Wednesday, October 1st, 2008 - Beautiful Reminiscences by Rosemary Tipping Timoney - Including What We Learned at Boston Ballet

My phone number is (520) 322-8019 - I do prefer email!! - Click here to send me an instant email.

Ballet Dancers Turn Out Better™

Every Boston Ballet Company Dancer Is A Princesss!!! or A Prince

Good Afternoon Dancers, Dreamers, and Teachers,

Today I found an absolutely wonderful message in my email inbox from Rosemary Tipping Timoney.

It is so beautiful.

Thank you Rosemary, I loved reading and re-reading your memories!

Here it is for all Boston Ballet Alumni to read and savor...

From: Rosemary Timoney

Date: September 30, 2008 6:01:57 PM PDT


Subject: The Original BB

Dear Cecily,

As a follow-up to Pat Colgate's letter, I was amazed to see someone from exactly my vintage contributing to the web site the first time I looked at it. I was sure that I went too far back into ancient history for anything to be relevant. I, too, began at the Malden studio at the age of 8, studied (I use the word very loosely here) with Mrs. Wilson and Margie Duff, and, at last with Miss Williams when it came to learn my first role in the Nutcracker - a child, of course.

As the years passed and we became The New England Civic Ballet dancing Virginia's original ballets, set to Beethoven's Appassionata Sonata and Grieg's Concerto, as well as the rollicking Gaite Parisienne and others, in all the major arts fairs around Boston. I grew too fast to join my age peers Nikki Emmanuel , Sally Harrington, and Robin (Dolly) Adair as Snowflakes, and danced with the "big girls" in the Parents' Dance and The Waltz of the Flowers in innumerable Nutcrackers. Sydney, bless her, put us through our paces at rehearsals for Swan Lake, Sleeping Beauty, Coppelia, and Cinderella - after Virginia had taught us the choreography, of course. Then Virginia would arrive and put us through those paces all over again.

We learned the value of self-discipline, hard work, concentration, and working through pain at 11, 12, 13, and 14 years of age. We also learned how to read the scores of symphonies and concerti from Mr. Hobbes, how to fence from a visiting fencing master, how to dance in the flamenco mode from the visiting Spanish ballet company, and all the other lessons that Virginia presented to us when we had no idea that we were receiving a dance education without peer in those long ago days.

Even then, I was odd-woman out because I knew that academics would be my primary life, dance my secondary, but Virginia accepted that and she continued to give me her guidance and attention in spite of it. I'm not sure, but I think I may be the only one alive who can say that Virginia Williams used to choreograph my tap routines, including the one I used to audition for the Rockettes. I danced with the Rockettes the summer after graduating from college, before starting to teach English and Latin that fall. In fact, I used Sally's (Sara Leland's) apartment in New York while she toured the City Center that summer. Virginia could manage anything!

I now have a doctorate and am retired from a lifetime of teaching at the high school and college levels, but I still think of Virginia, the Boston School of Ballet, and the fledgling Boston Ballet Company as perhaps the most important formative influences of my life. By the way, my granddaughter is now eight, and she just auditioned for The Boston Ballet's Nutcracker, as did her mother before her.

Tradition ...

It has been fun reminiscing, and as an old alumna, I look forward to

Wednesday, September 23rd, 2008 - Reminiscences of The Boston Ballet Studios on Washington Street

Our phone number is (520)322-8019 - Click here to send me an instant email.

Ballet Dancers Turn Out Better™

Every Boston Ballet Company Dancer Is A Princesss!!! or A Prince

Good Afternoon Dancers and Dreamers,

I spent the weekend resting mostly, but I did get in some projects that I enjoy doing. Not much photography this weekend, however.

Mary Sue Brandwein recently inquired on facebook if anyone remembered the Boston Ballet's old Washington Street Studio. That's where I spent so much of my time as a young dance student and a performer with the Boston Ballet Company. I have been thinking a lot about those rigorous and demanding days that were also so exciting and wonderful. That Studio was the focal point of my life.

When I start thinking, I start writing, and I started formulating my answer. Actually, I dictated a rough draft to Chic, so it's like a stream of consciousness, and it needs tons of work. I am still working on that. Here is an excerpt of what I have done so far. It is unedited, and needs lots of work to make it read well and say what I feel. The emotions are very very powerful.

A blog is a log on the web of what I am thinking and doing about ballet. So it's OK to share poorly written stuff. So, here we go with my thoughts, really out loud.

