2 3 4 5 Ballet Webb

Thursday, March 8, 2018

Throwback Thursday and Pearl Eaton



Throwback Thursday and Pearl Eaton

Born in Norfolk, Virginia, Pearl Eaton, and her two sisters Doris and Mary, began their dance training in Washington D.C. In 1911, all of them were hired for the play The Blue Bird, and thus Pearl’s career began.

Pearl’s dancing in The Blue Bird impress the Shubert Brothers who hired her to dance in the chorus of Al Jolson’s show, Robinson Crusoe, Jr. She went on to perform in many venues, and in 1918 became part of the Ziegfeld Follies where she stayed until 1923. Pearl Eaton was reputed to have the most beautiful legs in America, and supposedly whenever Ziegfeld saw her he said “How are the legs?”

After the Follies, she worked with producer Charles Dillingham, both as a performer and as dance director. By the late 1920s, Pearl Easton was in Los Angeles working for RKO Studios, choreographing dances for films like Hit the Deck and Rio Rita. Sadly, during the Depression in 1930s she was let go by RKO.

She went on to try other careers, such as real estate, song writing, and working for the Los Angeles County Census Bureau. She also opened her own dance studio. Later in life she became a recluse, seldom leaving her home.

On September 10, 1958 she was found dead in her Manhattan Beach apartment. The police ruled her death a homicide but the case has never been solved. Pearl Eaton was 60 years old.


From the Big Blue Book of Ballet Secrets
Dance History Factoid #124:
Pearl Eaton was a dancer whose mysterious death has never been solved.”

Link of the Day (featuring Pearl’s sister Mary):

Quote of the Day:
“Every solution to every problem is simple. It's the distance between the two where the mystery lies.”
― Derek Landy

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Wednesday, March 7, 2018

Wild Wednesday Dental Floss



Wild Wednesday Dental Floss

There are many hints, tips, and hacks out there for pointe shoes. In future blogs, I will cover some of them. Today I’m talking about sewing.

It is important for the ribbons and elastic on your pointe shoes to be secure and neatly done. One trick that’s been used by dancers for many decades is to abandon traditional sewing thread and instead use dental floss (unwaxed).

Dental floss is strong and durable, and when you use it on your pointe shoes you can rest assured that it isn’t going to fray or break. As an added bonus, it comes in handy little containers that are easily stored in a dance bag. Plus, you usually get more than you can use on your teeth when you make your semi-annual visits to your dentist.


From the Big Blue Book of Ballet Secrets
Secret #23d:
“Sew your ribbons on with dental floss.”

Link of the Day:

Quote of the Day:
“Moving to Montana soon, gonna be a dental floss tycoon.”
- Frank Zappa

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Tuesday, March 6, 2018

Technical Tuesday Sneeze



Technical Tuesday Sneeze

In the Rules of Life Book under “Don’t Try This at Home” is today’s Factoid: It is almost impossible to sneeze with your eyes open.Well, according to www.discovery.com/tv-shows/mythbusters:

The nose and eyes are linked by cranial nerves, so the stimulation from the sneeze travels up one nerve to the brain, then down another nerve to the eyelids, triggering a blink for most people. However, it's possible for some people to sneeze with their eyes open…”

Therefore, it is our automatic blinking response that makes us close our eyes when we sneeze. And, according to https://www.thesun.co.uk/living/2362600/is-it-possible-to-sneeze-with-your-eyes-open-yes-says-expert-but-in-most-cases-the-bodys-blinking-response-sets-in/, the blinking response prevents germs from going into your eyes when you sneeze.

There you have it!

From the Big Blue Book of Ballet Secrets
Anatomical Factoid #27xx:
“It is almost impossible to sneeze with your eyes open.”

Link of the Day:

Quote of the Day:
“I held in the sneeze, though, by thinking of the word cucumber. It always works.” 
― 
Merrie HaskellThe Princess Curse

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Monday, March 5, 2018

Mad Monday Multiples



Mad Monday Multiples

You have probably noticed that increasing the number of pirouettes you can do is difficult. This is largely because our bodies become comfortable and accustomed to our usual number, and rebels against any additions. Muscle memory is a blessing and a curse!

