The custom of bankrolling dancers goes back at least to the 19th century and the Paris Opéra.
The right amount of money guaranteed a patron a visitation to the foyer de la danse, built as a space for the men to mingle with the ballerinas.
She was the figure, sometimes referred to as the angel of death, who circles dancer Michael Trusnovec in a compassionate, yet emphatic way.But I remember exactly how I felt: It was like an explosion—everything blown out of me." The performance with The Royal Ballet at Covent Garden that night was an open “Promenade Evening," where audience members paid a pound for admission and often left chewing gum on the seats. When Ferri performed Juliet with American Ballet Theatre last summer, she was 53—and again, the crowd went wild.No one would dispute that Juliet is a role that Ferri was born to dance, or, as she says, “It's the role of my soul." (She claims that no ballerina's interpretation influenced her; her Juliet is hers alone.) But over the last 32 years, Ferri's Juliet has evolved."Ballet mistress Rosemary Dunleavy was my rock in the company," he says.Fowler loved the process: learning steps quickly and absorbing the choreographer's intentions.“I think that is a very hard balance to find—the purity of feelings and also the curiosity of discovering your own woman.