Debbie Evans

Forever a bright and bubbly ballerina - visiting the RDT apt

They never forget!

     What a joy to meet one of my former soloists of the Royale Dance Theatre and longtime student of the Royale Dance Academie.  I hadn't seen Debbie in ages, but I was asssured that her enthusiasm for life and love of the ballet had not ceased since she her first demi plie at the Bieler Rd barre.  

     She had more fun memories to share, esecially of our guest artists than I had ever imagined, playing various major roles in "Firebird", "Snow Maiden", "Swan Lake", and even way back when we did "La Boutique Fantasque."  

  

Ah those Vaganova-trained hands!

I am truly proud of Debbie's many accomplishments - a second grade teacher in Maryland (what lucky students), a ballet and character teacher for various schools, and an accomplished writer and editor as well.  She is writing a very detailed article about our former guest artist Yurek Lazowski  for a prestigious dance magazine and I was happy to share my photo collection of Yurek.
     As we gather in Washington DC, Oct 5, at the Ballet Russe exhibit (Natonal Gallery of art) with Yurek's daughter Vicki and former student Sandy Perez Fleitell, now a professor of dance at Towson U, many wonderful memories will emerge, I'm sure.
     We read my rendition of "Sir Gawain and the Green Knight"  while munching on Chinese.  Debbie urged me to get my poems, essays and stories on ebooks. What great encouragement from a fine writer and teacher.
     For many years, I encouraged her to become a fine dancer...so I guess what goes around, comes around.  Thanks Debbie
     

Old photo retrieved from files  L-R Mary Frank, Sandy Perez, Debbie, Kathy McGowan PAS DE QUATRE

Vincenza's Miracle - the book, the production

THE BOOK

            At long last...Vincenza's Miracle leads us through true 

stories and adventures of the  maternal and paternal

ancestors, of Bernadine de Mike, reaching back to 1850. 

            All lived in the ancient cities and villages of Sicily -Vincenza Bellance in Mussomeli, Salvatore Iacona in Agrigento and St. Elisabetta,  and Josephine Alessi & Anthony Ciccia inPalermo & Valledormo 

          Sicily is a unique island whose language, food, culture, and history are different in every way from any other country in the

Kallista & Kalen Durbin

 world.  She asks the question, “Will my children,

 grandchildren and all generations to come know the

 personalities and character traits of these courageous men

and women?  Will they realize their struggles,

sacrifices, and triumphs?” An even greater question

is, “Do third, fourth and fifth generation Americans

realize what a great privilege it is to live in this, country

 a land that has been blessed by Almighty God?   

          Precious photos taken from the archives of old

scrapbooks, negatives, news clippings, and slides

 have now been preserved and recorded. .  Best of all, there are the “word of mouth” tales from people who have lived through what the reader will experience, second hand.

Boldly presented, some stories may be shocking, yet most are inspiring. Nothing is more powerful

in the written word than truth.  No one in their wildest imaginations could invent what the

reader will experience through Vincenza’s Miracle

The ebook will be sold on Amazon.com in October for $2.99.  Here's the Forward and Introduction:

Forward   

       I was blessed with two saintly grandmothers and a godly mother.  The men in the family were great protectors and providers, but the women were the true warriors and guardians of the soul. The men also had great intelligence but the women I knew, had the wisdom to discern and live the truth, no matter what the consequences.  Men, all too often carry anger, resentment, and even the desire for revenge, but many women live with constant forgiveness – a cross they carry from day to day.

            As providers, fathers and sons are bent on acquiring money for security, investments, and the necessities of life both now and as a heritage to leave to others.  My two grandmothers were as poor as church mice, yet as rich as kings for their constant cries to heaven for family and friends were laid in the “bank of heaven,” never to be lost, stolen, or rotted away.  It is this “stash” of goods I rely on every moment that I am alive. 

            The faith of the women in my life, including many wonderful friends, are seeds that have been planted in my heart and continue to grow. They blossom into the fruit and flowers I can freely give to others.  Only when we know that a Mighty God lives inside of us are we able to pour out our love for family, friends, and the unlovable.   

