TitleInterview with Richard Englund, 1979
NamesEnglund, Richard, 1931-1991 (Interviewee)Caplan, Laura (Interviewer)
CollectionDance Oral History Project
Dates / OriginDate Created: 1979-04-03
Library locationsJerome Robbins Dance DivisionShelf locator: *MGZTO 5-965
TopicsEnglund, Richard, 1931-1991 -- InterviewsTudor, Antony, 1908-1987American Ballet TheatreNational Ballet of CanadaDance Repertory CompanyBallet Repertory Company
GenresOral historiesInterviews
NotesAdditional physical form: For transcript of interview see: *MGZMT 5-965.Source characteristics: Sound quality is good to fair. The recording is marred by occasional volume fluctuations and extraneous noise.Bibliographic history: Title supplied by cataloger.Venue: Recorded by Laura Caplan for The New York Public Library for the Performing Arts 1979, April 3 New York (N.Y.)Funding: The processing and cataloging of this recording was made possible in part by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. The support of the National Endowment for the Arts is also gratefully acknowledged.
Physical DescriptionAudiotape reelExtent: 1 audiotape reel (approximately 2 hr., 5 min.) ; polyester; half-track; 1.875 ips; 5 in.
DescriptionStreaming audio file 1 (approximately 52 minutes). Richard Englund speaks with Laura Caplan about how he first became interested in dance; his ballet training with Mary Ann Wells including her approach to teaching; his time at Harvard College including his studies with Paul Hindemith; his parents' strong objections to his pursuing a career in dance; leaving Harvard to study dance at the Juilliard School; his poverty at the time; Antony Tudor including his influence on him; composition class with Louis Horst at Jacob's Pillow; more on his time at the Juilliard School including his occasional performances with the José Limón Dance Company and as a super-nummerary at the Metropolitan Opera; his preference for watching rather than dancing in José Limón's company; his studying with Martha Graham; his dancing in musical comedies in the summer; his experience with the Metropolitan Opera ballet company including his reminiscences of Rosa Roland, Marian Horosko, and others in the company; the National Ballet of Canada [ends abruptly but continues directly on streaming audio file 2].
Streaming audio file 2 (approximately 42 minutes). Richard Englund speaks with Laura Caplan about his experience at the National Ballet of Canada including his relationship with Celia Franka; the repertory and the touring; meeting his (future) wife, Gage [Bush], while on tour in Birmingham, Alabama; moving to Birmingham and establishing a ballet school; returning to New York and performing in musical comedies; his wife, Gage's career during this time; their joining American Ballet Theatre; leaving American Ballet Theatre and returning to Birmingham where he worked with the local company [Birmingham Civic Ballet] and was involved with the founding of the North Carolina School of the Arts (among other projects); organizing a ballet company [Alabama State Ballet] affiliated with the University of Alabama; working [with the Huntington Performing Arts Foundation] on a performing arts cultural enrichment program in Long Island (NY.) schools; starting the Dance Repertory Company [known briefly as American Dance Company and later Ballet Repertory Company].
Streaming audio file 3 (approximately 31 minutes). Richard Englund speaks with Laura Caplan about the reconstitution and renaming (as the Ballet Repertory Company) of the Dance Repertory Company upon its affiliation with American Ballet Theatre; the composition and development of the company; ballet training today and how it is changing.
Type of ResourceSound recording
LanguagesEnglish
IdentifiersRLIN/OCLC: 84211387NYPL catalog ID (B-number): b12118823Universal Unique Identifier (UUID): f82e99d0-e422-0135-f18a-1b738a263517
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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