A Greenstreet News Co. Toe by Sylvia Cutler He is lean and muscular, extremely attractive and masculine. He teaches dancing foal living, for the past 12 years hi®®heen a professional dancer. He appeared for an interview in the ballet room in Merrick Hall at College Misericordia in a turtleneck sweater, slender trousers tucked into black boots; and his movement about the room as leotard-clad students waited for the class to begin, were as graceful as those of a lion stalking its prey. He doesn’t walk, he prowls. He doesn’t smile, he glows. He doesn’t speak, he conveys. His face is open, friendly and warm; his accent is Russian, familiar and endearing. fo ba << ave Ear PR ° ° ° . ° NO So ae RV heh oO Seo Jewell. Leff orl Lelfd Alexei Yudenich was born of Russian-Czech parents in Sarajevo, Yugoslavia. His father, a Russian, went to Yugoslavia many years ago to become adjutant for Gen. Dragomirov. He was an impre- sario, and finally opened a Russian restaurant called the Volga, in Zagreb. His mother, a stage actress before her marriage, attended the state-operated dramatic school. His father still lives in Sara- jevo, his mother is no longer living. He has four sisters and a brother, and visited all of them about two years ago. As a boy of 12 he enjoyed playing soccer. One day, after a game, his friend told him he was going to audition for the by Barbara Evans The Dallas Woman’s Club Chorale is observing its 25th an- niversary this year as the vocal group continues full swing into its Christmas conce . season. heasal Jan. 26, 1948, in prepara- tion for a spring concert. Mrs. Norman Patton was director, and Mrs. Albert Morse accom- panied on piano. The original Woman’s Club Glee Club, which was disbanded during World War II, was com- prised of members of the Dallas Senior Woman’s Club. Follow- ing the war, a junior club was organized, and the glee club, was reactivated and given a new name, the Dallas Woman’s Chorale. Members were from the senior and junior clubs. The melodious ensemble, at first, performed only for the two women’s clubs. But when news of their talents spread, they be- gan to receive invitations to sing at meetings of other organizations, and for various other functions. Adeltha Mahler, a charter member of the chorale, recalls an incident in the early days when they were giving a concert at the Irem Temple Country Club. After theygfinished their program they were asked by a man, who was with a group of tral Terminal. Apne pan ballet school and asked Alexei to accompany him. Alexei was reluctant, but agreed to go only to ‘keep his friend company.” He was barefoot and dressed in dirty pants, much the worse for wear after a hot and dirty game. At the school, the teacher marched in, herded everyone into another room, and in an imperious manner insisted that the boys give their names. She came over to Alexei, among others, examined his dirty feet and legs, lifted his leg to check flexibility. “You,” she said, “will dance for me.” Alexei preferred soccer. He had no desire to be a dancer, but apparently had no choice. Three times he quit. . .refused to go to classes. Three times they sent someone from the school to haul him back to class. His mother had studied ballet as part of her dramatic studies, so she was in favor of his contin- uing. Before long he found himself enjoying the challenge. The school he attended was not only a ballet school, but also a regu- lar grammar and high school, He finished an eight-year course both scholastically and in dance in six years. For six years he studied with Ubavka Milenkovich, who had studied with the celebrated Madame Preobrajenska in Paris. While still a student, Alexei appeared in operas and ballet productions. At 18, his potential readily recognized, he joined the Sarajevo Opera Ballet as a soloist. During the next three years he danced in ‘Romeo and Juliet’, ‘‘Swan Lake’’, “Giselle’’, “Fountain of Bakshisarai.” As guest with the National Ballet of Zagreb at the International Festival in Salz- burg, he danced the title role in the “Legend of Joseph,” staged by Pia and Pino Mlakar. This role, which features an 11 minute solo, had previously been danced only by Massine, Nijinsky, and Mlakar. At this point in his life, about 1964, he was seen by Franco Jelincie, ballet master of the Pennsylvania Ballet, who was visiting in Zagreb. Jelincic invited him to come to Philadelphia. As soon as his visa arrived, Alexei was on his way to a new life. After reaching Philadelphia in November, 1964, Alexei’s first challenging assignment was the lead in Balanchine’s Pas de Dix” opposite Barbara Sandonato. Romance blos- somed, and he and Barbara were married in 1966. Barbara is a native of Harri- son, N. Y., of Italian descent. She has danced since she was five, received a scholarship with the School of American Ballet at 14, danced in the corps de ballet at Radio City Music Hall at 16, and joined Barbara Weisberger in 1963 when Bar- bara started the