Your Way in NYCBWW Reviews: Ballet's Greatest Hits: YAGP Gala
2012 marked the passing of Yvonne Mounsey at the age of 93, a principal dancer with the New York City Ballet and the founder of the Westside School of Ballet in Santa Monica, probably one of the finest dancing institutions in the United States. I have to say that I never saw Ms. Mounsey dance nor have I read her recent interview in Ballet Review, although I'll probably get around to it sooner than later. The only times I have ever seen her were on YouTube and in the many photographs documenting her career. And if pictures could talk I am sure they would impart a story, not of woe and misfortune but of a life well spent and never wanting in her dedication to the art she cherished: Ballet.
In particular most dance enthusiasts know Mounsey from her photograph as the siren in Balanchine's The Prodigal Son. The revival in 1950 did not originally feature Mounsey; Maria Tallchief was given the role and, from what I have read and heard from people who saw her performance, was not particularly successful in the role. She was too short and she did not possess those smoldering looks and limbs that could encircle and destroy a man, not to mention any living creature.
Balanchine needed a dancer who could embody his concept and among his dancers at that time it was only Mounsey who possessed the dancing and dramatic skills needed for the role. Once given the part she was coached by Felia Doubrovska, the originator of the role in the 1929 production and one of the School of American Ballet's most noted teachers. Mounsey embodied the role for the next few years and it became something of a calling card, because The Prodigal Son meant Mounsey. Her interpretation, as visualized in the many photographs we have, present a proud, haughty and limber creature looking as if she didn't give a damn about anything but herself and the lust for money and personal annihilation at another person's expense. It is the appearance of poison incarnate. I have seen many dancers perform this role, and while several were excellent none measure up to that photograph. Why not? It's only a pose caught in time, but the pose speaks many tomes. And that is the reason I find Mounsey so interesting. The photograph is telling us something, yet for some reason it is beyond words. I'm still trying to figure out what it means, but I'm always baffled.
Mounsey was with the New York City Ballet from 1949-1958. She did not originate many roles in Balanchine's ballets. In fact Balanchine rarely used her for his new works. She was given solos in the original La Valse and Balanchine's revitalizations of Swan Lake and The Nutcracker, and danced in other Balanchine ballets: Symphony In C, Four Temperaments, Serenade, Caracole, The Firebird, Divertimento and Western Symphony, as well as the New York premiere of Balanchine's revised Caracole, which we now know as Divertimento No. 15. Not much survives on film; I believe there is a CBC production of Serenade with Mounsey as the Dark Angel. There might be other things scattered around.
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A passionate and enthusiastic dance lover with other interests in books, theater, music and architecture. I have served as the director of the docent program at the New York City Ballet. I am interested in all facets of dance, and do not limit myself to only one dance brand, as I call it. This encompasses ballet, modern, folk and whatever else there is. Call me eclectic. |
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