celia Franca
VIEW TRANSCRIPTS OF LETTERS
Their candidness provides important insight into her life as a dancer, choreographer, and artistic director. In the following two letters, Franca describes the growth of the company and the development of choreographer Grant Strate. She also mentions the potential creation of a federal funding body for the arts – the Canada Council – which was enacted in March 1957 and was a turning point for the arts in Canada. (Letters from Celia Franca Correspondence Collection)
transcriptS
Prince Edward Hotel
Windsor, Ontario
Canada
Feb. 4th. 57
My dear Cyril,
Haven’t written for ages and haven’t much time now. This is to prove that I think of you ever though I don’t write. The enclosed review of Giselle is badly written but in actual fact our production is good.
I have been lucky this year. Ballet mistress Betty Oliphant and Assistant Shirley Kash are now really excellent teachers and I have been able to keep very well in practise. Although tired I have never been in such good form so I will probably retire in about 18 months time while the going is good. We have built up our soloists very well so that they can stand on their own feet. I will then be able to give more time to future plans.
We played for the first time in Windsor last night and turned away 1,000 people. Stage like glass. Have to catch a train, Sioux Falls – South Dakota next stop. Love these 1-night stands travelling by bus!
Still haven’t seen any of your letters. Am most impatient. There’s just a possibility I might get to England in May but don’t say a word to anyone. I won’t be able to stay long and want to be free of people so that I can do what I want. We have at last developed a Canadian choreographer – Grant Strate, ex law graduate. Will try to bring him with me – good experience for him. His ballet Fisherman and His Soul is excellent – wonderful score by Harry Somers.
Must away. Love to you as always.
Celia
The National Ballet Guild of Canada
Head Office
Suite 432
73 Adelaide St. W.
Toronto 1, ONT.
February 24, 1957
Cyril Frankel, Esquire,
80 E Eccleston Square,
London S.W.1,
England.
My dear Cyril,
This one needs an urgent answer. I have just received a letter from Michael who says he is going into the concert management business. He asks if he could bring the National Ballet to England. Now, before I pass this request on to the William Morris Agency who is in charge of all our bookings outside of Canada, I would like to have your very frank opinion as to the advisability of this project. Michael, bless his heart, has always been a bit scatty and it seems to me has never really stuck to one thing. Since he left the Garden, I have no idea of his activities. You can imagine how terribly important it will be for our company to work with a reliable and respected English management and I know that you will put all personal feelings aside when you advise me. Our agency has already had contact with the Harold Fielding Agency some two years ago. We were offered reasonable terms for a London season preceded by a provincial tour. The whole business fell through for various reasons. One of them being that the representative from the Fielding Agency who saw us perform in Buffalo felt that we did not have, at that time, enough Canadian ballets. Another reason being that of raising some $30,000 for transportation. Times have changed a bit since then. The Canadian government is setting up an Arts Council to be called the Canada Council in the near future, and there is every likelihood of our obtaining funds from them for transportation costs for tours which we would otherwise be unable to undertake. When this happens, we would not only be national in name and personnel but will officially be representing the Canadian government. Hence, the necessity for extreme caution.
I do not intend to answer Michael’s letter until I have heard from you, nor will I pass his letter on to our office, board of directors or booking agency. So please write soon and tell me everything you possibly can about Michael.
We are in the middle of our most successful United States tour to date. Our company provides such a strong contrast to the tired and jaded American companies, as the enclosed clippings will bear out. The tour is extremely tiring and the long bus journeys do little to improve the dancers’ technique, but the marvellous spirit we possess appears to over-ride the fatigue. Last night we played in Dallas, Texas and the manager of the auditorium told me that he feels that the National Ballet may bring about a renaissance in the U.S. Danilova came backstage (she teaches in Dallas) and tried to spirit off Lois [Smith] and David [Adams] to the Ballet Russe. Nothing doing, of course! Will write again soon. I am longing for news of you. Please tell me all. Lots of love as always,
Celia xx