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Dance to the Piper
Agnes De Mille’s Dance to the Piper is the story of a young woman who always wanted to dance.
Her theatrical family hoped to discourage her of any ambitions toward a career in theater, so they refused her impassioned pleas to have dancing lessons. They relented when De Mille reached the age of eleven, and even though she was too old to be trained in classical ballet, she began training anyway. Her parents limited her time in the studio to two hours a week, so she was forced to practice alone; she practiced incorrectly.
Her theatrical family hoped to discourage her of any ambitions toward a career in theater, so they refused her impassioned pleas to have dancing lessons. They relented when De Mille reached the age of eleven, and even though she was too old to be trained in classical ballet, she began training anyway. Her parents limited her time in the studio to two hours a week, so she was forced to practice alone; she practiced incorrectly.
256 pages, Hardcover
First published January 1, 1952
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387 people want to read
About the author
Agnes de Mille
37 books10 followersKnown innovative Agnes George de Mille, an American, choreographed musicals, such as
Oklahoma!
(1943) and
Carousel
(1945).
Alicia Alonso performed in his Fall River Legend .
https://en.wikipedia.org/wiki/Agnes_d...
Alicia Alonso performed in his Fall River Legend .
https://en.wikipedia.org/wiki/Agnes_d...
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Displaying 1 - 19 of 19 reviews
October 3, 2011
An old out-of-print copy of this was given to me by a voracious reader friend who worked with me when I was working in musical theatre as a choreographer. I have picked it up and put it down multiple times over the past 3 years or so but finally finished and I’m glad I stuck with it.
Agnes deMille was a world-famous choreographer, niece of film-legend Cecil B. de Mille. She is probably best known today for her ground-breaking work in Oklahoma! I found her story fascinating. I always assumed she was funded by her legendary film family but it was her Uncle who had all the film funds, not her father and while her parents did financially support her for years as she was getting started, they were by no means wealthy and she lived on the brink of poverty like so many others attempting to establish themselves in show business.
Her work ethic was remarkable and her training diligence inspiring. It was very encouraging to hear the details of the many shows/productions/recitals/dance companies she was a part of - the ones that worked as well as those that failed. She would sell out a theater, get rave reviews and start all over again the next week in a new city with the same show and have to beg for audiences. Hmm, some things never change… Her description of the entire creative process, the hours and hours of work that go into creating a single piece, putting it together with dancers and then watching it “not work” or “flop” gave me a wonderful appreciation for her resilience. It was also something to which I could truly relate.
The book was printed in 1951 and the copy I read has very small type and very small margins and combined with my very slow reading late at night when I’m sleepy it made for very slow progress. Because this was written 60 years ago it is full of detailed references to people, many of whom were very famous and legends in their time, but are almost completely unknown today. That was the most tedious aspect of this book for me. Pages would be filled with references to brand new dancers (who went on to become world-famous) or directors or producers who were the movers and shakers of the entertainment industry but very few of those names are well known 60 years later - Samuel B. Meyer, Jerome Robbins, Martha Graham, Aaron Copland as well as Rogers and Hammerstein being a few of the huge exceptions here.
This book should appeal to anyone with an interest in the history of dance or musical theatre but you’ll probably need to brush through some of those endless lists of names.
Agnes deMille was a world-famous choreographer, niece of film-legend Cecil B. de Mille. She is probably best known today for her ground-breaking work in Oklahoma! I found her story fascinating. I always assumed she was funded by her legendary film family but it was her Uncle who had all the film funds, not her father and while her parents did financially support her for years as she was getting started, they were by no means wealthy and she lived on the brink of poverty like so many others attempting to establish themselves in show business.
Her work ethic was remarkable and her training diligence inspiring. It was very encouraging to hear the details of the many shows/productions/recitals/dance companies she was a part of - the ones that worked as well as those that failed. She would sell out a theater, get rave reviews and start all over again the next week in a new city with the same show and have to beg for audiences. Hmm, some things never change… Her description of the entire creative process, the hours and hours of work that go into creating a single piece, putting it together with dancers and then watching it “not work” or “flop” gave me a wonderful appreciation for her resilience. It was also something to which I could truly relate.
