Word: margot
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Highly Motivated. Despite his widely publicized, seemingly quixotic journey, Ross Perot is a modest, if highly motivated man. The son of a cotton broker, he neither smokes nor drinks, drives a five-year-old car and buys his conservative suits off the rack. He met his wife Margot while he was an Annapolis midshipman, and they and their four children live in a relatively modest four-bedroom house in Dallas...
...service of his roles, making Romeo, Petruchio and even Onegin believable and remarkably affecting. The marvel, though, is Marcia Haydée. Experts correctly point out that she is not a great dancer technically. Most would turn puce at the thought of mentioning her in the same breath with Margot Fonteyn. But few dancers within memory have projected the rangi of whims and wishes or invoked the delicate interplay of emotions that flow from the least gesture of Haydée's body, the slightest tilt of her head. Her Juliet is funny, touching and finally heartbreaking. Her Tatiana...
Sense Robbery. A placid, pawky art dealer, Sir Edward More (Nicol Williamson) is abruptly seized with an uncontrollable passion. Its object is Margot (Anna Karina), usherette in a London cinema. Gutted by desire, Sir Edward cannot be home with his wife and child for more than a minute before lunging for the doorway and heading back to the moviehouse. There he gropes through a guffawing audience for yet another glimpse of the girl. At last an assignation is arranged, an agreement extracted. In scenes of purest Feydeau farce, Sir Edward pursues Margot in and out of hallways and bedrooms split...
...nage à trois when they are joined by her lover, Hervé (Jean-Claude Drouot), who is posing as a homosexual. Together the two take More for all he has-including his senses. When an automobile accident robs Sir Edward of his sight, he becomes pathetically dependent on Margot. Trapped in a Mediterranean villa, he is blindly unaware that the deception has never ceased. Herve tiptoes through the house, eating at the table, sleeping with Margot, giggling silently at More's every blind stumble...
Both of the Royal's new works, appropriately, were created by Sir Frederick Ashton, the company's director since 1963 and, with Balanchine, one of the world's two finest living ballet choreographers. "If Fred is in the English tradition," says Dame Margot Fonteyn, "that is because he is the one who made it." Like Balanchine, though, Ashton began in the Russian tradition. Born in Ecuador, the son of a British businessman, he began studying ballet at the age of 18. Two years later, he worked with the company of Marie Rambert, for whom he produced...