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Frances Taylor Davis
Frances Taylor Davis
Frances Taylor Davis
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Frances Taylor Davis (September 28, 1929 – November 17, 2018) was an American dancer and actress who was a member of the Katherine Dunham Company, and the first African American ballerina to perform with the Paris Opera Ballet.[1]

Key Information

Credited as Elizabeth Taylor, she had roles in the Broadway musicals Mr. Wonderful, Shinbone Alley, and was an original cast member of West Side Story.[1] Taylor also appeared in the Off-Broadway productions of Carmen Jones and Porgy and Bess.[2] At the peak of her career, she left Broadway to marry jazz musician Miles Davis.[3]

Life and career

[edit]

Early life

[edit]

Taylor was born on September 28, 1929, in Chicago, Illinois and grew up in the Rosenwald Courts in Chicago. Her father worked at the post office. She began dancing classical ballet at age 8, and by age 16 was performing Swan Lake.[4] Her instructor encouraged her to audition for the Edna McRae School of the Dance, where she became the only African American student. While attending the school, Taylor met dancer and choreographer Katherine Dunham who offered her a scholarship to study dance with the Katherine Dunham Company.[5][1] Taylor finished high school, then briefly attended college but decided to pursue a dancing career instead.

Career

[edit]

Taylor joined the Katherine Dunham Company, where she was taught by Walter Nicks. She trained and toured extensively with the dance company in Europe and South America.[1]

Frances Taylor is wearing a tutu dress and dancing en pointe with Max Bozzoni, star of the Paris Opera Ballet, on 4 December 1951 at the Théâtre des Champs-Élysées

In December 1951, Taylor was recruited for a special presentation with the Paris Opera Ballet, becoming the first African-American to perform with the ballet company.[6][1] She received rave reviews from the press for her performances in Paris and was compared to French ballet dancer Leslie Caron.[7] She performed with Benny Goodman at the London Palladium.[5] While in London, Taylor rehearsed with Sadler's Wells Ballet.[5]

In 1953, Taylor was asked by Sammy Davis Jr. to appear as his girlfriend in the ill-fated ABC TV show Three for the Road – with the Will Mastin Trio.[8] She and Davis had met at Ciro's nightclub where she was performing with the Dunham troupe. Three for the Road was about struggling musicians, and avoided the stereotypical portrayals of African-Americans common during that era. The cast included actresses Ruth Attaway and Jane White, as well as Frederick O'Neal who founded the American Negro Theater. A pilot was filmed in the fall of 1953,[9] but the show was postponed and eventually dropped when ABC was unable to get a sponsor.[10][11]

In 1954, Taylor rejoined the Dunham troupe as a lead dancer for engagements in Rome[12] but later relocated to New York City so she could act on Broadway. She was credited as Elizabeth Taylor (using her middle name) because there was already an actress named Frances Taylor.

Taylor appeared in Off-Broadway productions of Porgy and Bess and Carmen Jones at New York City Center.[3][2] She also appeared in three Broadway musicals: Mr. Wonderful, Shinbone Alley, and, notably, West Side Story. On West Side Story's opening night in September 1957, Taylor received the company's "gypsy robe" for being the outstanding dancer in the cast.[3]

Jet magazine reported in April 1958 that Taylor quit the production to pursue a singing-dancing career,[13] but she later revealed that she was dating jazz musician Miles Davis who forced her to quit in March 1958.[14] According to Taylor, Davis said "A woman should be with her man. I want you out of West Side Story."[3]

Davis allowed Taylor to conduct dancing classes for a while in 1959. Her students included Julie Robinson, a Dunham trouper and wife of actor Harry Belafonte, and Edna Mae Robinson, a chorus line dancer and wife of boxer Sugar Ray Robinson.[15]

When Davis married Taylor in December 1959,[16] he not only insisted that she quit West Side Story, but hampered her career in other ways. Choreographer Jerome Robbins, whom Taylor had worked with in West Side Story on Broadway, asked Davis if she could appear in the film West Side Story (1961); Davis refused.[3] Sammy Davis Jr. approached Davis about Taylor appearing in the musical Golden Boy (1964); Davis refused again.[11]

Following her split from Davis in 1965, Taylor taught private dance classes, appeared in television specials with performers such as Elvis Presley,[4] and had a role as the maid in the film The Party (1968).