To add another turn, it is often helpful to add a half turn. That’s right. Change your spot and finish facing upstage. I sometimes add these half turns into class combinations. Adding a half turn is easy, and often students will surprise themselves by doing a full extra turn without trying.

I’m sure part (or all) of this is psychological, since adding a half turn doesn’t carry the worry of that extra full turn. Thinking about doing three pirouettes when your normal is two can be stressful, but it needn’t be.

Experiment with adding an extra half turn. It’s fun!

From the Big Blue Book of Ballet Secrets
Secret #14nn:
“To add an extra turn, try starting with a half turn.”

Link of the Day:

Quote of the Day:
“The difference between ordinary and extraordinary is that little extra.”
― Jimmy Johnson

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Saturday, March 3, 2018

Saturday Creaky



Saturday Creaky

We all know that a plié is the most important step in ballet. But sometimes we forget to use it to its full potential.

One of the worst things I see happen with plies is the dreaded creaky plié. That’s when the bending of the knee appears to be like a reluctant, rusty hinge – one that creaks loudly when moved. Ouch!

Pliés should never be creaky! They must be rich and resilient. Moving up and down like a well-oiled piece of equipment, with an easy, fluid motion.

Stamp out creaky pliés!

From the Big Blue Book of Ballet Secrets
Secret #114:
 “There are no creaky pliés.”

Link of the Day:

Quote of the Day:
“When the door starts to creak it may be time to take it off the hinges. If things get rusted, life has to be called into question and matters re-evaluated. ( “In the doorway” )”
― Erik Pevernagie

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Friday, March 2, 2018

Fun Friday Hair Hint



Fun Friday Hair Hint

Today I thought I’d start occasionally adding hints and tips related to things other than ballet technique. One area that deserves a lot of attention is this one: hair.

For ballet class, a bun is usually the requirement. If a studio or company is more flexible, then a French twist, braids or anything that still secures the hair neatly (without wispy ends, etc.), and allows a clear view of the neck will work too.

How to secure the hair – especially if you have fine hair – is always a problem. Pins slip out and the hair becomes loose. Not good.

Try using hairspray on the hair pins. Spread them out on a paper towel and spray them, then use them to secure your hair. Another tip that works for really immovable hair is to use hair pins (not bobby pins), and after you’ve inserted them into your hair, bend the ends backwards. This is best suited for situations where you will have time and patience to remove them – never for quick hair changes!

From the Big Blue Book of Ballet Secrets
Secret #21ff:
“Spray your hair pins with hair spray to help them stay put.”

Link of the Day:

Quote of the Day:
“People always ask me how long it takes to do my hair. I don’t know, I’m never there.”
― Dolly Parton

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Thursday, March 1, 2018

Throwback Thursday and Pat Corley



Throwback Thursday and Pat Corley

Pat Corley was born in Dallas, Texas on June 1, 1930.

From 1988 to 1996, Pat Corley played the bar owner in the popular sitcom Murphy Brown. He also appeared in Hill Street Blues, (playing the coroner), and his career included appearances in many different TV shows, from St. Elsewhere to Murder, She Wrote. He got his start in television with a small role in N.Y.P.D and in several commercials.

But most people don’t know that he started his working life as a ballet dancer, performing with the Stockton Ballet when he was a teenager. He stayed with them for three seasons. He also performed in summer stock theater, and, after moving to New York he worked both on and off Broadway.

He died on September 11,2006 of congestive heart failure. He was 76 years old.


From the Big Blue Book of Ballet Secrets
Dance History Factoid #123:
“Pat Corley, who played the bar owner on the sitcom Murphy Brown, started as a ballet dancer.”
Link of the Day:

Quote of the Day:
“Acting is not about being someone different. It’s finding the similarity in what is apparently different, then finding myself in there.”
― Meryl Streep

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