Yes, Mary Sue, I do remember the Washington Street Studio, and I have several pictures of me as a young dancer taken in that very studio in the 1968 - 1969 time frame. I have posted it as a slideshow on the Boston Ballet Alumni Network website. I am also putting it in this blog, see below.

The studio had wood floors and no poles and lots of windows. It had a small seating area for the Parents. Mr Hobbes piano was on that side of the room. EVW sat on the other side of the room next to the windows, and next to the stereo. I stood at the front spot by the mirror closest to the front window and to Virginia. That was my spot and everybody knew it. Even when I was late from my long commute from Beverly, I went into that spot.

Mary Sue, it is wonderful to me that you are actually asking about who remembers that studio!! It was such an important place to me. I remember it vividly. I remember who stood where in the room, the kind of combinations we did. I remember the seating area for the parents was at the other end of the studio, near the air shaft. Relatives and friends were welcome to sit and observe.

Some of the other dancers who danced at that studio with me were, Jerrolyn Dana, Edie Toth, George Vargas, Alphy Poullin, Stefanie Marini, June Perry, Veronica Fell, Ellen O'Reilly, Evie O'Reilly, Jeanne Churchill, Bonnie Wyckoff, Tony Williams, Sandy Kronsberg Jennings, Elise Ingles, Leslie Woodies, Stephanie Moy, and Terri Gordon. We had wonderful classes and wonderful rehearsals. So much was accomplished ballet-wise in that studio... Here is a photo of some of us in the studio. You can see that we are exhausted, leaning on the barre as we watched an alternating group.

Cecily and Jerilyn Dana During Class ~1968 to 1969 at the Boston Ballet Studios on Washington Street near the Commons

©Arizona Ballet Theatre 2007-2008|All Rights Reserved

©Cecily Travsky Winslow Bressel|All Rights Reserved

It shows foreground to background, Cecily and Jerilyn Dana During Class ~1968 to 1969 at the Boston Ballet Studios on Washington Street near the Commons. I was 16 or 17 years old. Jerilyn was a Principal, so she lead off in Center work. You will see that in later photos in this series.

It is very exciting to see these photos at a reasonable size. I have had these contact sheets for years with the teeny little 35 millimeter film contact prints. Now we can blow them up with our own equipment.

Virginia always sat. When Sydney Leonard taught point, I stood at the far wall. Sydney didn't sit and she moved around a lot.

I could recreate it in a dozen movies. There was always so much going on. It was very different from the Studio on Boylston Street near the Back Bay Theatre. They have torn down the Back Bay Theatre, of course...

I remember being very nervous and alert in that seedy neighborhood. To the left, leaving the Washington Street building, were the department stores. To the right was the Pussycat Lounge. Dinty Moore's, a very famous Boston landmark restaurant, was right down the alley off Avery street, in the Avery Hotel. I ate there a lot with Mummy.

Washington Street was the busiest spot in Boston at afternoon rush hour. The streets were all one way. it was a much more more difficult location than Boylston Street. Depending on traffic, My Mother had to drop me off and go to park the car. I would be nervous about the area, and then about getting to the studio quickly.

The elevator was quicker if you didn't get stuck. I desperately wanted to get into the Studio before I would get a dirty look from Virginia. She didn't like it when I arrived late. She could say "you're too late." But she never once told me I couldn't take class. She did say it to some other late arrivals on occasion, so I was always frightened that she would...

I could set a movie, a dozen movies, in the Washington Street Studio. Man, do I remember! We learned Giselle in that very BB Studio. The second act we learned form Dimitri Romanof... He was exactly how you would imagine a Russian emigré would be. He was perfectly cast. I think he came from Ballet Theatre in New York. ... He certainly knew everybody in New York. Virginia used to bring very exalted people up to Boston to teach us these ballets. We learned marvelous ballets. Sara Leland was a Principal at NYCB. Virginia had trained Sara Leland, who was Mrs Ruth Harrington's daughter. Mrs. H was the administrator of the BB, she was the equivalent of Mrs. D'Addario at the Joffrey in New York City... She was there for decades. She was Sally Harrington, but her professional name was Sara Leland. Her Father was Leland Harrington. He was a hockey player on the Boston Bruins and a big hero in Boston. Sally Harrington would teach us when she was in Boston. Sally set a lot of the latest Balanchine ballets on us and taught us. She was a Soloist and was promoted to Principal. Sara Leland was 18 or 20 when I arrived and she soon went off to NYCB.

