Overview

Ruth Page

(1899—1991)


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Harald Kreutzberg (1902—1968)

 

'Ruth Page' can also refer to...

Page, Ruth

Page, Ruth (22 March 1899)

Page, Ruth (22 March 1899)

Page, Ruth (22 Mar. 1899)

Page, Ruth (1899 - 1991), choreographer, company director

In the Public Interest: Medical Licensing and the Disciplinary Process By Ruth Horowitz. Rutgers University Press. 2013. 268 pages. $29.95 (paper)

Makler, Andra, and Ruth Shagoury Hubbard, ed. Teaching for Justice in the Social Studies Classroom: Millions of Intricate Moves. Portsmouth, NH: Heinemann, 2000 (225 pages, ISBN 0325-00264-9)

Rebuilding Labor: Organizing and Organizers in the New Union Movement Edited by Ruth Milkman and Kim Voss Cornell University Press, 2004. 309 pages. $49.95 (cloth); $19.95 (paper)

Survival skills for doctors and their families. Ruth Chambers, Kay Mohanna, Steph Chambers. (143 pages, £21.95.) Radcliffe Medical Press Ltd, 2003. ISBN 1-85775-990-7.

Occupational Health Matters in General Practice. By Ruth Chambers, Stephen Moore, Gordon Parker and Andy Slovak. Published by Radcliffe Medical Press, 2001. ISBN: 1‐85775‐463‐8. 190 pages

L.A. Story: Immigrant Workers and the Future of the U.S. Labor Movement By Ruth Milkman Russell Sage Foundation, 2006. 244 pages. $27.50 (paper)

Harlem’s Glory: Black Women Writing, 1900-1950. Ed. Lorraine Elena Roses and Ruth Elizabeth Randolph. Cambridge and London: Harvard UP, 1997. xiii+538 pages. $29.95 cloth; $17.95 paper.

Working for Justice: The L.A. Model of Organizing and Advocacy Edited by Ruth Milkman, Joshua Bloom and Victor Narro ILR Press. 2010. 312 pages. $65.00 cloth, $21.95 paper

Divergent Social Worlds: Neighborhood Crime and the Racial-Spatial Divide By Ruth D. Peterson and Lauren J. Krivo Russell Sage Foundation. 2010. 184 pages. $37.50 cloth, $24.95 paper

 

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(b Indianapolis, 22 Mar. 1899; d Chicago, 7 Apr. 1991)

US dancer, choreographer and company director. She studied ballet with Bolm (from 1917) and Cecchetti (in 1920), and modern dance with Harald Kreutzberg during the 1930s, making her debut in New York in 1917. Hers was a peripatetic career. She toured South America with Pavlova (1918–19), danced in Bolm's Birthday of the Infanta in Chicago in 1919, and was a principal dancer with Bolm's Ballet Intime (1920–2) on its US tour, becoming a key figure in Bolm's Allied Arts Ballet in Chicago (1924–7) and creating roles in many of his ballets. She additionally danced with Irving Berlin's Music Box Revue in New York and on tour (1922–4), briefly with Diaghilev's Ballets Russes (1925), and with the Metropolitan Opera Ballet in New York (1927). She created the role of Terpsichore in Bolm's original production of Stravinsky's Apollon musagète (Washington, 1928). During the 1930s she continued to be an indefatigable traveller, touring America with solo recitals as well as touring with Kreutzberg (1933–4) but was most closely associated with the city of Chicago. She was prima ballerina and ballet mistress at Chicago Summer Opera (1929–33) and choreographed La Guillablesse (mus. William Grant Still, 1933), which featured Page as the only white dancer in a company of 50 black dancers led by Katherine Dunham. She was then prima ballerina and ballet mistress of the Chicago Civic Opera (1934–6, 1941–2), creating Hear Ye! Hear Ye! (mus. Copland, Chicago Opera Ballet, 1934); An American Pattern (with Bentley Stone, mus. Moross, 1937), an early feminist ballet; and Frankie and Johnny (with Stone, mus. Jerome Moross, 1938), based on the famous tavern ballad. In 1938 she formed the Page-Stone Ballet Company with her partner Bentley Stone, which toured extensively. She also choreographed Revanche (mus. Verdi) for Ballets des Champs-Elysées (1951) and Vilia (Lehár's The Merry Widow, 1953) for London Festival Ballet. In 1954 she became choreographer and director of ballet at Chicago Lyric Opera where the ballet company became known as Ruth Page's Chicago Opera Ballet and from 1966 to 1969 as Ruth Page's International Ballet). For this company she was best known for her danced versions of operas, including Susanna and the Barber (Rossini's Barber of Seville, Chicago Opera Ballet, 1956), Camille (Verdi's La traviata, 1957), Die Fledermaus (mus. J. Strauss, 1958), Carmen (staged in 1939 as Guns and Castanets; staged again in 1959 as Carmen, and in 1972 as Carmen and José for Dance Theatre of Harlem), and Bullets and Bonbons (O. Straus's The Chocolate Soldier, 1965). Other important works include The Bells (mus. Milhaud, Chicago, 1946), Mephistophela (mus. Berlioz, Boito, and Gounod, 1963), Carmina Burana (mus. Orff, 1966), and Alice in the Garden (mus. I. van Grove, Jacob's Pillow, 1970), which was re-staged as the full-length Alice in Wonderland: Alice through the Looking Glass in the 1977–8 season of the Chicago Ballet. She was founding artistic director of the short-lived Chicago Ballet (1972–8).

Subjects: Dance.


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