After Taylor retired, she became a restaurant hostess in Los Angeles. She worked at Hamburger Hamlet, Roy's Restaurant, Le Dome, and Chasen's.[17][18]

Personal life

[edit]

Taylor first met Davis when she was dancing at Ciro's nightclub in Los Angeles in 1953.[18] When she traveled back to Chicago, Davis was also in town for gigs. Taylor introduced Davis to her family; Miles asked Frances' father for her hand in marriage, to which her father said, "No." Taylor also rejected Miles' proposal.[19]

Taylor married Jean-Marie Durand in Mexico City in 1955 where they were both performing.[20][21] Durand was of Haitian descent and also a member of the Katherine Dunham troupe; he and Frances met in Argentina in 1954.[21] Taylor left the troupe following the marriage and gave birth to a son, Jean-Pierre Durand (who reportedly inspired Miles' tune "Jean-Pierre").

After Taylor separated from Durand, she ran into Davis in New York City in 1957. Davis told her, "Now that I've found you, I'll never let you go."[4][22][19] Taylor and Davis were married in Toledo, Ohio on December 21, 1959.[16]

Taylor became Davis' muse, influencing his change in musical direction. Davis wrote "Fran Dance" for Taylor; it appears on his album Jazz Track (1959).[23] Her role in the musical Porgy and Bess inspired his album Porgy and Bess (1959).[2] His album Sketches of Spain (1960) was inspired by a flamenco performance Taylor insisted they attend.[4]

Davis featured Taylor on the cover of multiple albums, including Someday My Prince Will Come (1961). However, the marriage was marred by domestic violence.[1] Davis became increasingly violent towards Taylor as his cocaine addiction and alcohol abuse worsened.[18] Wrote Davis in his 1990 memoir Miles: The Autobiography: "Every time I hit her, I felt bad because a lot of it really wasn't her fault but had to do with me being temperamental and jealous."

Shortly after Taylor and Davis were photographed together for the cover of E.S.P. (1965), Taylor fled and went to stay with her friend, singer Nancy Wilson in California.[24][25] Taylor filed for divorce in 1966 and it was finalized in 1968.[26] She was interviewed for the documentary Miles Davis: Birth of the Cool; it was released posthumously in 2019.[27]

Taylor had a relationship with George Barrie, CEO of Fabergé.[24]

In 1990, Taylor filed a lawsuit charging her long-time friend Eartha Kitt with assault and battery.[28] Taylor alleged that Kitt attacked her after they had drinks at the Hollywood Roosevelt Hotel.[29]

Death

[edit]

Taylor died at the age of 89 on November 17, 2018. She was survived by her son Jean-Pierre Durand, stepdaughter Cheryl Davis, grandchildren, and great-grandchildren.[1]

Filmography

[edit]
Year Film Role
1968 The Party Maid
2001 The Miles Davis Story Herself

Stage

[edit]
Year Production Role Notes
1956/1957 Porgy and Bess City Center Revival
1956 Carmen Jones Dancer City Center Revival
1957 Mr. Wonderful Soprano, Dancer [Replacement] Original Broadway Production
1957 Shinbone Alley Jail Crony, Dancer Original Broadway Production
1957/1958 West Side Story Francisca Original Broadway Production

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Frances Taylor Davis

View on Grokipedia
from Grokipedia
Frances Taylor Davis (September 28, 1929 – November 16, 2018) was an American dancer and actress distinguished for her trailblazing performances as the first African American invited to dance with the Paris Opera Ballet in 1948 and as the first wife of jazz trumpeter Miles Davis. Born in Chicago, she received a scholarship at age 16 to study the Dunham Technique under Katherine Dunham, joining the company's international tours across Europe and South America by 1948. In Paris, her appearances earned her the moniker "the Leslie Caron of the tropics" from the press, highlighting her elegance and innovation in blending ballet with modern dance influences. She later performed on Broadway in productions such as Two on the Aisle (1951), and partnered in dance acts that appeared on shows like The Ed Sullivan Show. Davis married Miles Davis in 1959; the union, lasting until 1968, saw her step back from performing at his request, though it later dissolved amid his personal struggles, allowing her to reclaim her artistic independence in acting roles and community engagement in West Hollywood.