Virginia would shout out corrections to others. She had a strong voice. But to me she barely moved her lips with her flood of almost whispered commands! Now I look back, I was working my butt off in my hot spot that I chose myself. I was in a constant state of agitation and worry. But I wouldn't ever change my location. Now that I have been a teacher for quite a while, I see that EV wanted me near her so she could give me all those extra corrections. It was really a plus, that other dancers envied. At the time it seemed overwhelming and discouraging. But, I was tough I guess, or just stubborn. i would cry going home in the car, but I came back the next day, and every day.

it was fantastic, looking back, what we did in there. We established the heart and soul of the company. The artistic accomplishments in that room were incredible. Virginia was at her peak. She was bringing in a flood of people from all over the world. Virginia had made her mark as a choreographer. She had won a few choreography contests, I think , and she took notes when she was able to observe Mr. Balanchine in action. Now she was switching from being the main choreographer of her budding Company to bringing these other choreographers from all over. That was in addition to our resident choreographer Sam Kurkjian. This was the main formative period that made the BB the artistic powerhouse it was. We really accomplished a lot at that time.

Joycie Cuoco was still in and out occasionally. She did a lot of television Guest appearances on shows like, Ed Sullivan, Danny Kaye, and Radio City Music Hall engagements. Many of the dancers who Virginia trained are or were in very important positions in the world of ballet. Some have retired but most are still active. Virginia had an exciting concept. BB was more well rounded in terms of repertoire than Balanchine's company. We had tons of new Balanchine Ballets, two or three a year. But we also did the classics with great people. Virginia hired Makarova first of anyone in the States right after she defected. She did the second act of Swan Lake with us. I remember watching her rehearse. It must have been 2nd act.

In addition to Virginia having had Makarova first, before others got her, she also had Marcia Haydee and Richard Cragun, Margot Fonteyn danced with us when we were still performing at the Back Bay Theatre which was just about a block from Symphony Hall. I remember how nice she was. She left her dressing room door open so we could go in and ask her questions. Virginia brought in a steady stream of ballet greats. Peter Martins and Susan Farrell danced a pas de deux from Diamonds in Balanchine's Jewels. They didn't dance with us; they were a Special Event which filled in the Program and filled the Theatre. Chellie Zide came back to Boston after being Ballet Mistress with the Joffrey and was our Ballet Mistress for one fabulous year only.

That's todays excerpt... Now, here's the slideshow I promised I would copy into this blog.

Slideshow of Cecily Travsky Winslow Bressel As A Young Dancer With The Early Boston Ballet Company

Most of the photos are of Cecily Travesky (as Virginia renamed me) and other students, in Classes at The Boston Ballet Studios on Washington Street, circa 1968-9, probably in the summer. One photo includes Mr. Hobbs, Miss William’s husband, at the piano! Sydney Leonard was the teacher in both classes.The photographer, Molly, liked to take photos of my dancing. That surprised me greatly at the time. All I have left are some very poorly treated contact sheets from 35 millimeter film negative strips. They have not been cared for properly, and it shows. I hope to learn enough Photoshop to clean them up. However, I thought you would like to see what we have scanned so far. It's been very exciting for us to blow these up and display them.

©Cecily Winslow Bressel 2007-2008| All Rights Reserved

The slideshow also includes one studio shot from an early Boston Ballet Company brochure, made for sale at performances. My husband is posting these quickly for you to share, and I haven't entered everyone's name. Don't hesitate to send me your info, since my memory is no longer "perfect."

Well, that was an exciting trip back in time.

I would really love to hear your memories.

It's really good to connect,


Thursday, July 24th, 2008 - I almost feel like I'm back in the Wang Center, happily watching the wonderful Boston Ballet.

Click here to contact me (Chic) with your point of view.

Here's an email message I sent last night to the author of "INSTITUTIONALIZED SINCE 1998!"


Unfortunately, it was undeliverable, since that email address is no longer active. So, here it is, in case Beija ever looks at this blog.

Hi Beija,

Congratulations on completing your doctoral work. I'm an alumnus of MIT's graduate physics program. I received my Ph.D. in 1969. I can't find the paragraph now that says you have been awarded your Ph.D degree in computer science. My wife, Cecily Travsky Winslow Bressel was a member of the early company.

I have really enjoyed reading this blog, which I suspect is yours.

