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Lew Christensen
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Lew Christensen
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Lewellyn Farr "Lew" Christensen[1] (May 6, 1909 – October 9, 1984)[2] was a ballet dancer, choreographer and director for many companies. He was largely associated with George Balanchine and the San Francisco Ballet, which he directed from 1952–1984. Other companies Christensen was a part of include Ballet Caravan, directed by Lincoln Kirstein, and Ballet Society, directed by Kirstein and Balanchine.[3]

Key Information

Early life and training

[edit]

Christensen was born in Brigham City, Utah, to a family with roots in dance and music. His grandfather, Lars Christensen, who emigrated from Denmark, taught folk and social dances.[4] Christensen was raised a Mormon, and this upbringing informed his latter career with of a sense of focusing on propriety.[5]

Christensen began studying dance with his uncles and music with his father when he was ten. He was taught early ballet technique by Stefano Mascagno, an Italian teacher. His brother Willam started Lew and their third dancing brother, Harold, in vaudeville. In addition to small vaudeville shows, the three brothers landed jobs in the Broadway musical The Great Waltz, during which time Christensen became a student at Balanchine's new School of American Ballet. In 1935, he joined the Metropolitan Opera's American Ballet Ensemble with Harold.[6]

Dancing with Balanchine and Army service

[edit]

As soon as Christensen began his training, he received special attention from George Balanchine, who recognized his talent. Among Balanchine's first lead male dancers, Christensen danced principal roles, receiving much praise for his lead roles in Orpheus and Eurydice and Apollon Musagète.[4] Christensen, the first American to dance Apollo, set a new standard for that role, and was thereafter considered to be America's first home grown significant male dancer.[7]

At the onset of World War II, Lew Christensen was drafted into the United States Army. On return to New York in 1946 he joined Balanchine's and Kirstein's latest project, Ballet Society – later to be known as the New York City Ballet – where he became a ballet master. Although considered by many to be the logical heir to Balanchine's company, Christensen was instead enticed to join his brothers at the San Francisco Ballet in 1948.[8]

Ballet Caravan

[edit]

Ballet Caravan, begun in 1936 by Kirstein, was intended to provide American ballet dancers with summer employment during off-seasons.[9] As a member, Christensen was a lead soloist, choreographer, and ballet master until 1940.

Between 1936 and 1941 ballets Christensen choreographed included Pocahontas (1936), Filling Station (1938), Charade (1939), and Pastorela (1941). Filling Station incorporated Christensen's vaudeville roots, acrobats, deadpan humor, and tap dancing.

With Ballet Caravan, Christensen and his wife Gisella Caccialanza toured South America in 1941.[8]

San Francisco Ballet

[edit]

Christensen served as associate director of the San Francisco Ballet in 1949, and was co-director in 1951 with his brother Willam. He served as director from 1952–1984.

Christensen transformed the San Francisco Ballet to an internationally recognized neoclassical company.[10] Although he joined the San Francisco Ballet in 1949, Christensen continued to act as ballet master for the New York City Ballet until 1950. After becoming co-director of the San Francisco company in 1951, he kept a good relationship between it and the New York City Ballet. In 1952, on his brother Willam's departure to establish the ballet program at the University of Utah, Lew became the director of the company. He choreographed over 110 works for the San Francisco Ballet. He brought impressive choreography from Balanchine to the company. With Christensen as director, San Francisco Ballet made its first tours nationally and internationally and received much acclaim.[11]

Personal life

[edit]

Christensen married ballet dancer Gisella Caccialanza in 1940 or 1941.[12][13][14] They had one child, Chris (born 1953).[12]

Christensen died on October 9, 1984 at Peninsula Hospital in Burlingame, California, after suffering an apparent heart attack.[2][15]

References

[edit]