Early Life and Education

Childhood and Family Background

Frances Taylor Davis was born on September 28, 1929, in Chicago, Illinois. She began training in classical ballet at the age of eight under local instructors in Chicago. As a teenager, her instructor encouraged her to audition successfully for the Edna McRae School of the Dance in Chicago, where she received foundational training that launched her professional aspirations. Little is documented about her immediate family beyond their residence in Chicago's Black community, though her early access to dance education suggests support for artistic pursuits amid the era's racial barriers.

Dance Training in Chicago

Frances Taylor Davis began her formal dance training in Chicago at the age of eight, focusing on classical ballet techniques. Her early instructor recognized her potential and, during her teenage years, encouraged her to audition for the Edna McRae School of the Dance, a prominent institution in the city dedicated to rigorous ballet education. At the Edna McRae School, Davis became the only African American student amid an otherwise exclusively white cohort, highlighting the racial barriers prevalent in mid-20th-century American ballet training. She immersed herself in intensive classical training under Edna McRae's direction, which emphasized technical precision, pointe work, and repertory performance, preparing students for professional stages. By age 16, in 1945, Davis had advanced sufficiently to perform in productions such as Swan Lake, demonstrating her proficiency in both solo and ensemble roles despite limited opportunities for Black dancers. This Chicago-based foundation in ballet, conducted from approximately 1937 to 1945, equipped Davis with the discipline and skill set that later propelled her into modern dance ensembles, though institutional segregation and bias restricted broader access to elite programs during her formative years. Her training at Edna McRae underscored the challenges of racial exclusion in ballet academies, where empirical evidence from contemporary accounts shows Black aspirants like Davis often trained in isolation or faced outright denial of entry elsewhere in the city.

Dance Career

Katherine Dunham Company

Frances Taylor Davis received a scholarship at age 16 to study the Dunham Technique in New York under Katherine Dunham. She joined the Katherine Dunham Company around age 18 in 1947, training under instructors including Walter Nicks. As a member of the company, Davis toured extensively across Europe, South America, and South Africa, performing in productions that showcased Dunham's fusion of African, Caribbean, and modern dance styles. During the 1948 European tour, she was recruited for a special presentation with the Paris Opera Ballet, marking her as the first African American dancer invited to perform with the ensemble. In 1951, while with the Dunham troupe in Paris, she participated in the Foreign Press Gala on December 4, dancing alongside Paris Opera Ballet members including Max Bozzoni, earning acclaim from French critics who dubbed her "the Leslie Caron of the tropics." In 1954, Davis rejoined the company as one of Dunham's lead dancers for engagements in Rome, highlighting her elevated status within the troupe. Her work with the Katherine Dunham Company established her as a pioneering Black ballerina, breaking racial barriers in international dance venues before transitioning to Broadway and film.

International Performances and Barriers Broken

Frances Taylor Davis received a scholarship at age 16 to study the Dunham Technique in New York and joined Katherine Dunham's professional company in 1948 at age 18, embarking on extensive international tours that year across Europe and South America. These performances showcased her versatility in Dunham's fusion of African, Caribbean, and modern dance styles, exposing audiences abroad to innovative Black American choreography amid limited opportunities for performers of her background. During the 1948 European tour, Davis was recruited for a special presentation with the Paris Opera Ballet, marking her as the first African American dancer invited to perform with the institution in its history. This milestone shattered racial barriers in European classical ballet, where non-white performers were virtually absent, and earned her the moniker "the Leslie Caron of the tropics" from the Paris press for her graceful, exotic appeal. Her international work with Dunham's troupe, including stops in South Africa in some accounts, further highlighted her role in pioneering global visibility for Black dancers, challenging segregationist norms and inspiring future generations despite the era's pervasive racial exclusions in the arts.