I am also an admirer of Larissa Ponomarenko. Your reviews are wonderful. When I read them, I almost feel like I'm back in the Wang Center, happily watching the wonderful Boston Ballet.

Are you the author? I intend to put a link to it on

Thanks for all the excellent effort you have put into your blog, and for the enjoyable reading that it leads to.

Chic B. (Charles N. Bressel, Ph.D. )

Boston Ballet's Mission - Second Cut - Does Anyone Read It?

Ballet Dancers Turn Out Better™

Here's my (Chic's) second cut at a Boston Ballet Mission statement.

Boston Ballet's mission is to create and sustain a level of theatrical excellence and excitement in the ballet and theatre arts that guarantees packed houses year round. Through this mission we will significantly advance ballet as an art form, enrich the cultural life of our community, and create a heightened sense of excitement and reward for all who join us.

What Is the Real Mission of the Boston Ballet Company? Should the Current Mission Statement Be Rewritten? Plus - Notes by Cecily

I am a ballet afficionado, though never a ballet performer. I am simply a Ballet Dad and Husband, and a physicist, (Ph.D. from M.I.T.) with clearly defined and cultivated Ballet tastes and lots of enthusiasm. I'm really writing this to clarify some of my thoughts in my own mind. I would like to hear other reactions, in addition to my internal debate and struggle to understand. I hope I won't bore you too much. Here goes. In the course of researching mission statements, and checking the news, I looked at Boston Ballet Company's mission statement, of which there are two versions.

Here's an abbreviated "Mission of the Boston Ballet" taken from the website of The Charity Navigator, Your Guide to Intelligent Giving

"Boston Ballet, founded in 1963 by E. Virginia Williams, was the first professional repertory ballet company in New England. Our mission is to bring new levels of excellence to ballet - both on and off stage. We will accomplish this through a process that is inclusive in scope, educational, and creative. Inherent in this mission are several tensions: taking artistic risks while not leaving our audience behind, managing for financial stability while allowing for artistic experimentation, being sensitive to the community while recognizing that ballet is not a mass art form. Through this mission we will significantly advance ballet as an art form, enrich the cultural life of our community, and create a heightened sense of excitement and reward for those who join us."

I came across this specifically while checking for the latest Boston Ballet news after a long hiatus. I suspect it's just me, but this sounds rather defensive. It sounds weak and doesn't inspire me. That is sad. I loved the Boston Ballet Company when we left Massachusetts in 2000. We still miss Saturday nights at the ballet in Boston.

Perhaps I shouldn't have taken an abbreviated blurb on a charity website seriously. The full mission statement appears on the Boston Ballet website. In addition, I've added the text below for your convenience.

An aside - Before we discuss the full mission statement however, there is something I just noticed about the web page that makes me wonder. The defining part of the url, or web address of the page presenting the mission statement is "" There is no obvious reason to lump Mission together with Financials is there?. These things are meant to not be taken together. Is it a Freudian slip? Unless it's just the harmless recognition on the part of the departing General Manager, Valerie Wilder, that so much of her job was focused on raising funds and dealing with emergencies, the mission fell by the wayside...

I do see a macabre humor in the juxtaposition of "financials" and "default."

Now back to our subject. Unfortunately, I don't detect any excitement in "Boston Ballet's Mission." That is a mission statement's major function... to excite us, to focus us on our objectives, and to motivate us to be part of a wonderful endeavor. We need to know it will be extremely gratifying. We will go to the balletic moon. Think of how exciting that will be, and every step along the way.

Where is Bruce Marks? Bruce, where are you? (Cecily notes: Bruce Marks is currently affiliated with Orlando Ballet, stepping in so wonderfully when beloved superstar Fernando Bujones died abruptly, with so little warning and such overwhelming sadness for all who loved him and his beautiful dancing. Thank you, Bruce.)

Please take three or four minutes and read the full Mission Statement starting a few paragraphs further on... Please take a look at the very first sentence, which is the highest key point of the defined mission. "Boston Ballet's mission is to bring new levels of excellence to ballet -- both on and offstage." Ta Da...

What does it actually mean? Is there a definition of these excellence levels? By "onstage and off," I think they mean on stage and in class. But the core point concerns "levels of excellence." Are there extant examples, or have these undefined levels not yet been achieved? ( Note added on August 14th - It says "new levels," so I imagine they have not been achieved. But we still need some more definition to work with.)