            Before the creation of the world, each of us was born into the heart and mind of God who knew the time, place and talents which would be bestowed upon us.  The stories of Vincenza, Josephine and Jessie will not lie in the grave, nor will they ever end.  All three gave me life.  All three gave me eyes to see beyond this world and the courage to choose my eternity.  May their stories pierce every heart, unleashing the potential of greatness of each of us to overflow to all of mankind. 

INTRODUCTION

Sicily – where purple peaks pierce softened pastel skies and angels dance on sunbeams leaving softened shadows of olive trees. Yet, barren landscapes, formerly lush, reveal the Roman scavenger’s ravage of domination and greed endured from earlier centuries. Ruins of Greek pillars, orphaned by voluminous volcano eruptions and earthquakes astound the visitor as well as the stunning beauty of breathtaking seacoasts surrounded by sensuous sunsets.

 It was there that stories of oppression amidst golden churches, thronged by poverty-stricken peasants, were revealed to future generations.  These fleeing immigrants were forced to forsake the land of their birth and join the multitudes with carpet bags filled with hope, to another land promising “milk and honey” and “golden streets”. 

THE DANCE-DRAMA

A scene from the production of Vincenza's Miracl 

The production is a 45 minute presentation encompassing 100 years of life in Sicily and America, featuring the the Bellance, Iacono, Alessi & Ciccia families

Professional actors, singers and dancers will star in  performances in local theaters this fall and spring, through the Royale Dance Theatre,

Multi-media effects will be produced by professional videographer JL De Mike 

Dancers, actors and singers are invited to audition by calling 716 930 7100.

Authentic Vaganova-Kirov Training

Melnie Kij, Vaganova trained at the Royale Dance Academy performing a  grand Jete 

Authentic Vaganova Training

By Bernadine De Mike

   
   He was a fat Italian man, a fine dancer, but later, a brilliant theoretician.  His name was Enrico Cecchetti and his "Italian" method of training became the norm for most of the ballet world.  He never taught beginners but the most talented advanced dancers and of course the great Anna Pavlova.  Cecchetti had a different class for each day of the week so that everything was covered for the dancers technical needs.  He taught in Russia for awhile and his very exercises can be seen in ballets such as "Swan Lake" and "Sleeping Beauty".  Later in England, the method was broken  down into seven grades and teachers were given certification. 

     It was while teaching at my home studio that I decide to begin studying the grades which were available through the Cecchetti Council of America. My colleague, Norma Ferrara and I hired a professional coach who happened to live in our area and agreed to give us private lessons.  We both acquired five grades and were about to take grade six when a major breakthrough came about - at least for me.  Norma was a dyed-in-the-wool Cecchetti advocate and would never acknowledge this foreign ballet syllabus.  After all, who could compare with Enrico's clean, careful. exact sterile grades?
    Now we have two camps, the Italians vs the Russians, for when Vaganova came on the scene, the war began (and continues to this day).  Actually, Agrippina Vaganova had studied all the Cecchetti technique, but when the iron curtain closed on Russia, she was forced to go underground and then revolutionized the whole method of teaching.
     If Cecchetti was brilliant, Vaganova was genius! She actually looked in the mirror, saw what the finished prima ballerina looked like and then took every gesture, each finished product of greatness and broke it down to the level of the stark beginner.  She went from the top down as opposed to all other methods which began with dull, sterile blah, dull exercises, hoping that someday, this highly trained technician would add the qualities needed to be a dancer. "NO" thought Vaganova, "We must begin with the perfect movements, sensing of the back, dramatic quality, fluid arms and stunning technique by dissecting what must end up as prima ballerina material."  It worked.  There emerged the unbelievable Nureyev's Barishnikov's, Plitseskaya, and a bevy of the most stunning dancers the world had ever seen.
     Although I was six months pregnant at the time (with my sixth child), I packed my bags and headed for New York at the first glimpse of a tiny ad in Dance Magazine where the entire Vaganova method was being offered.  John Barker spent thousands of hard-earned money to study with the director of the choreographic schools, Vera Kostravitskaya.  He was a demanding, harsh, thorough and totally passionate teacher, giving every detail for all nine grades or the condensed six which I learned from a total of six years of study at his teacher training sessions.  It was different, extraordinary, artistically brilliant and it developed a highly professional and elegant student, dancer and future teacher.
     Vaganova technique can be found at the finest schools in the world and thankfully at my academy, thanks to the cooperation of my family and the dedication of a perfectionist. Though not well appreciated by the New York scene, he was adored by teachers who traveled many miles throughout the U.S. and even Europe to study at his humble studio near Carnegie Hall.  Some say they teach "Vaganova" by reading a few books, but I can truly say, there is nothing like hearing Mr. Barker, six years in a row yell, "Life is short people, do it right!"