Broadway and Stage Work

Frances Taylor Davis, performing under the stage name Elizabeth Taylor, began her Broadway career in the mid-1950s following her tenure with the Katherine Dunham Company. Her first credited Broadway role was as a jail crony and dancer in the musical Mr. Wonderful, which starred Sammy Davis Jr. and ran from October 23, 1956, to January 5, 1957, at the Broadway Theatre. In 1957, she appeared in Shinbone Alley, a musical adaptation of Archy and Mehitabel stories, portraying a dancer in the production that opened on April 13 at the Billy Rose Theatre and closed on May 25 after 1 performance and 89 previews, noted for its innovative animation integration with live action. Davis joined the original cast of West Side Story, Jerome Robbins' choreography-driven adaptation of Romeo and Juliet, playing Francisca, one of the Sharks' girls, during its premiere on September 26, 1957, at the Winter Garden Theatre, where it ran for 732 performances until June 27, 1959. Her contributions as a dancer in this groundbreaking show, which earned six Tony Awards including Best Musical, highlighted her versatility in ensemble roles amid the production's demanding physical and rhythmic sequences. Beyond Broadway, Davis performed in Off-Broadway revivals, including roles in Carmen Jones and Porgy and Bess, expanding her stage presence in musical theater adaptations of classic operas. Her Broadway work concluded around 1958, prior to her marriage to Miles Davis in 1959, after which she largely retired from professional performing.

Acting Career

Film and Television Roles

Frances Taylor Davis had few credited acting roles in film and television, with most occurring outside her primary career as a dancer and during periods before her 1959 marriage to Miles Davis or after their 1965 separation. In 1953, she portrayed Sammy Davis Jr.'s girlfriend in the unaired ABC pilot Three for the Road (also titled Three's Company or We Three), a proposed sitcom featuring the Will Mastin Trio alongside actors Frederick O'Neal and Ruth Attaway; the project failed to advance to series production due to network concerns over casting African American leads in a leading role. After separating from Davis, Taylor Davis took a minor role as a maid in the 1968 comedy film The Party, directed by Blake Edwards and starring Peter Sellers as an Indian actor navigating a chaotic Hollywood gathering; her appearance, credited under her married name Frances Davis, marked one of her rare post-dance forays into scripted screen work. She had been offered a part in the 1961 film adaptation of West Side Story but declined, citing her husband's disapproval of her continued performing. Taylor Davis also made appearances in unspecified television specials alongside Elvis Presley following her separation, though details on her contributions—likely as a dancer or performer—are not extensively documented in production credits.

Documentary and Interview Appearances

Frances Taylor Davis was interviewed for the 2020 documentary Miles Davis: Birth of the Cool, directed by Stanley Nelson, in which she discussed her marriage to Miles Davis and her experiences as his first wife, providing personal insights into their relationship and his character; the film premiered at the Sundance Film Festival on January 23, 2019, after her death. Her contributions were noted for their liveliness and sympathy amid archival footage and other testimonies. In May 2018, Davis participated in an extended interview with the Snapshots Music and Arts Foundation, recounting her career as a pioneering dancer with the Katherine Dunham Company, her international performances, her marriage to Miles Davis, and her post-divorce renewal as an artist in West Hollywood. The discussion, conducted shortly before her death on November 17, 2018, emphasized her resilience and artistic legacy beyond her association with Davis. Earlier, on October 21, 2017, she engaged in a public conversation at the West Hollywood Community Center with Tripp Mahan, Vice President of Global Experiences for the city, focusing on her life as a local artist and icon, including reflections on her dance and acting background. In July 2016, Davis appeared in an interview alongside actress Emayatzy Corinealdi, who portrayed her in the biographical film Miles Ahead, where she addressed her real-life relationship with Miles Davis and the portrayal of their dynamic in the movie. These appearances highlighted her role as a firsthand source on Davis's personal life, often contrasting romanticized narratives with accounts of challenges like domestic abuse.