The book was printed in 1951 and the copy I read has very small type and very small margins and combined with my very slow reading late at night when I’m sleepy it made for very slow progress. Because this was written 60 years ago it is full of detailed references to people, many of whom were very famous and legends in their time, but are almost completely unknown today. That was the most tedious aspect of this book for me. Pages would be filled with references to brand new dancers (who went on to become world-famous) or directors or producers who were the movers and shakers of the entertainment industry but very few of those names are well known 60 years later - Samuel B. Meyer, Jerome Robbins, Martha Graham, Aaron Copland as well as Rogers and Hammerstein being a few of the huge exceptions here.
This book should appeal to anyone with an interest in the history of dance or musical theatre but you’ll probably need to brush through some of those endless lists of names.
January 1, 2016
Strangely, I think I read this before, or tried to, because the early sections of the book were crazily familiar. When I was a child, I read any and all dance biographies or memoirs I could lay my hands on, which were pitifully few given my local public library. I read Alicia Markova's constantly, understood most of Margot Fonteyn's, was frightened by Gelsey Kirkland's, but I didn't understand Agnes de Mille's. 1) she wasn't a ballet dancer so immediately of less interest and b) she didn't take lessons until she was an adult and went on and on about her own dances (I knew she had choreographed Oklahoma!). It didn't take.
Well, I'm so thankful that NYRB Classics printed a new edition and that they contacted me out of the blue and offered a review copy. A re-read almost 30 years later - with a much wider dance education and modern classes under my belt, not to mention a dance minor - shows de Mille's memoir to be not only her experiences as an itinerant, aspiring dancer in an era when America was developing its idea of the art form apart from classical ballet but also the very early silent motion picture era when her father moved the family West to join his brother Cecil. It's a bit uneven in places, and clearly shows mid-century psychological theories around the edges, but de Mille captured everything so brilliantly. For supposedly being delivered to her editor in a grocery sack, the quality of writing is excellent.
(Must also point out an introduction by the dance critic Joan Acocella)
Well, I'm so thankful that NYRB Classics printed a new edition and that they contacted me out of the blue and offered a review copy. A re-read almost 30 years later - with a much wider dance education and modern classes under my belt, not to mention a dance minor - shows de Mille's memoir to be not only her experiences as an itinerant, aspiring dancer in an era when America was developing its idea of the art form apart from classical ballet but also the very early silent motion picture era when her father moved the family West to join his brother Cecil. It's a bit uneven in places, and clearly shows mid-century psychological theories around the edges, but de Mille captured everything so brilliantly. For supposedly being delivered to her editor in a grocery sack, the quality of writing is excellent.
(Must also point out an introduction by the dance critic Joan Acocella)
March 25, 2013
Ag's first stroke in late '70s left her face a twisted pretzel. Her besties said, "It reflects her soul." Aw.~ Are ya sure her face wasnt a cross-ant, I later asked hopefully, as sis pronounces >croissant<.
By end of '40s her breve Bwydom was over. It started w "Oklahoma!" (1943), continued w "Carousel" ('45), but the big R&H flop "Allegro" ('47), which she directed & choreographed, squashed her primacy. Sondheim, a kid on the side : "She was an extremely insensitive woman." ~ Aw ~ Add her outspoken homophobia. What's next ? A memoir !
Her autobio is intermittently lively, but has a chip on its shoulder - and elsewhere. Her pr : Ag changed musicom. In fact, she did NOT. Dance was already 'integrated' into such musicals as "Showboat," "On Yr Toes, "Pal Joey." Ag theory : fuk facts.
W slambang arrival of choreo Jerome Robbins in mid40s, Ag went into a mean-skkunk. Forget : Onna White, Hanya Holm. Forget Jack Cole, Michael Kidd, Bob Fosse, Gower Champion...! Her bigo hate was JerRobbins ("On the Town," "The King & I," "WSStory," "Gypsy.") Then to her gaspiness, Robbins became a partner w NYCBallet.
Ow. Ew. Oh. >> CUE : Stroke !
Today, dance has no Bwy role. Musicoms are sub-Vegas miked floor shows. American cultch is garbage.
By end of '40s her breve Bwydom was over. It started w "Oklahoma!" (1943), continued w "Carousel" ('45), but the big R&H flop "Allegro" ('47), which she directed & choreographed, squashed her primacy. Sondheim, a kid on the side : "She was an extremely insensitive woman." ~ Aw ~ Add her outspoken homophobia. What's next ? A memoir !