Further reading

[edit]
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Lew Christensen

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Lew Christensen is an American ballet dancer, choreographer, and director known for being the 20th century's first great American-born classical dancer and choreographer, his role as the first leading male dancer for George Balanchine in the United States, and his long tenure as artistic director of the San Francisco Ballet. Born in Brigham City, Utah, in 1909 into a family with generations of involvement in music and dance, Christensen received early training from his uncle and performed professionally in vaudeville troupes organized by his brother Willam during the 1920s. He moved to New York in the 1930s, where he studied at the School of American Ballet and quickly earned principal roles under George Balanchine, becoming the first American to dance the title role in Apollon Musagète in 1937. During this time he also began choreographing, leading the experimental Ballet Caravan and creating works such as Filling Station and Jinx. In 1948 Christensen joined his brother Willam as co-director of the San Francisco Ballet, succeeding him as artistic director in 1951 and holding the position until his death on October 9, 1984. Under his leadership the company gained national and international recognition through major tours sponsored by the U.S. State Department, early television broadcasts, and the introduction of Balanchine repertory alongside Christensen's own ballets, including Con Amore, Beauty and the Beast, and several stagings of The Nutcracker. He maintained a lifelong association with Balanchine and Lincoln Kirstein, facilitating repertory exchanges and contributing to the development of a distinctive American classical ballet style on the West Coast. Christensen choreographed more than 110 works over his career and, together with his brothers Willam and Harold, played a foundational role in training generations of American dancers and establishing ballet institutions across the country. His legacy endures as a pioneer who blended classical technique with American themes and sensibility, earning praise as one of the finest classical dancers of his generation.

Early Life and Training

Family Background

Lew Christensen was born on May 9, 1909, in Brigham City, Utah. He grew up in a Mormon family with deep roots in music and dance, part of a lineage descended from Danish immigrants who had settled in the area. His grandfather, Lars Christensen, emigrated from Denmark in 1854 and became an accomplished violinist who taught music and dance in the new Mormon settlement of Brigham City. Lew's father and uncles were active as performers and teachers, establishing dance and music institutions throughout the West. Uncles including Peter Christensen introduced dance within the family context. He had two brothers, Willam and Harold Christensen, who also pursued prominent careers in ballet. The family's involvement in performance extended to early exposure to vaudeville through family-organized acts, as Lew appeared alongside his brother Willam in troupes during his youth.

Early Dance Training

Lew Christensen was introduced to dance at a very young age, beginning his formal training with his uncle Peter Christensen as well as the Italian teacher Stefano Mascagno. His early instruction also included additional training under L. Albertieri. Influenced by his family's vaudeville roots, Christensen performed in small vaudeville shows alongside his brothers starting in the late 1920s, including in acts such as the Mascagno Four named after their instructor Stefano Mascagno. By 1934, while appearing in the Broadway production The Great Waltz in New York, he began studying at the School of American Ballet, which had been newly founded by George Balanchine and Lincoln Kirstein. This marked an important transition in his training toward classical ballet technique.

Early Career

Vaudeville and Broadway Appearances

Lew Christensen began his professional performing career in vaudeville alongside his brothers Willam and Harold, appearing on the circuit from 1927 to 1935. Their family background in performance supported this early work, which featured dance routines tailored for popular audiences. In 1934, Christensen appeared on Broadway in the musical The Great Waltz, presented at the Center Theatre, where he performed in roles including Hans Heindrich and a Bridesgroom. He later took uncredited parts as a ballet dancer in the films On Your Toes (1939) and I Was an Adventuress (1940).

Ballet Caravan and Initial Choreography

In 1935, Lew Christensen joined the Metropolitan Opera's American Ballet, where he was recognized as America's first native premier danseur. Following earlier professional experience in vaudeville troupes and Broadway musicals, this marked his transition into classical ballet. In the summer of 1936, Christensen became a founding member of Ballet Caravan, an experimental touring company founded by Lincoln Kirstein, serving as principal dancer, choreographer, and ballet master until 1940. During this period, he created his initial choreographic works, starting with Encounters in 1936. He followed with Filling Station in 1938, a comic ballet incorporating vaudeville and tap elements that became his most popular early work and the first ballet by an American choreographer, danced by an American company, on an American theme with music and designs by American artists. Subsequent choreographies included Charade in 1939 and Pastorela in 1941. In 1941, shortly after Pastorela's creation, Christensen led American Ballet Caravan— the reorganized successor to Ballet Caravan—on an extensive tour of Central and South America, where his works, including Filling Station and Pastorela, were prominently featured.

