From the Cincinnati Ballet Program book: February 4, 5, & 6, 1982
Watching Frederic Franklin as he works with the Cincinnati Ballet dancers, it is difficult to believe that he is
old enough to celebrate fifty of anything, let alone years in the theatre. Nevertheless it is true that it is now
fifty years ago that, as an English boy of barely seventeen, he made his debut with a then famous dance
troupe called The Jackson Boys. The place was Paris, France, and the dancers were a back-up group
for the legendary Josephine Baker. Franklin was launched.
For a few years he gathered experience in English revues and musicals but once he met Anton Dolin
his future was settled - ballet was to be his avocation, his vocation and his life. It still is.
In 1938 he became a charter member of the newly-formed Massine-Blum Ballet Russe de Monte Carlo
(largely financed by Cincinnati's Julius Fleischmann). He was engaged as a principal and was the first
English dancer ever to achieve international fame under his own very English name. By the time he
severed his connection with the company in the 1950's he was not only one of its undisputed stars but
also its ballet master.
His phenomenal memory for knowing not only his own role but every role in any given ballet, including
the ensembles of the corps de ballet no matter how intricate, has long been a legend in the dance
world. 'Ask Freddie' and 'Freddie will know' are probably the most frequently repeated phrases when
revivals of ballets are in question.
Like all truly great artists he was unique. There was never a dancer quite like Franklin before him and
there never will be again. His range was enormous. Classic, demi-charactère, character, it was all the
same to him - he was impeccable in each. His partnership over many years with Alexandra Danilova
is another ballet legend, as famous in its time as those of Markova and Dolin, Fonteyn and Nureyev,
Sibley and Dowell. He danced with a brio, a passion, a wit, a sense of delight and, perhaps above all,
a musicality that was infallible. He was one of those rare artists who command attention simply by
walking on to a stage. His mere presence gave promise of marvels to come. He was one of the most
loved dancers of his time.
He created some of the most memorable roles in mid - twentieth century ballet: the Baron in
Gaité Parisienne, the Champion Roper in Rodeo the Poet in Night Shadow
(now called La Sonnambula) though an injury prevented his dancing the premiere of the last
named. After he retired from Ballet Russe de Monte Carlo he climaxed his dance career with a final
triumph the role of Stanley Kowalski in Valerie Bettis's dance version of A Streetcar Named Desire.
Frederic Franklin's association with Cincinnati Ballet began when he set the Snowflakes scene and
Kingdom of Sweets for The Nutcracker eight years ago. It was a case of mutual love at first sight.
Since then we count ourselves fortunate that he is willing to spare many weeks each year of his
valuable time - for he is in demand from coast to coast working with the company. To him Cincinnati
Ballet owes its Pas de Dix from Raymonda, Swan Lake Act II, Aurora's Wedding, Coppelia, and now
Les Sylphides. Through him the dancers absorb the beautiful Ballet Russe style. Through his own
example he inculcates in them their respect for these masterpieces. His enthusiasm and encouragement
is their constant spur to reach a little further into themselves and find something that perhaps they did
not realize was in them to give.
He was here when Danilova came to set the Paquita Grand Pas d'Action. It was her production but he
was close at hand to help if her memory faltered. No one present will ever forget that first afternoon
when they listened to the music while the dancers stood quietly by and watched them. Gradually they
began to move, at first simply sketching a movement here and there and then, as the music flowed
on, their muscle memory (that mysterious dancer's gift) took over. By the end of the long introductory
passage they were doing more than sketching - they were showing these young dancers what the
grandeur of the classic dance could be. As the music drew to a close they stopped and gravely bowed
to each other. How many, many times they had made that révérence in just that way. Everyone clapped
and cheered - but most of us were crying too. We had been in the presence of greatness.
We believe that Frederic Franklin knows how much he means to all of us connected in any way with
Cincinnati Ballet - how much he is an inspiration to us all. But on this special occasion we would like
to give him a tangible proof so that he will always remember that in the year of his fiftieth anniversary
in dance Cincinnati Ballet dedicated these performances to him as an expression of its appreciation,
gratitude and love.