            

The "real" Vaganova-Kirov training

Deanna in training with director Bernadine De Mike

      I took  a six-week Psychology 101 course at Hilbert College recently.  If I applied to any hospital as a full-fledged psychologist, they would think I was crazy - and rightly so!  Yet, this is what is happening in the dance world - teachers claiming to teach "Vaganova" with only a library book they can hardly understand or a one-week course at some commercial seminar.
     After six years of study of the nine Vaganova grades and seven  of the seven Cecchetti grades, plus coaching by famous guest artists from major companies,  I have paid dearly to teach the method of this indisputable genius  The slow, careful, correct classes,produce excellence beyond belief.  It is, without a doubt one of the finest methods of training in the world..
     Serious dance students seeking college scholarships or dance careers should forego hip-hop,  recitals and  competitions and study like the pros.  At the Royale Dance Academy, we are aware there is a short window of time for the talented dancer.
     Along with ballet classes, theory, Character dance, Flamenco, musical theater and drama are optional.
I guarantee, Vaganova will not be turning over in her grave!

The Royale at Christ the King Seminary

Soaring Sylphs at a Catholic Seminary

Melanie & Susan- front of the Seminary theater

St. John Vianney would be proud…Christian flags of celebration, whipping across the green,  adorable dancers, gliding in angelic forms, praise music flowing  through flowered walkways, and curious nuns peeking through half-shaded windows!  It was the culmination of one glorious year at Christ the King Seminary in East Aurora.

It all began when one of the priests, Father Joe, invited me to give a lecture on ballet to a group of seminarians.  He may have been so impressed with my passionate description of this ethereal art form -or perhaps it was a theater that remained empty for so long, but a few weeks later, I was given a stunning surprise.  He handed me the keys to a charming 400 seat facility for one year to do with as I pleased. 

Deanna performing Pavlova's "Dying Swan - against mirrors

Ah, my own theater, to do anything I wanted, even for a short while, was a dream come true.   An extremely talented young man, David Sayles, volunteered to take the challenge and turn this little brown box into a theatrical masterpiece.  Within a few months, plastic eight foot mirrors lined the back of the stage reflecting the dancers movements, tons of dyed sheets draped the upper pipes and formed swags and side legs,  colored cellophane was taped to homemade light cans and a huge golden scoop was hung above center stage.  We made “trees” which held canned lights wired with lamp cord and beamed lights from the side (the greatest dramatic effect) and used slide projections for special effects.  The home-made floor strips, laid down at the back of the stage brought silhouettes to life and changed from pink to blue at the touch of a switch.

Todd Bemis in front of Shea's 

Melanie as Gerda in our first Snow Queen

 The effects were amazing.  We could never repeat these innovative effects either at Shea’s Buffalo or Artpark later on.  It was always, “It can’t be done”, yet we had already “done it”  at the Seminary and it was glorious!

Melanie and Cary Van Pyrz

We created the first “Snow Queen” based on Hans Christian Andersen’s classic and used lining for silk-like fabric and glued “smashed” mirrors in skirts for the ice maidens.  My seven year old daughter played the lead as Gerda and we also included four- year old Joseph as a peasant.  Teen- age Deanna performed both as an ice maiden and also did Pavlova’s “Dying Swan”  Our first “Americana”, led the way for pastor David Bemis and choir from the Full Gospel Tabernacle to sing “The Red, White & Blue” later at Artpark. 