Principal Dancer Career

Work with George Balanchine

Lew Christensen emerged as one of George Balanchine's first leading male dancers in the mid-1930s after joining the American Ballet, the company founded by Balanchine and Lincoln Kirstein. Balanchine quickly recognized his potential, casting him in significant roles that established him as a prominent classical dancer. In 1936, Christensen danced the role of Orpheus in Balanchine's production of Gluck's Orpheus and Eurydice, where he demonstrated technical precision and noble style. The following year, Christensen became the first American dancer to perform the title role in Balanchine's Apollon Musagète (also known as Apollo), a performance widely regarded as setting a new standard for American male classical dancers through its luminous clarity and divine quality. Critics and collaborators, including Lincoln Kirstein, praised his Apollo as the finest they had seen, noting his ability to embody a "sober naivete" and separation from the mundane that gave his portrayal exceptional luster. Christensen also took on principal roles in other Balanchine works during this period, solidifying his reputation as America's premier danseur noble. His active performing career as a principal dancer occurred primarily in the 1930s. After serving in World War II (approximately 1942–1946), he returned to collaborate closely with Balanchine in administrative capacities. He served as ballet master for Ballet Society, the precursor company formed by Balanchine and Kirstein in 1946. When Ballet Society evolved into the New York City Ballet in 1948, Christensen continued as ballet master, supporting Balanchine in maintaining the company's artistic standards during its formative years.

Key Roles and Recognition

Lew Christensen was widely recognized as America's first significant home-grown male classical ballet star, regarded as a pioneering figure who demonstrated that the United States could produce male dancers of the highest international caliber. He served as a principal dancer in George Balanchine's companies in the 1930s, earning praise for elevating the standard of American male classical dancing. Christensen received particular acclaim for his performance in the title role of Balanchine's Apollon Musagète (Apollo), which he became the first American to dance in 1937. Lincoln Kirstein described this interpretation as the finest Apollo he and Balanchine had ever seen, citing Christensen's luminous clarity, sober naivete that gave a divine luster to his presence, high-level musicality, acrobatic technique, and elegant stage manners reflective of inherent morality. His work in Balanchine repertory, including roles that highlighted his impressive physical endowment and innocence of deportment, solidified his reputation as one of the finest classical dancers of his generation.

World War II and Post-War Transition

Military Service

Lew Christensen's burgeoning dance career was interrupted by his draft into the United States Army during World War II. He served as an infantryman in Europe throughout much of the conflict. His military service lasted four years, during which he was sent overseas and reached the rank where he received a battlefield commission in 1945 before being assigned to administer a small town in Germany near the war's end.

Return to New York Ballet

After his discharge from the U.S. Army following World War II, Lew Christensen returned to New York in 1946. He soon joined Ballet Society, the company newly formed by George Balanchine and Lincoln Kirstein, where he served as ballet master. In addition to his administrative and teaching duties, Christensen danced lead roles in many of Balanchine's works during this period, continuing his pre-war association with the choreographer. He performed in the premiere of The Four Temperaments on November 20, 1946, at the Central High School of Needle Trades. Ballet Society was reorganized and renamed the New York City Ballet in 1948, marking the establishment of the permanent company. Christensen remained involved as ballet master during this transition.

Leadership at San Francisco Ballet

Joining and Directorship

Lew Christensen joined the San Francisco Ballet in 1948 alongside his brother Willam. He was appointed associate director in 1949. In 1951, he became co-director with his brother Willam. When Willam Christensen departed in 1952 to establish the ballet program at the University of Utah, Lew Christensen assumed the role of sole director of San Francisco Ballet. He held this position until his death on October 9, 1984, for a tenure of 32 years. In his later years, Christensen shared leadership as co-director with Michael Smuin, who was appointed associate artistic director in 1973 and collaborated closely with him on the company's artistic direction.