Marriage to Miles Davis

Meeting and Early Relationship

Frances Taylor first encountered Miles Davis in 1953 at Ciro's nightclub on the Sunset Strip in Los Angeles, where she was performing as a dancer. Davis, then establishing his quintet on the West Coast, was immediately captivated by her grace and appearance during her routine, later recalling in his autobiography that he could not shake her from his thoughts despite her initial unavailability. Their contact remained sporadic over the next few years, as Taylor continued her dance career with the Katherine Dunham company and Davis focused on recordings and tours, including sessions for albums like Walkin' and Bags' Groove. Davis encountered her intermittently in Los Angeles and Chicago, where both had professional ties, but no formal courtship developed until 1957, when he actively pursued a relationship amid his rising fame following the Miles Ahead collaboration with Gil Evans. Taylor, returning from international tours, found Davis persistent yet respectful of her independence early on, allowing her to teach dance classes briefly before deeper commitment. By late 1958, their bond intensified, with Davis expressing determination to her family about marriage despite his nomadic lifestyle and prior infidelities. The couple wed on December 21, 1959, in Toledo, Ohio, marking the transition from intermittent attraction to partnership, though Taylor later noted Davis's initial encouragement of her career waned as he preferred her presence at his performances.

Marriage and Shared Professional Influences

Frances Taylor married Miles Davis in December 1959 in Toledo, Ohio. The marriage lasted until their divorce in 1968. Taylor, who had established herself as a dancer, largely suspended her performing career to accompany Davis on international tours and manage domestic responsibilities, a decision influenced by Davis's preference for her presence at his side. Taylor exerted notable influence on Davis's artistic evolution during this period, coinciding with his pioneering modal jazz experiments, including albums like Kind of Blue (1959) and Sketches of Spain (1960). As his muse, she appeared on the cover of his 1961 album Someday My Prince Will Come, symbolizing her role in shaping his public image and creative output. Their shared immersion in performance arts—her background in modern dance and his in jazz—fostered mutual aesthetic exchanges, with Taylor introducing Davis to theatrical elements that informed his sophisticated stage persona and stylistic refinements in dress and presentation. This partnership highlighted intersecting influences between dance and music, though Taylor's professional sacrifices underscored the asymmetrical dynamics, as Davis's career advanced while hers receded into supportive roles.

Domestic Abuses and Divorce

Frances Taylor and Miles Davis's marriage, which began on December 21, 1960, became increasingly strained by Davis's controlling behavior and physical violence, exacerbated by his cocaine addiction and alcohol abuse. Davis pressured Taylor to abandon her role in the original Broadway production of West Side Story in 1958, citing jealousy over her independence and interactions with other men, a pattern that intensified after their wedding. In his 1989 autobiography Miles: The Autobiography, Davis acknowledged multiple instances of physical abuse, stating, "Every time I hit her, I felt bad because a lot of it really wasn't her fault but mine," and describing the first assault as occurring when she returned home late from a performance. Taylor endured the abuse for several years before leaving Davis in 1965, shortly after posing for the cover of his album E.S.P., seeking refuge with singer Nancy Wilson. In later interviews, including those featured in the 2019 documentary Miles Davis: Birth of the Cool, Taylor detailed episodes of violence, such as Davis knocking her unconscious, attributing his actions to professional envy and substance-fueled rage. The couple's divorce was finalized in 1968, after which Taylor relocated and resumed aspects of her career while raising their son. Davis's own admissions provide primary corroboration, though his framing minimized personal responsibility, a dynamic Taylor contested in her accounts.

Later Life

Post-Divorce Resilience and Activities

Following the finalization of her divorce from Miles Davis in 1968, Frances Taylor Davis relocated to West Hollywood, where she rebuilt her professional life as a hostess at notable restaurants such as Hamburger Hamlet (until its closure in 2011), Roy’s, Le Dome, and Chasen’s. Dubbed "the Diva" by locals, she cultivated a reputation for her charismatic presence among celebrity clientele, including Lucille Ball and Frank Sinatra, demonstrating her capacity to thrive socially and economically after enduring a tumultuous marriage marked by physical abuse. Davis sustained her artistic vitality through spontaneous performances at work, frequently breaking into song and dance routines while serving customers, which preserved elements of her earlier dance career despite its interruption. This unscripted expression of talent highlighted her resilience in adapting her talents to everyday settings rather than formal stages. In her later years, Davis engaged in reflective interviews, articulating themes of personal renewal and survival as a single mother, thereby educating audiences on her pioneering dance background and post-marital recovery. She provided on-camera commentary for the 2019 documentary Miles Davis: Birth of the Cool, offering candid perspectives on her ex-husband's genius alongside his personal failings, which contributed to a balanced historical record of their shared era. These endeavors affirmed her enduring influence and determination to shape her narrative independently.

