NYCB Vol. 16 No. 9 - Episodes

Bart Cook and Allegra Kent in Episodes. Photo by Martha Swope.

From Once a Dancer... by Allegra Kent:

"When Balanchine created the part in Episodes for me, this role was a continuation of his interest in the abstract use of the body and the man manipulating the woman. The pas de deux in my section of the ballet was a dance conversation. My partner makes his move. I react. He puts my foot a certain way and turns me, and that's where I must go. I respond by echoing his energy. At the end, with a last curl of my body, I move from upside down and become right side up, finding a sinuous solution. In the last segment, the four corps girls and myself join hands and never let go. I am like saltwater taffy being stretched to the left, to the right, lifted up high, and pushed down low. Nicky directed my movements from the center of his citadel of women. I was a dark pearl on a necklace, and the girls were my chain; they had to move with me. I loved the concept. The music was hyperactive, and so was I. Against the background of atonal music, a distance exists between the dancer and her emotions. Some reviewers thought I brought humanity to this stark pas de deux. Writing decades later, Anna Kisselgoff described my interpretation as 'poignant.' When I had heard that Mr. B. didn't like expressive dancers, I had rebelled and deliberately developed a distinctive style that incorporated an emotional subtext.

Allegra with Bart Cook. Photos by Martha Swope. Center Photo by Carolyn George.

Allegra Kent with Bart Cook in Episodes.

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"'Oh, Allegra, could you come in here and show Linda how you do this lift in Episodes?' Because I had been removed from this ballet to dance in two others, my part in Episodes was being taught to Linda Yourth.

Mr. B. looked pleased that he had caught me before I escaped into the outside world. The small windowless studio blazed with fluorescent tubes. Everything showed up in this workroom of harsh white light. Mr. B.'s presence offered the necessary warmth. His familiar work clothes, a plaid shirt and blue jeans, added a touch of humanity to the enclosed space.

As he opened the door wider, I could hear the atonal Webern music of my section on the piano. Each new sound was followed by a measured pause like a reflection, like new ideas presented in a conversation.

'I'm not in practice clothes. Should I change?' I was in bell-bottom trousers with ruffles.

Mr. B. shook his head. 'No, just this one lift. Linda needs help.' Mr. B. took my hand and brought me into the center of the room.

Allegra with Nicholas Magallanes (left) and Bart Cook (right)

The music stopped. 'It's in the first section, where you hold onto your leg in à la seconde.' I took this position. Mr. B. knelt down and grasped my supporting leg in both his hands. He was in a mood of participation and wanted to do the lift himself. He clearly wanted to dance with me. I was worried. Mr. B. was very strong, but he did have a bad back.

'Are you sure you want to do this lift?' I asked. Luckily, Nicky Magallanes stepped forward promptly.

'Mr. B., let me do it.' Mr. B. let go of me and allowed himself to be replaced. Nicky buttressed his shoulder against my leg, held it firmly, and lifted me straight up.

My gingham ruffles were in the air. From on high I explained to Linda, 'If your leg is close to your head, your weight is all in one place, and it's easy for Nicky. You can't be like the Leaning Tower of Pisa and fall away from him.'

Mr. B. was smiling at his creation. This step was a snap for me and Nicky because of my limberness.

'Allegra, show Linda how you get into the arabesque.'

Mr. B. walked over and held my left leg with Nicky. He liked to have the raw material of choreography in his grasp.

I continued my explanation. 'Keep your leg as high as you can and keep your weight over Nicky when you change from à la seconde to penchée arabesque.'

I did this maneuver and then Nicky put me down.

Linda Yourth with Nicholas Magallanes. Photo by Martha Swope, 1972.

'Linda, you try it now.' Mr. B. gestured to her with his hand. I moved next to him so we could confer if necessary. Linda was still having trouble; she wasn't as flexible as I was. Mr. B. offered help but not criticism. 'Lean to your left. It will work out.'

He clapped his hands. They would start from the beginning again. Mr. B. thanked me at the end of this Episodes rehearsal. Despite my latest problems, he still wanted my help. He still admired my dancing. Even though he had injunctions against ballerinas allowing their personal lives to intrude on dancing, he had invited me into the room to dance with him. Was he letting me know that I was still the exception to his rules? He used to describe me that way in interviews.

I also wonder if, at this time, Mr. B. was beginning to sense my impending withdrawal from the very thing I loved —ballet. Mr. B. was loyal, taking an opportunity to remind me that I still had my ballet family. About this time, he asked me to learn the Tchaikovsky Pas de deux. He still believed I could do something challenging, and he had placed me in the special category of expert on the leotard ballet Episodes.

I was happy. 'Well, good-bye, Mr. B.,' I said. 'How do you like Episodes in ruffles?'