Major Contributions and Tours

Under Lew Christensen's leadership as artistic director of San Francisco Ballet from 1952 until his death on October 9, 1984, the company developed into an internationally recognized neoclassical ensemble through strategic repertory expansion and high-profile exposure. He introduced an impressive array of George Balanchine ballets to the repertory, facilitated by his long collaboration with Balanchine and an exchange program with New York City Ballet that began in 1951. This focus on neoclassical works, alongside other repertory growth, elevated the company's artistic profile and established its reputation for classical excellence beyond its regional origins. Christensen guided San Francisco Ballet through its first significant national and international tours, beginning with the landmark 1957 Far East tour sponsored by the U.S. Department of State, which spanned 11 nations in Asia and the Middle East and marked the company's international debut. The company achieved further visibility with its 1965 New York City appearance at the State Theater in Lincoln Center, its first major performance in that city. Another notable tour under his direction was to the Edinburgh Festival in 1981. He also pioneered the company's first television broadcasts and emphasized full-length productions, including televised stagings of The Nutcracker such as the 1964 ABC broadcast that reached worldwide audiences. These efforts in repertory development, touring, and media exposure collectively built San Francisco Ballet's acclaim and contributed to its emergence as a leading American ballet institution.

Choreography

Early Works

Lew Christensen began his choreographic career in the mid-1930s with Ballet Caravan, a touring company founded by Lincoln Kirstein to foster American ballet repertory and provide opportunities for native dancers. He assumed leadership of the troupe in 1936, serving as director, principal dancer, and primary choreographer, creating works that emphasized American themes and accessible narratives. His first notable ballet was Pocahontas (1936), which premiered on July 18, 1936, at the College Theatre in Bennington, Vermont. This marked his second professional choreographic effort for Ballet Caravan, featuring costumes by Karl Free inspired by historical engravings of Theodore de Bry and an original cast including Ruthanna Boris, Harold Christensen, Charles Laskey, Lew Christensen, and Erick Hawkins. Filling Station (1938) became one of his most celebrated early works, premiering on January 6, 1938, in Hartford, Connecticut. Set to a commissioned score by Virgil Thomson that evoked 1930s American popular culture through hymns, honky-tonk rhythms, and film chase motifs, the ballet featured sets and costumes by Paul Cadmus in a bold, comic-strip style. Christensen danced the leading role of Mac, the filling station attendant, in a humorous narrative depicting late-night mishaps involving motorists, truck drivers, a gangster, and a drunken socialite couple, blending classical technique with vaudevillian comedy. Described as America's response to European classics like Swan Lake, it achieved widespread popularity, toured extensively, and established itself as a cornerstone of American ballet repertory. Charade, or The Debutante (1939) followed, premiering on October 17, 1939, with Ballet Caravan. The work featured a scenario by Lincoln Kirstein, music drawn from American songs and social dances including melodies by Stephen Foster and Louis Moreau Gottschalk with variations on "Good Night Ladies" arranged by Tracy Wittman, and costumes by Alvin Colt. The premiere cast included Marie-Jeanne, Gisella Caccialanza, Harold Christensen, Lew Christensen, and Ruby Asquith, supported by fourteen ensemble dancers. Pastorela (1941) was created during Ballet Caravan's South American tour, commissioned by Nelson Rockefeller and set to music by Paul Bowles. Christensen also choreographed Jinx (1942) for Eugene Loring's Dance Players, a dramatic ballet to music by Benjamin Britten depicting the macabre tale of a small circus troupe cursed by misfortune and haunted by the ghost of a melancholy clown blamed for their tragedies. Praised by John Martin of The New York Times as "utterly without precedent in the field of ballet" and "uncannily compelling," it highlighted Christensen's ability to craft powerful, story-driven works with philosophical undertones. These ballets collectively established Christensen as a leading figure in developing an American ballet idiom rooted in native themes and contemporary life before his career was interrupted by World War II.

San Francisco Ballet Repertory

During his long association with the San Francisco Ballet, Lew Christensen choreographed 55 ballets for the company, creating a substantial portion of its repertory and blending classical technique with American themes. Notable among these are his full-length productions of The Nutcracker, which he staged in multiple versions beginning in the 1950s, and Beauty and the Beast (1958). Christensen extended his choreographic influence through television, contributing to broadcasts featuring San Francisco Ballet dancers such as The Nutcracker in 1965, Beauty and the Beast in 1969, an episode of McCloud in 1975, and several installments of Great Performances: Dance in America between 1978 and 1985. These media adaptations helped preserve and disseminate his repertory to wider audiences beyond the stage.