                This was a prototype, our first fling,  which developed into a stunning spectacular  culminating  into a full-length Snow Queen held at Shea’s Buffalo, where Monica and Todd Bemis played the lead, then in Warren Pa with sos Joseph and Miss Frankhouser, and later with auditioned six year olds at the Grand Palace in Branson, Missouri.

                Our “finale” was the celebration of our life in Christ held in May on the grounds of the seminary.  Father Joe helped to make a director’s dream come true and opened the door for a joyous theater experience for many years for both students and audiences.

ARTPARK welcomes the Royale Dance Theatre

 The "mad" scene.  Michelle Lucci, prima ballerina and
former student of the Royale Dance Academy with Eddie Myers

Act II of Giselle at Artpark  Jill Squitieri as Myrtha

         It was the week after a major ballet company performed “Astarte” at Artpark that the Royale Dance Theatre was privileged to perform for an entire week.  Thrilled at the prospect of the invitation, I prepared the dancers and guest artists for a total of five productions.  Our guest artist from the Pennsylvania Ballet company thought I was crazy.  Five ballets in one week, and only three months to prepare?  Giselle and Swan Lake  were performed with prima ballerina Michelle Lucci in the leading roles.  Coppelia was performed with Beth Muerle as Swanhilda.   We did highlights of La Fille Mal Gardée and last but not least, The Psalms.  All productions were of excellent quality and well received, except The Psalms.  The atheists were furious.  They approved of the music and the dance, but the message?  How dare we?  During the ballet, I proclaimed that Jesus was the Lord of the Dance and that the Royale Dance Theatre was dedicating dance, music and drama for His Glory. 

      My name appeared on the front page of the community section of the news, criticizing me for my audacity to use theater for this proclamation.  Strange that no one objected to a presentation of a ballet elaborating incest between a father and son, but when a ballet glorifies God, we have no right.  I often sought the true purpose of the theater and especially dance until one Sunday when I heard the words, “All things were created by God for His Glory.”  Even the great founder of the Royal Danish Ballet, August Bournonville  was aware of this.  He often quoted that “The purpose of dance and the theater in general is to lift the soul and strengthen the spirit.” 

                The arts are a powerful tool for good or evil. Writers, directors, actors, film-makers and teachers of fine arts have a tremendous responsibility to use their God-given talents to bring joy, educate, entertain and to inspire.   

Yurek Lazowski and me

Yurek Lazowski and me

Great memories / great times.  From the archives of the Royale Dance Theatre - Seminars held with guest artist Yurek Lazowski, star of the  Ballet Russe.  Yurek told me many stories about his tour with the Ballet and incidents with the famous artists who painted for the touring Diaghilev company.  Bottom right photo is Debra Evans, fourth from the left.  Top right is former student of Bernadine de Mike,, prima ballerina Michelle Lucci in a typical fun moment.  Yurek was a charming, yet meticulous choreographer. Yurek performed as the leading soloist in Stravinski's  opening of "Histoire du Soldat"  In Boston Massachussetts.  I won't repeat what happened at that event!!!

  

Melanie Kij Durbin, ballerina, mother and teacher - a testimonial

Melanie and Krysia Kij as the river in Snow Queen at
Shea;s Buffalo production of the Royale Dance Theatre

A few years ago, I proposed the development of a dance department at Hilbert College.  This is the letter that former student Melanie Kij Durbin sent to the Board of Directors.  I heartily thank her for the kind words,
     As a student and apprentice of Mrs. De Mike for 14 years, it gives me great pride to have the opportunity to recommend her and her proposal to you.  I have read it ad believe it is an exceptional and intensive program of study for any dancer to pursue.
     I am a 1985 graduate of Point Park University with  B.A.degrees in dance and psychology.   I have had the opportunity  to dance professionally and teach classical ballet in the Vaganova-based technique to students in the Pittsburgh, Pa area for the past 27 years as a wife and mother, while home-schooling my six children. My husband Brad and I have been instructors at Point Park University, Pittsburgh Ballet House and various gymnastic facilities.

