NYCB Vol. 17 No. 5 - Prodigal Son - Maria Tallchief
- Lauryn Johnson
- 2 days ago
- 2 min read
Maria Tallchief in her autobiography Maria Tallchief: America's Prima Ballerina:
"Balanchine believed New York City Ballet needed a story ballet in its repertory and hoped Prodigal Son would serve the purpose. The ballet was a success at its premiere in 1929 and had never been seen in America. The Original Ballet Russe had presented David Lichine's version of the Prokofiev score, but it was said to have lacked the inventiveness of George's.
"George cast Jerry Robbins in the title role and I was going to play the Siren opposite him, roles created by Serge Lifar and Felia Doubrovska. Doubrovska, who was married to Pierre Vladimirov and would eventually join him as a teacher at SAB, had a long, attenuated line and was able to capture the Siren's sensuality. I, on the other hand, wasn't tall enough or as elongated, and felt miscast. During rehearsals I had difficulty handling the long red cape, which is attached to the Siren like a train. The cape was made of heavy red velvet and it slid around me out of control whenever I moved. No matter how often I practiced, I could not grow comfortable manipulating it.
(left) Maria Tallchief. Photo by George Platt Lynes, 1950
(center) Maria Tallchief. Photo by George Platt Lynes, 1950
(right)
"Jerry, however, was well suited to the Prodigal. He was a good character dancer and knew how to project. And he was a strong partner. The trouble was that even though I wasn't that tall, he was too short for me. Our first performance was, in a word, hilarious. During my solo, I tripped over my cape and became enmeshed in it; then in the pas de deux, because I wasn't tall enough I had trouble wrapping my legs around Jerry, which was essential for the partnering. Worse, I forgot an important piece of choreography. At one point the Prodigal sits on the floor and the Siren, straddling him, is supposed to lower herself onto his head. I just stood there doing nothing.
Jerome Robbins & Maria Tallchief. Photo by George Platt Lynes, 1950
"'Maria! For God's sake, sit on my head,' Jerry hissed.
"I just froze. Seconds ticked by until, finally, I lowered myself onto him and we finished the dance.
For the most part, my reviews were noncommittal, but the critic for the Daily News wrote, 'Miss Tallchief apparently ascribes to the axiom in music that if at first you hit a clinker, hit another, bigger one next, so everyone will think you're doing it all on purpose.' Anatole Chujoy was a little kinder. He said that I "was not quite at home in the part," and went on to something else.
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