Some say she died in Chicago in 1931.... ♋︎ "I am to represent electricity!" said Nattova, and she did
Showing posts with label Jean Myrio. Show all posts
Showing posts with label Jean Myrio. Show all posts
Sunday, November 9, 2014
Saturday, October 25, 2014
Harry Glick v. Nattova, 1927
Nattova seemed to go through lots of partners, although she often seemed to work with a core group, including her husband, G. Rodion, and a few others. (Her one-time partner Myrio, who seemed to cross the Atlantic with her, took on another dance partner, a well-known artist's model, who he married. They were popular in the 30s.) Sometimes she danced with a single partner: Myrio, Rodion. Her adagio acts, however, seemed to require two or more additional dancers. In the filmed adagio performance (in 1929), she has three male partners—the number necessary to perform the spectacular "jump rope" routine.
These routines were obviously hazardous. A 1926 news article reports Nattova's "fractured nose," among other injuries, owing to a fall gone wrong. In another report, she asserts that she has been injured eight times in two years.
This story, from 1927, describes Nattova's firing a "strong man" who had been hired for one of her adagio acts with G. Rodion. The strong man later sued but lost.
The fellow had at some point become a major wrestler. Not long after this failed litigation, he became a corny radio personality specializing in exercise.
Variety
Wednesday, October 5, 1927
Vaudeville
STRONG-NOT DANCER; NATTOVA WINS CASE
Judge Holds Harry Glick Not Entitled to Unperformed Services
Professional qualification and satisfaction are important factors in a theatrical contract concluded Judge Lauer in the $900 damage suit by Harry Glick against Nattacha Nattova, danseuse. While Glick held a written contract, the clause that he prove up to Miss Natova’s [sic] terpsichorean standards made or unmade the argument.
The danseuse states Glick was a good, strong man, but not up to snuff on lifts and adagios for which she engaged him. Glick, who is a physical culture exponent, stated he was engaged at $150 a week and guaranteed six weeks as a strong man, not as dancer.
Miss Nattova alleged Glick was so strong he did her bodily harm in proving weak on the dance partnership when with the "Greenwich Village Follies." Glick argued he was let out when the revue management concluded that Miss Nattova's partner, G. Rodion, was all necessary, and that she did not need two team-mates.
Following argument by Sidney Kalfus of Kendler & Goldstein, representing Miss Nattova, Judge Lauer gave her the decision.
• Who was Harry Glick? American Radio Digest, 1933:
These routines were obviously hazardous. A 1926 news article reports Nattova's "fractured nose," among other injuries, owing to a fall gone wrong. In another report, she asserts that she has been injured eight times in two years.
This story, from 1927, describes Nattova's firing a "strong man" who had been hired for one of her adagio acts with G. Rodion. The strong man later sued but lost.
The fellow had at some point become a major wrestler. Not long after this failed litigation, he became a corny radio personality specializing in exercise.
Variety
Wednesday, October 5, 1927
Vaudeville
STRONG-NOT DANCER; NATTOVA WINS CASE
Judge Holds Harry Glick Not Entitled to Unperformed Services
Professional qualification and satisfaction are important factors in a theatrical contract concluded Judge Lauer in the $900 damage suit by Harry Glick against Nattacha Nattova, danseuse. While Glick held a written contract, the clause that he prove up to Miss Natova’s [sic] terpsichorean standards made or unmade the argument.
The danseuse states Glick was a good, strong man, but not up to snuff on lifts and adagios for which she engaged him. Glick, who is a physical culture exponent, stated he was engaged at $150 a week and guaranteed six weeks as a strong man, not as dancer.
Miss Nattova alleged Glick was so strong he did her bodily harm in proving weak on the dance partnership when with the "Greenwich Village Follies." Glick argued he was let out when the revue management concluded that Miss Nattova's partner, G. Rodion, was all necessary, and that she did not need two team-mates.
Following argument by Sidney Kalfus of Kendler & Goldstein, representing Miss Nattova, Judge Lauer gave her the decision.