Melanie in "Americana" at Seminary

     While I am proud of my college degree in dance at Point Park U., my true dance education came from Bernadine De Mike, director of the Royale Dance Theatre and Academy in Buffalo, NY.Point Park U. has an incredible reputation with the dance community and offers quality dance program, I speak with conviction when I say that rs. De Mike's proposal rivals Point Park's department of dance.

      I wholeheartedly believe this because my Point Park professors were impressed by my knowledge - as a first year student- of French terminology, art and dance history, set design, sound and costume design as well as my unadulterated Vaganova technique.
I assumed all dancers had learned these subjects before they arrived at college.  Professors would ask me what school I came from and who my teachers were.I had been exposed to an outstanding education by only  one teacher, far exceeding students who came from Carolina School of the arts, Pittsburgh Ballet School and others.  Her Academy training was far beyond the art of ballet and arguably, equivalent to a four year degree.
     I can never thank Mrs. De Mike enough for giving me the love of dance and the technique to pass this on to others.

Kallista Durbin, trained at home by mother
Melanie Kij Durbin.  Strictly Vaganova technique

     I have met many professors and master teachers in dance, including professional dancers at the university level and beyond. who are undeniably gifted, qualified and decorated with master and doctorate degrees, yet none possess the comprehensive knowledge and understanding of the arts or of the artist and student , as a complete human being, as does Mrs. De Mike.  Most individuals, in my experience, have expertise in a single art form alone, requiring a myriad of others to complete a project or a production.  I have yet to encounter an individual in the arts who can produce and complete an entire production from its inception, single handedly, with amateurs as well as professionals.

      The Dance Department proposal is invaluable to your college.  This two-year teacher program is exactly what many dancers are searching for in lieu of a four-year degree.  There are a number of college students discouraged with what is being offered in the Arts and Humanities.  Students yearn to be challenged and enlightened with the pristine qualities of the arts.  What Mrs. De Mike presents is not only of superb quality, but will be offered with purity, dignity and Christian integrity, sadly lacking in the arts today.

     You will not find another person of this caliber to deliver such a proposal as Bernadine De Mike.  Without a doubt, she is an invaluable asset whose talents and knowledge should be tapped.  My wish is that she will influence another generation in the arts.  I implore you to consider this proposal and  would be honored to offer my assistance as a guest teacher at anytime.

Sincerely, Melanie Kij Durbin

When Patrick Swayze danced with the Royale

Patrick, "Buddy" with Kathryn Krawczyk

       He sang "froggy" songs on his trusty guitar (carried all the way from Houston, Texas) with a Texan accent, and kept all enthralled on the "Bernie bus".  This old but trusty nineteen foot GM 'beauty' carried nineteen young dancers, both professionals and students to many country schools in Alleghany county (lovingly called "the boonies").  Dancing their way into the hearts of naive but hopingly future balletomanes, This troupe from the Royale Dance Theatre with guest artists from Pennsylvania Ballet Company, jostled along as six a.m. with ballet bags upon which rested turned out and tired feet.

     Patrick, or "Buddy", as he was known, was nineteen and fresh from winning gymnastic and trampoline awards and "Dancer of the year".  Randy Schwarz, a talent agent and friend of Prima ballerina Michelle Lucci saw Patrick in a competition at his mom's school (Patsy Swayze) and hustled him up to Buffalo to perform with Michelle.  She was thrilled to tour with a Texas cowboy who doubled as a delightful dance partner for six weeks.

     It was a fabulous, fun tour, going where dancing angels fear to tread.  the schools in these farming areas had small stages, no lighting, no darkened auditoriums AND NO electricity anywhere near the stage.

     On the way to this rural area south of Buffalo, son Mark, the proverbial entertainer was telling jokes between "froggy" songs, while younger son Matt snoozed under the front heater. The ten foot trailer bobbed along, barely holding on with its huge load of costumes, lighting, sound equipment, and believe it or not, our own floor. (the dancers demanded this - concrete is bad for  the knees.)