Personal Life

Marriage and Family

Lew Christensen married ballerina Gisella Caccialanza in 1941, with Lincoln Kirstein serving as best man. Caccialanza was a principal dancer with the American Ballet and the goddaughter of renowned Italian teacher Enrico Cecchetti. Shortly after their wedding, the couple participated in the American Ballet Caravan's extensive tour of Central and South America, during which several of Christensen's works were performed. The couple had one son, Chris Christensen, born in 1953. They remained married until Lew Christensen's death in 1984.

Death and Legacy

Death

Lew Christensen died on October 9, 1984, at the age of 75 in Burlingame, California, from an apparent heart attack after a period of failing health. His death was sudden and occurred in the San Mateo area, either at home or at a local hospital. The passing concluded his 33-year leadership of the San Francisco Ballet, where he had served as artistic director since 1951.

Honors and Influence

Lew Christensen received several prestigious awards in recognition of his achievements as a dancer, choreographer, and director. In 1973, he was honored with the Dance Magazine Award. He earned the bronze medal for choreography at the First International Ballet Competition in Jackson, Mississippi, in 1979. In 1982, John F. Kennedy University awarded him an honorary doctorate of fine arts degree. The San Francisco Ballet established the Lew Christensen Medal to recognize lifelong service to the organization, presenting him with the inaugural award during the company's 50th anniversary gala on January 29, 1983. In April 1984, he and his brothers Willam and Harold jointly received the Capezio Dance Award, which celebrated them as dancers, choreographers, teachers, and company directors who, as Western pioneers rooted in American vernacular dance, helped make ballet prosper across the country. Influential figures in American ballet paid tribute to Christensen's pioneering role. Lincoln Kirstein described him as America's first great danseur noble, praising his golden grace, luminous clarity, and divine quality in performances such as Apollon Musagète, while viewing him as the fulfillment of the vision for a truly American ballet. Christensen's influence endures through his efforts to build the San Francisco Ballet's international reputation, his advancement of neoclassical ballet on the West Coast, and his mentorship of generations of dancers and choreographers. His work helped establish a distinctive American accent within the classical idiom, blending musicality, wit, and craft in a manner that shaped the development of ballet in the United States.

References

  1. https://www.kennedy-center.org/artists/c/ca-cn/lew-christensen/
  2. https://www.nytimes.com/1984/10/10/obituaries/lew-christensen-dies-at-75-lead-dancer-for-balanchine.html
  3. https://www.lewchristensen.org/bio.html
  4. https://christensenfamilycollection.omeka.net/biography
  5. https://christensenfamilycollection.omeka.net/exhibits/show/vaudeville/vaudeville
  6. https://www.foundsf.org/THE_CHRISTENSEN_BROTHERS_AND_THE_SAN_FRANCISCO_BALLET
  7. https://www.ibdb.com/broadway-production/the-great-waltz-11917
  8. https://playbill.com/production/the-great-waltz-center-theatre-vault-0000012015
  9. https://www.imdb.com/name/nm1794935/
  10. https://oac.cdlib.org/findaid/ark:/13030/c82z1cms/
  11. https://www.lewchristensen.org/FillingStation.html
  12. https://diabloballet.org/2018/04/23/dance-notes-celebrated-masters/
  13. https://pointemagazine.com/a-history-of-firsts/
  14. https://www.sfgate.com/bayarea/article/Lew-Christensen-dies-in-1984-3214674.php
  15. https://www.findagrave.com/memorial/104446326/lewellyn_farr-christensen
  16. https://time.com/archive/6633415/dance-dash-control/
  17. https://oac.cdlib.org/findaid/ark:/13030/c82z1cms/entire_text/
  18. https://balanchine.org/balanchine-catalogue/catalogue-of-works/236-the-four-temperaments-1946/
  19. https://www.sfballet.org/about-us/history/
  20. https://www.sfballet.org/about/history/
  21. https://christensenfamilycollection.omeka.net/exhibits/show/perfomances/ballet-caravan-and-american-ba/pocahontas
  22. https://christensenfamilycollection.omeka.net/exhibits/show/perfomances/ballet-caravan-and-american-ba/charade
  23. http://www.lewchristensen.org/Jinx.html
  24. https://www.lewchristensen.org/Beauty.html
  25. https://researchworks.oclc.org/archivegrid/archiveComponent/78659172
  26. https://www.latimes.com/archives/la-xpm-1998-jul-21-mn-5755-story.html
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