Maud Allan (1873-1956)

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Maud Allan (1873-1956)

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Some known facts:
Born 27th August 1873 - Toronto (Canada)
Died 7th October 1956 - Los Angeles (USA)
Real Name Beulah Maude Durrant
Daughter of William Durrant (shoemaker) and wife Isabella
Educated in San Francisco, studied music in Berlin, made professional debut in Vienna, gained stardom in London.
Recognised as a pioneer of western early modern theatre dance.
Changed her name from Durrant to escape from her brother's notoriety (Theodore Durrant was found guilty and executed for murdering two women in San Francisco).
1908 - Caused a sensation appearing in 'Salome' at the London Palace Theatre when rumours spread that she appeared completely naked beneath her flimsy costume for her provocative 'Vision of Salomé' dance.
1908 - Published autobiography, 'My Life and Dancing'.
1918 - Sued an MP for libel.

ss_virgo cy_rooster   Star Signs: Virgo (Earth) / Year of the Rooster

See also: MY LIFE AND DANCING - The Memoirs of Maud Allan, The Trials of Maud Allan

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"Maud Allan, World's Famous Dancer"
Produced at The Library Theatre, Warren, Pennsylvania.
Review from Warren Evening Times (Pennsylvania, USA) - 1st November, 1916.

Those who missed Maud Allan's dancing in the Library Theatre last evening missed something that, if they realized its worth, they would have travelled a long way to see. No matter how many good things may come here this fall and winter when they are looked back on next spring Miss Allan's performance will remain likely one of the highest artistic peaks of the season. It is impossible to imagine any dancer who may come here this winter who will be able to challenge successfully her pre-emininence ih her field. She captured her audience last night and her efforts were rewarded with hearty applause.

"Efforts" is scarcely the word to use in speaking of her dancing, however, for one of its foremost characteristics was the effortless ease with which it was accomplished. This is, of course, the unmistakeable art of the true artist-no evidence of painful effort while creating. This is closely allied to another distinguishing feature, her simplicity. She makes no effort to heighten her effects by elaboration or floridity. She accentuates by more legitimate means when emphasis is needed; in fact, she usually trusts her impression and conviction to a simple representation, produced with subtle skill of the pure essence of things.

In her first group of dances-the Oberon Overture by Weber-she gave perfomances of much beauty. As has been said, she really interpreted the music; her supple body became as much an instrumentfor musical interpretation as the orchestra itself. Her arms, wrist and hands were remartkable for their striking impressiveness; she uses them much as Pavlova does her feet and legs. Her skill in Greek expression dancing was severely tested by Griegs' "Peer Gynte" suite and her new pantomime opera, "Nair the Slave." But instead of overtaxing her their features gained in her interpretation. It enabled her to prove her versatility and show she has dramatic as well as lyrical skill. It was rather highly coloured but she kept the colours properly subdued. Miss Adams was well assisted by a small cast in this offering. The Arabian setting was a striking thing in color effects. It was from the studio of Prosser of London.

With the exception of the pantomime Miss Allan's program is practically the same as that she used in her round-the-world tour of 1914-15-16. There is one other difference. When the writer saw her in Manilla in 1914 she carried an orchestra of about 25 pieces. Now she carries a symphony orchestra of forty pieces and under the baton of the Swiss conductor, and composer, Ernest Bloch, it added much to the pleasure of her performance. Mr Bloch is a conductor of strong, virile personality and he displayed admirable interpretive ability. The orchestra was fairly responsible to his baton and played throughout with a skill and technique that excited much commendation.

Movie Credits (source
1915 - The Rugmakers Daughter [Demetra]

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