In this paragraph, I pull from a variety of disciplines, in engineering, dance, and athletics, I haven't gone back to refine it and clean it up. I do hope you get the general idea. If not let me know... I could understand that if we had said, years ago, that just tackling going to the moon defines a level of excellence never before achieved. That level is a sum of human cultural, social and personal levels, not achieved previously outside of war, that requires courage, fortitude, and single mindedness. It also requires new designs (choreography?), inventions (sonics and choreography?), techniques, such as redefining how to approach the bar in the high hurdles, or the high jump, in field and track, and skills development. Then, actually mastering esoteric existing technology and combining them to pl;ay together like choreography. Followed by inventing, designing, developing, and assembling the components. This may necessitate using new advances in microprocessors for the moon shot; or sound generation, synthesizing, and reproduction, plus bungie cords, and six million dollar gal and guy prosthetics for the ballet. Yes, far fetched as these are, they would definitely be new levels of excellence never seen before. I'm not recommending those things, just fathoming what the sentence might mean.

Or do we just mean, continuing what has already been done, bringing talented dancers from every region of this country, and every other country, to the BB so the Boston Ballet becomes homogeneous International Ballet Company Number 22. That whole last sentence is a Cecily thought that I have internalized. It just happens to be in Boston. If so, that's just assembling a team, not addressing or defining a mission...

We still need a solid repertoire, exciting sets, such as the old Romeo and Juliet sets, that were so gorgeous.

(Cecily making a note for you here: Chic is talking about the sets produced by Alain Vaes (husband of Marie Christine Mouis AND I am sure I have the spellings wrong) for the Choo San Gho "Romeo and Juliet" - done on Deirdre Miles and Devon Carney in the late 1980s (I think . Need to check fact.). The sets were the best I've ever seen. Ever. Absolutely stunning. With perspective, richness, and magnificent attention to detail. The audience collectively gasped in wonder when the curtains were opened. Marvelous. Just a thought from Moi to whomever may be listening-- Compare the most gorgeous sets imaginable with the bizarre sets and costumes which Peter Martins approved for his own NYCB Romeo and Juliet I saw last summer in Saratoga. The dancers were wonderful. The music, Prokofiev - sublime. How any choreographer could sabotage their own work with such inappropriate and cheesy sets is beyond my understanding. The choreography was lovely, but who could tell? The costumes were so loud, so wrong for the period and this ballet production, the dancers so clearly working overtime to compensate for the ridiculous visuals. My advice. Try the exact same choreography again with some decent costumes and sets. In fact, if anyone at NYCB is smart they'll borrow and/or adapt the Alain Vaes existing production. You will have a blockbuster on your hands! People will be all over themselves to get tickets especially if Daniel Ulbricht (sp?) is cast again and Jock Soto comes in for a guest appearance. It is an insult to the ticket buying ballet public to put such obvious junk on a stage with such classy dancers. Peter Martins, you should be ashamed of yourself. But, I digress. Back to Chic's unexpected (by me) and oddly, delightfully relevant rant.)

And, we also need very exciting, new choreography that is very very theatrical. Choreography with highs, like Cecily's (blush), and Norman Walker's Choreography in Arizona Ballet Theatre's "Classics 2008" and like the excellent, demanding, and exciting piece by Peter Martins for the New York City Ballet, that Cecily, our Ballet Dancer Daughter, Rachel Eisen, Son Raf, and I were fortunate to see in July of 2006 in Saratoga Springs.

(Cecily again. We saw a Neo-Classical piece more than once which featured bright costumes, I think straight unitards for the women in variegated shades of reds, roses, and the like. I remember that the boys had sleeveless t-shirt type tops and, Charles Askegards (sp?) top got completely soaked with sweat which only made it stand out and not in a good way. Again, I digress. Everyone's a critic, especially me when it comes to my passion, ballet. I have a right. And, lately, I have been watching an "Emperor's New Clothes" scenario playing out in ballet. Someone has to state the obvious which any child could see. Some of the most influential people in ballet are making artistic choices that are patently inauthentic. Art has to be authentic or else it isn't art.)

Back to Chic again... Certainly the Radio City Rockettes are theatrical. That piece by Martins would give them a run for their money and might embarrass the Wang Center. Sorry, the Citi/Wang Center. Citigroup is not good for this country at all, is it? Here's my analysis "Estimating the Risk in Citigroup Stock and Bonds". Yahoo Financial's Mick Weinstein listed my article in The Week's Best Stock Blogs that he posted on Friday, January 18, 2008. An Wang, for whom I have the highest respect for his inventiveness in the first electronic calculator, (I think he used nixie tubes) and for his philanthropy, must also be a bit unhappy.