Pennsylvania Ballet. Together Alexei and Bar- bara danced regularly for the Pennsylvania Ballet, have gone on tour, danced with the Inter- national Stars of Ballet in San Diego, and appeared on national television. : Alexei was with the Pennsyl- vania Ballet eight years. Last vear he and Barbara guest- danced in Canada, during which tour Alexei ruptured a disc. He danced for five months after that, but found that his back was deteriorating. That was the end of his career as a dancer, lifts. Although he had been teaching at the Pennsylvania Ballet School before, since the ruptured disc he has extended those activities. He also teaches at Glassboro State College, and at College Misericordia three days a week. Now 30, he feels he's reached the peak of his career. : cordia began in September. He has 65 students, about 14 or 15 1n representatives from the Plan- ters Peanut Co., what they would charge to perform for his party. A member of the chorale quoted an outrageous price and the man said he couldn’t afford to pay the amount, but asked if they would be satisfied to be paid in peanuts. The women sang before the group, and a few days later, Adeltha said, they all received cans of pea- nuts. “I think,” she nused, “it was the only time the chorale was paid peanuts for a perfor- mance.” One of the chorale’s most out- standing memories is of their appearance at Grand Central Terminal in New York City in 1953. The trip was financed through the generosity of Back Mountain merchants and re- sidents. The group left early in the morning by bus, performed, and then had dinner at the Com- modore Hotel. Some of the members recall that it was a very memorable and moving occasion. The chorale grew in stature and size, and their perfor- mances increased. Ap- pearances at the Old Ladies’ and Old Men’s Homes in Wilkes- Barre became an annual event, The chorale is well known at Retreat State Hospital for their Christmas programs and one member said that it is like visit- ing an old friend when they ap- pear there. The looks on the faces of those in the audience more than make up for the many, many hours spent rehearsing, one woman said. The elderly join in to sing familiar Christmas carols, and the sick, eyes moist, just move their lips. Mrs. William Baker, now de- ceased, was pianist for the group for 15 years, followed by Doris Carey, and the current accompanist, Mrs. Daniel Plashinski. Wilma Carroll was the second director, and now Mrs. David Wojciechowski leads the group. The Woman’s Club Chorale has appeared on television, and at many functions in Wyoming Valley. Members, have taken part in the annual Woman's Club Minstrels, Back Mountain Follies, . and the memorable Dallas Sesquicentennial cele- bration a few years ago. Most of the faces have chang- ed, but the spirit and the pur- pose of the Woman's Club Chorale is still present, to bring the joyful sound of music to those who enjoy hearing music sung by women who love to of- fer music. i the beginner’s class. About 75 percent of the students have had previous experience. It is unlikely, Alexei said, that any of the students could be serious or professional dancers. At best, they get two hours of ballet a week, whereas they need, to become professionals, between three and four hours a day. However, they have a choice between ‘Phys Ed” or ballet. Apparently 65 of them prefer ballet. Ballet is demanding and a great challenge,” Alexei said. “One seeks perfection always, but one never achieves it. We all go after that. I reached the point mentally where anything was possible. . .I could do anything. . .but the body gave way. I mind but not too much. I enjoyed dancing. Very exhilarating. But these students are delightful. They enjoy it so much.” We watched them moving to the music. Many were very very good. Alexei moved about among the dancers, quietly giving instructions. ‘‘Like this,” he said, striking a pose. I can no longer dance. I danced for five months after rupturing a disc...in Canada...on tour.” © ce so ° . The Dallas Woman’s Club Chorale is complet- ing its 25th year of performances before Wyoming Valley audiences. Seen above are current members , left to right seated: Mrs. Harry Campbell, Mrs. Raymond Hoyt, Mrs. Leon Brokenshire, Mrs. David Wojciechow- ski, director; Mrs. Daniel Plashinski, pianist; Mrs. Paul Lauer and Mrs. Daniel Meeker. Birnstock, Mrs. Ered Kwasnik, Mrs. James Balmer, Mrs. William Walp, Mrs. Edward Lyons and Mrs. John Williams. Row three: Mrs. Peter Solinski, Mrs. David Perry, Mrs. Harry Bernardi, Mrs. Charles Mahler, Mrs. John Schray, Mrs. John McGeoy, Mrs. Joseph Katyl and Mrs. Donald Shaffer. Absent when the picture was taken were Mrs. William are: Dot Walp, Mrs. Robert Kirshner, Mrs. Ralph Fitch, Alberta 21% “I was a small boy in Sarajevo, 12. I did not want to dance. All I wanted was to play Soccer.” op nit ha ved : ch allenge, i) dancing, Ag lw ; Perfection, >° "eaching fo
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