S. Hurok Presents

In Short

This book offers an intimate look at the twentieth-century dance world through the eyes of its most prominent manager. It chronicles the transition of ballet from an exotic, imported curiosity to a widely cherished American cultural staple. The narrative follows the author’s career as he navigates the volatile temperaments of legendary dancers, the financial instability of major companies, and the immense logistical feats of transcontinental touring. It endures as a vital historical document, providing a candid, authoritative perspective on the artistic struggles and professional grit required to sustain ballet as a respected, professional art form.

The Story

The narrative begins with the author’s early life and his entry into the arts, setting the stage for a career defined by intense devotion to the dance. He describes his formative encounters with figures like Anna Pavlova, whose influence shaped his lifelong passion for the medium. From these beginnings, the book moves into the era of the great Russian dancers and choreographers, detailing the complex, often fractured world of the Ballet Russe companies. The author recounts his dealings with "Colonel" de Basil and other impresarios, exposing the internal rivalries, financial mismanagement, and artistic egos that constantly threatened to tear these institutions apart.

As the story progresses, the focus shifts to the author’s efforts to cultivate a sophisticated dance audience in America. He provides a meticulous account of the rise of modern dance and the balletic traditions that followed. He does not shy away from the darker side of the business—the contractual disputes, the "ugly" demands for money under duress, and the inevitable decline of legendary companies that failed to adapt to changing times. He reflects on the "ravages of time" as companies lose their stars and their original vitality, leaving behind only the hollow shell of a former legend.

The narrative reaches its crescendo with the arrival of the Sadler’s Wells Ballet from London. The author details the monumental logistical effort required to bring this company to North America, from the chartering of planes to the delicate diplomatic work of scheduling and housing the entire troupe. He celebrates the triumph of this tour as a watershed moment for dance in America, even as he notes the friction and exhaustion that accompanied such success. The book concludes with a passionate, idealistic plea for government subsidization of the arts. He envisions a future where ballet and other creative endeavors are no longer forced to "squat in the market-place" begging for alms, but are instead supported as essential components of a civilized, cultured society. By looking back on his own lifelong struggle to provide security for his artists, he frames his career not just as a series of deals, but as an ongoing fight to preserve beauty against the encroaching "thunder of material prosperity."

How It Unfolds

The early inspiration The author recounts his foundational experiences in the dance world, identifying the specific figures who first ignited his dedication to the craft. These early chapters establish the author’s belief in dance as a vital, expressive force.

The era of the pioneers The narrative moves to the influence of Isadora Duncan and the exotic appeal of dancers like Vicente Escudero. The author highlights how these figures challenged nineteenth-century prudery and redefined the physical possibilities of the stage.

The rise of the ballet establishment The author turns his critical eye toward the Russian roots of ballet and the various "managing-directors" who attempted to replicate the success of Diaghileff. This section exposes the internal politics and "chronic Diaghileffitis" that often plagued these professional companies.

The struggle for survival The book tracks the decline of older companies like the Original Ballet Russe, detailing the financial losses and organizational failures that led to their eventual disintegration. This phase illustrates the unforgiving nature of the touring business.

The Sadler’s Wells triumph The final movement focuses on the successful, large-scale introduction of the Sadler’s Wells Ballet to North American audiences. The author meticulously documents the technical and social complexities of managing this historic, high-stakes tour.

The People

The memoir is populated by figures who exist in a constant state of tension between their artistic genius and their human frailties. Anna Pavlova serves as the author's primary touchstone, a standard-bearer for the aristocracy of style. Isadora Duncan is presented as a revolutionary force of nature whose "solar plexus" theory of dance was matched by her radical social views, which alienated many of her wealthy patrons. Michel Fokine emerges as a tragic, brilliant figure, haunted by a faulty memory and an increasing bitterness toward the new, younger choreographers who were beginning to surpass him.

The "Colonel" de Basil is portrayed as a shrewd, often desperate figure, clinging to the remnants of a legend while his company slowly unravels. In contrast, Ninette de Valois, known as "Madame," is defined by her single-track mind and total devotion to the Sadler’s Wells organization; she is depicted as a disciplinarian who demands the same level of sacrifice from herself as she does from her dancers. Robert "Bobby" Helpmann stands out as the ultimate multi-hyphenate, a dancer, actor, and director whose versatility fascinates the author. Finally, the author himself appears as a pragmatic, sometimes cutting, but ultimately romantic figure—a man who prides himself on his toughness in business while remaining a steadfast defender of the "gospel" of ballet.

In Its Own Voice

The author describes the personal philosophy of the legendary dancer Isadora Duncan:

She believed that dance was life: therefore, the expression of some inner impulse, or urge, or inspiration.

Reflecting on the often-chaotic and poorly managed ballet companies he encountered, the author notes:

They are not, of course, “producers.” They call themselves either “managers” or “managing-directors.”

The author expresses his frustration with the lack of institutional support for the arts, capturing the precarious state of the professional performer:

...we shall have to continue to fight the fight, to grasp any friendly hand, and, I fear, continue to watch the sorry spectacle of the arts squatting in the market-place, basket in lap, begging for alms for beauty.

What It's Really About

The central argument of the book is that ballet is a great, civilized art that deserves institutional stability far beyond what the volatile "market-place" can provide. The author challenges the reader to look past the glamour of the marquee to understand the grueling reality of the business. Beneath the stories of temperament and tour logistics lies a deeper question: how does a society treat its artists? The author argues that art is not a luxury, but a necessity, and that the current reliance on individual impresarios and fickle ticket sales is a failure of leadership. He uses his own career as a case study to show that the preservation of beauty requires vision, stamina, and a fundamental shift in how governments prioritize the education and support of the creative class.

Why Read It Today

Readers interested in the history of the performing arts will find this an essential, if opinionated, primary source. It feels remarkably immediate, capturing the specific anxieties of the 1950s dance scene through an author who was at the center of every major crisis and triumph. You will appreciate the book if you value "inside baseball" accounts of how major cultural institutions are built—and how they fall apart.

The writing is direct, warm, and occasionally sharp, reflecting a man who has managed enough volatile personalities to lose patience with incompetence. However, a contemporary reader should be prepared for the author's period-specific attitudes; he is unapologetically elitist about his classical tastes and can be dismissive of "free" or "modern" dance forms that do not fit his definition of proper ballet. The text also assumes a high level of familiarity with mid-century figures and companies, which may occasionally require a curious reader to look up names or historical context. Despite these hurdles, the book leaves a lasting impression of the sheer, exhausted, and indomitable will required to bring beauty to the public. It is a testament to a life lived in service to an art form that, in the author's words, is the most satisfying of all human endeavors.