But, I digress. Also, I am jumping ahead a bit, since I know the Rockettes are a $1.5 million part of our competition in the "mass market" alluded to later in the mission statement "recognizing that ballet is not a mass art form." Alluding to a problem is not the mission, solving that problem is the mission. The moon is far away. Earth's gravity is strong. What kind of a mission statement is that?

Perhaps the first sentence of the mission should be something like: Boston Ballet's mission is to create and sustain a level of theatrical excellence in the ballet and theatre arts that guarantees packed houses year round. Now that's a mission statement that is real... and meaningful... and it is really exciting. And, let's face it, if you can do that, you will have everything else. And, if you cannot do that, bye bye BB.

The last sentence of the abbreviated version and of the the full version of the mission statement are the same. And, they are, or it is, quite good. It could be a decent first sentence, but a better second sentence. Just cut out their first one, modify it a bit, and move up from last to second position. So, what have we got so far? How about...

Boston Ballet's mission is to create and sustain a level of theatrical excellence and excitement in the ballet and theatre arts that guarantees packed houses year round. Through this mission we will significantly advance ballet as an art form, enrich the cultural life of our community, and create a heightened sense of excitement and reward for all who join us. An integral part of this mission is to preserve ballet's rich legacy, by creating ballets that are so visually and sonically brilliant, and so emotionally rich, that they become a vibrant living art form embraced by the entire community.

Oh, I couldn't resist adding a third sentence. It's a reasonably good first cut. it's a start. It definitely can be improved further, but at least we know what our mission is, how it relates to our community and continuity, and how it sets us apart from the crowd, i.e., how it makes us outstanding. And it is exciting, to me at least. What do you think?

Oh, yes, they want something about the school, but that's a separate thought process. I don't have a feel for their approach to that. If you love the Boston Ballet, please feel free to jump in with your ideas.

Perhaps we could add... In accordance with our intention to promote Boston as a prime, world class, outstanding cultural center of excellence in the theatrical arts; we will guarantee Boston talent a first rate ballet and modern dance (Twyla homage) education and first preference for Company slots. Diversity is fine, Boston diversity, e.g., Tony Williams, is finest. Tony has something like 17 performances of Nutcracker! Hello Boston Ballet. We love you, let's talk.

I haven't seen the Rockettes in quite awhile. I seem to recall them being lots of fun, chorus line oriented, and not a match for the performances we loved at the Wang Center, or those of NYCB at Saratoga Springs. Boston Ballet can easily give NYCB a run for the money, and certainly the Rockettes. To do so requires a change in approach, lots and lots of first rate, exciting choreography with lots of highs.

And, the news media must be brought on board. Let's do it. Let's make it part of our mission!!!

I am too tired to continue. Sorry I haven't edited or even proof read. I was never a ballet performer. I am simply a Ballet Dad and Husband, with clearly defined and cultivated Ballet tastes and lots of enthusiasm. I hope I haven't bored you too too much.

Chic Bressel, Cecily's Husband. I do hope I haven't embarrassed her too much. (Cecily again with a little thought about what Chic is saying. It is a little random, and after 25 years, I am used to it. I like to hear what true lovers of ballet have to say. One thing is positively definite. Chic loves the Boston Ballet ( especially Larissa Ponomorenko, I might add,) AND clearly does not like what he is able to see, using the very powerful tools he has available to him here in Tucson.) Think about it. In cyberspace, Boston Ballet is

Tuesday, July 15, 2008 - New Boston Ballet Alumni Network Slideshow

Hi All You Wonderful Early Boston Ballet Company Dancers,

Here is a slideshow of Cecily and a number of her fellow dancers taking class with Sydney Leonard in the old studios on Washington Street in Boston. Jerilyn Dana, Veronica Fell, June Perry, Kim Frederickson, and others are in the photos. I scanned some old contact sheets.

Cecily's Blog Test Entry Tuesday, May 13, 2008

This is a test. There is no content here. This is a test. There is absolutely no content here.

Test Blog by Chic

This was the first entry when we set this website up, and I was just checking that features worked. There's really nothing here. I just realized that more people click on this than anything else. So would I! I'ld probably look to see what the developer was looking at. Maybe even just to feel like I was catching a look backstage. Isn't it
Syndicate content