     After chugging along a bumpy, hilly ride, Mark began loading huge orange extensions into every classroom possible to set up our home-made but very effective lights.  One cannot imagine what can be done with large veggie cans, lamp cord and colored celophane.   Many of the lighting effects were better than what was produced at Shea's and Artpark in later productions!  We had fantastic lighting effects - scoops, floor lights for silhouettes, side lighting for drama and two ladder mounted slide projectors wired backstage for the first multi-media show they had ever seen.  even Shea' and Artpark wouldn't allow this nouveau idea! 

Kissing Patti Makey, the "Irish Girl in Americana.
 Looking on is mime artist/dancer Karen Lorshbough

     Patrick performed as the "cowboy" (what else? ) in Americana and a jazz dancer in a multi-media projected  work (The kids loved this). We brought huge Altec speakers with 15 inch horns connected to a giant sound system and blasted the great sound out to the four walls

     Patrick was overwhelmingly loved by principals, teachers and especially kids who were spellbound by his stunning antics on the trampoline between shows.  Little did they know he was a U.S. champ, nor did they realize he would become a Hollywood star in a few years!

     By the end of the tour, everything was held together with duct tape- including my glittering speaker's gown!
     a few weeks later, Patrick returned to perform some variations with Michelle in our June performance at Orchard Park middle school

     No one will ever forget this amazing experience.  My mom never forgot that Patrick enjoyed a luscious spaghetti dinner at her home.  (her claim to fame)

     From what I have heard from former students who work in Hollywood, he still kept his humble beginnings in his heart and held a soft spot for his first professional job here in Western New York.
     In my wardrobe of 2,000 costumes hand his ruffled blue cowboy shiirt annd in my bathroom, his coveted hair brush which he left in my car when I drove him to the airport.

Patrick Swayze and Michelle Lucci onstage with the Royale Dance Theatre

     I cherish the memorabilia, the photos, the memory of the tour, but most of all, I cherish the memory of the "froggy" songs sung with a texas accent...so do my kids.

Michelle Lucci Reminiscenses

(An excerpt from the Royale Dance Theatre program of Steel City, Firebird and other short ballets)

     I remember starting dance lessons when I was very young because my mother thought I was shy.  I remember the recital, the tutus, all types of lessons and the fact that it was nothing serious at that time.

   I remember moving to Orchard Park and starting classes with miss Bernadine at nine years of age. It was fun being a witch in the Wizard of Oz and an Amish girl in Plain and Fancy...even a corp member in  Les Sylphides...and then a change took place.  A decision was made which eventually led to my becoming a professional dancer.

.

Michelle Lucci in rehearsal with Yurek Lazowski

The school had become one of professional ballet training and I had to choose either to study ballet seriously or not at all.  These concentrated studies, along with the tremendous inspiration of Yurek Lazowski at our first seminar, gave me the incentive to devote all my time to ballet.  Mr. Lazowski's words still echo in my ears, "You must take classes every day no matter how you feel or how busy you are and no matter what obstacles you must overcome.  Do this and you will be a great ballerina someday!

      I remember walking to class through the fields in knee-deep fields or pouring rain with piles of homework to do....when I was tired and even sick...when there were tremendous difficulties and obstacles.  

I remember stretching two hours every day before class; working three to four hours at the Bieler Rd. studio with all students, even the beginners, just to become stronger.

Preparing of Don Quixote  with the Royal's performance at Kleinhans Music hall with Bill Martin Viscount of CNB

Miss Bernadine brought in guest artists, the first of whom, Colin Worth of the Royal Ballet of England and National Ballet of Canada, who gave me great insight into the special qualities needed for various roles such as Swan Lake.  I remember the increasing demands placed on me with each new guest artist and every new ballet. 

Michelle in the "mad scene" from Giselle"  performed with the Royale at Artpark.  Eddie Myers of PBC as Albrecht

      I remember how difficult it was to endure nine years of tedious technical classes even as I remember the joys of exciting performances.  In the beginning there were no ballerinas for me to remember and I only hope that through my gift of dance, the children will remember that ballet is work and love and an appreciation of a special gift from God...

   

Michelle at Odette in Swan Lake