• Who was Harry Glick? American Radio Digest, 1933:
Saturday, October 18, 2014
Brief Nattova bio
Brief bio of Natacha Natova, appearing in Film Choreographers and Dance Directors:
NATACHA NATOVA
b. Russia, circa 1900
Fleeing Russia as a child with her parents during the Revolution, Natova eventually settling in Nice, France. Moving to Paris in her teens, she studied at the Paris Opera and was soon invited to join the company. Interested in the new “modern” ballet, she created an unique adagio act and was brought to American in The Greenwich Village Follies of 1926. She continued on stage, in vaudeville and was featured in the Folies Bergère. Also a painter and poet, Natova began creating ballets for theater (rather than concert) and when interviewed in The Dance, September, 1928, about her latest creation, she said, “This machine age in which we live fascinates me, and I want to interpret it. You will observe that my stage set calls for a mechanical contrivance. It is supposed to manufacture men… I am to represent electricity.” It is undocumented where her career went in the 1930s.
Film: 1929 The Hollywood Review of 1929—MGM (with Ernest Belcher, Sammy Lee, Albertina Rasch)
Incidental:
From The Jazz Age Club re the “Lorraine Sisters”:
Again:
NATACHA NATOVA
b. Russia, circa 1900
Fleeing Russia as a child with her parents during the Revolution, Natova eventually settling in Nice, France. Moving to Paris in her teens, she studied at the Paris Opera and was soon invited to join the company. Interested in the new “modern” ballet, she created an unique adagio act and was brought to American in The Greenwich Village Follies of 1926. She continued on stage, in vaudeville and was featured in the Folies Bergère. Also a painter and poet, Natova began creating ballets for theater (rather than concert) and when interviewed in The Dance, September, 1928, about her latest creation, she said, “This machine age in which we live fascinates me, and I want to interpret it. You will observe that my stage set calls for a mechanical contrivance. It is supposed to manufacture men… I am to represent electricity.” It is undocumented where her career went in the 1930s.
Film: 1929 The Hollywood Review of 1929—MGM (with Ernest Belcher, Sammy Lee, Albertina Rasch)
Incidental:
From The Jazz Age Club re the “Lorraine Sisters”:
Then in the summer of 1925 [The Lorraine Sisters (Edna and Della)] were secured by the management of the Piccadilly Hotel in London for a new edition of the famous Piccadilly Revels cabaret doubling at the Kit Kat Club. They arrived in Liverpool on 26th July aboard Adriatic in time for the launch of the show on 7th August 1925. The cabaret featured Emile Boreo, formerly of the Chauve Souris company and the acrobatic dancing team of Nattova and Myrio. The Lorraine Sisters were described as ‘tall, slim and attractive dark haired girls’, they gave ‘simultaneaous whirls amid white feathers and frills’ and their graceful and clever dancing introduced ‘some of the best body bending and kicking, twists and twirls.’ Their stay was successful but brief and they returned to America in October.Again, incidental:
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Hamburg NY Erie County Independent 1928-1930 Grayscale |
Variety, VOL. LXXXI. No. 8
NEW YORK CITY. WEDNESDAY. JANUARY 6. 1926
Greenwich Village Follies
NEW YORK CITY. WEDNESDAY. JANUARY 6. 1926
Greenwich Village Follies
Seventh annual edition of revue produced by the Bohemians, Inc., A. It. Jones and Morris Orecn, managing directors, at ChanIn's … lyrics and score by Harold L[a?]cy and Owen Murphy; staged by … Short: dancer directed by Larry … two ballets directed by Alezinder Uabrllov. [garbled]
. . .
There was a well known offer of a kingdom for a horse. The sponsors of the new "Greenwich Village Follies" would doubtless come through with a couple of horses for a laugh. Especially in the second part of the revue. The new revue is [a] sight and dancing show, and although generously enough equipped with comedians, the skits and bits are generally laughless.
. . .
The dance sensation of the show came via Natache Nattova and Jean Myr[i]o, French team, discovered by Morris Green. Acrobatic and agile, they aroused enthusiasm in both parts of the revue, first with "White Cargo." The man drops the smallish Mlle. [mademoiselle] Nattova into the sea from a considerable height. A trampoline is used to break the fall. In the second act and near the close "The Moth and Flamo" also ended with Mlle. Nattova accomplishing a drop, this time in full sight of the audience. Kendall Capps also scored strongly with his dancing. He Is a corking soft shoe tapper, and acrobatic stepper. Miss Delroy teamed with him at times and it was good stuff.
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| Melle Nattova et Melle Dambreval Tirage argentique d'époque (c. 1928) |
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| The Brooklyn Daily Eagle, Sunday, March 25, 1934, Page 28 RKO's Natacha Natova? |
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