Life in West Hollywood

Davis settled in West Hollywood following her divorce from Miles Davis in 1968, becoming a longstanding resident and beloved local figure known for her charisma and artistic background. After retiring from professional dance, she worked as a hostess at celebrity-frequented restaurants on the Sunset Strip, including Roy’s Restaurant—where she earned the nickname "the Diva"—Le Dome, Chasen’s, and Hamburger Hamlet, which closed in 2011. During shifts, Davis occasionally entertained guests by bursting into song or dance while seating them, fostering interactions with stars such as Lucille Ball, Frank Sinatra, and Diahann Carroll. The City of West Hollywood recognized her contributions by dubbing her the "Original Diva" and featuring her in the 2017 "West Hollywood Artists and Icons" series, which included a public conversation at the West Hollywood Library on October 21 about her life and career. This event highlighted her enduring presence as an artist and icon in the community, drawing on her pioneering dance history while celebrating her post-retirement vibrancy.

Death

Frances Taylor Davis died on November 17, 2018, in the United States at the age of 89. The cause of death was reported as natural causes, consistent with her advanced age and no indications of acute illness or external factors in available accounts. Her family confirmed the passing through a statement, noting her enduring legacy as a dancer and her quiet later years in West Hollywood, where she had resided following her divorce from Miles Davis. She was survived by her son, Jean-Pierre Durand, from a prior relationship. No public funeral details or memorial services were widely reported, reflecting her preference for privacy in her final decades.

Legacy and Impact

Pioneering Role in Dance

Frances Taylor Davis advanced opportunities for African American dancers by joining the Katherine Dunham Dance Company at age 18 in 1947, training under Walter Nicks and touring Europe and South America with the troupe. The Dunham Company, founded in 1931, was pioneering in fusing African, Caribbean, and modern dance techniques, bringing these forms to global audiences amid limited recognition for Black performers. Davis's involvement helped legitimize such hybrid styles on international stages. During the company's 1948 European tour, Davis, then 19, was selected to perform with the Paris Opera Ballet in a special presentation, becoming the first African American ballerina to appear with the institution. This milestone occurred when racial barriers in European classical ballet were nearly absolute, with no prior Black dancers integrated into its ranks; her participation showcased exceptional technique and challenged exclusionary practices. In the United States, Davis contributed to Broadway's diversification as an original cast member of the 1957 musical West Side Story, performing under the stage name Elizabeth Taylor alongside choreography by Jerome Robbins. She also danced in productions including Porgy and Bess with Sammy Davis Jr., Mr. Wonderful, and Shinbone Alley, roles that highlighted Black dancers' capabilities in commercial theater during the 1950s when such opportunities remained scarce.

Cultural and Personal Influence

Frances Taylor Davis exerted considerable personal influence on Miles Davis during their marriage from 1959 to 1968, serving as his muse during a period of groundbreaking musical innovation. Her background as a dancer infused his work with elements of performance and stylistic elegance, contributing to albums produced in the late 1950s and early 1960s. Davis regarded her as "the best wife I ever had," reflecting the profound impact of their relationship on his personal and artistic life, even amid its turbulence. Taylor Davis appeared on the covers of key Miles Davis albums, such as Someday My Prince Will Come released in 1961, where her poised image symbolized the sophisticated fusion of jazz and visual artistry. This representation extended her influence into jazz iconography, bridging dance and music in cultural depictions of the era. Her own affection for Davis's sound—"I fell in love with his sound"—underscored a mutual artistic inspiration that persisted in memory. Culturally, Taylor Davis's role amplified the visibility of African American women in the arts, embodying resilience and creativity through her association with Davis and her independent achievements. Featured in documentaries like Miles Davis: Birth of the Cool (2020), her narrative highlights the interplay of personal dynamics and cultural production in jazz history. Her legacy thus persists in discussions of artistic muses and the personal foundations of musical evolution.

References

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  16. https://www.youtube.com/watch?v=uK_8nmiG530
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  34. https://www.weho.org/Home/Components/News/News/7141/23
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