Her autobio is intermittently lively, but has a chip on its shoulder - and elsewhere. Her pr : Ag changed musicom. In fact, she did NOT. Dance was already 'integrated' into such musicals as "Showboat," "On Yr Toes, "Pal Joey." Ag theory : fuk facts.
W slambang arrival of choreo Jerome Robbins in mid40s, Ag went into a mean-skkunk. Forget : Onna White, Hanya Holm. Forget Jack Cole, Michael Kidd, Bob Fosse, Gower Champion...! Her bigo hate was JerRobbins ("On the Town," "The King & I," "WSStory," "Gypsy.") Then to her gaspiness, Robbins became a partner w NYCBallet.
Ow. Ew. Oh. >> CUE : Stroke !
Today, dance has no Bwy role. Musicoms are sub-Vegas miked floor shows. American cultch is garbage.
September 13, 2022
"ANNA PAVLOVA! My life stops as I write that name. Across the daily preoccupation of lessons, lunch boxes, tooth brushings and quarrelings with Margaret flashed this bright, unworldly experience and burned in a single afternoon a path over which I could never retrace my steps. I had witnessed the power of beauty, and in some chamber of my heart I lost forever my irresponsibility. I was as clearly marked as though she had looked me in the face and called my name. For generations my father's family had loved and served the theater. All my life I had seen actors and actresses and had heard theater jargon at the dinner table and business talk of box-office grosses. I had thrilled at Father's projects and watched fascinated his picturesque occupations. I took a proprietary pride in the profitable and hasty growth of "The Industry". But nothing in his world or my uncle's prepared me for theater as I saw that Saturday afternoon. "
I wouldn't recommend this book to everyone, but if you are somehow related to the performing arts I don't see how you can not relate to the struggles and adventures of Agnes. Besides she meets so many of the most sounding names of the show business from the first half of the 20th century, such as Chaplin or Martha Graham, that this fact alone should be enough to get you interested.
And then, Agnes writes so beautifully, that I was crying by the time she debuts Rodeo, and finally overcomes all the struggles and challenges she has been facing throughout the whole book.
I wouldn't recommend this book to everyone, but if you are somehow related to the performing arts I don't see how you can not relate to the struggles and adventures of Agnes. Besides she meets so many of the most sounding names of the show business from the first half of the 20th century, such as Chaplin or Martha Graham, that this fact alone should be enough to get you interested.
And then, Agnes writes so beautifully, that I was crying by the time she debuts Rodeo, and finally overcomes all the struggles and challenges she has been facing throughout the whole book.
October 12, 2024
3.5. I first read this years ago and honestly don't remember what my reaction was. Rereading it I was, mainly, surprised--partly because I've also recently reread several books by de Mille on American dance and she always manages to credit herself and give herself more importance than she probably deserves. So, ego much? In reality, de Mille grew up in Hollywood (Cecil B. was her uncle) and although she fell in love with ballet at a young age--she saw the great Russian star Anna Pavlova perform live and literally became obsessed with her--her strict parents were reluctant to provide any kind of stage training. When de Mille finally started lessons as a teen she was old, her body was untypical, and she had rotten teachers. She went to college (graduated at 19!) and then began a career as an impressionist / mime / dancer, doing solo recitals of 13 pieces at a time with costumes and music. She spent a lot of her parents' money for very little attention and acclaim. She was incredibly naive and was taken for a ride by unscrupulous managers. She was also stubborn and persevered despite huge odds. Not until age 37 did she find success with her ballet "Rodeo," followed by the opportunity to choreograph the landmark musical "Oklahoma!" Her autobiography was published in 1951. As I read I groaned, grimaced and shook my head at her arrogance and foolishness, but marveled at her single-mindedness and endurance. Was it all worth it? Would her long-suffering mother (who became dedicated to her daughter's success at any cost) agree?
November 1, 2020
The road to commercial and critical achievement for Agnes de Mille was riddled with potholes, detours, and washed-out bridges. If she had not created Rodeo in 1942, through force of will over a recalcitrant troupe of dancers, it is not likely that this mid-career memoir would ever have been published. There would have been no sparkling collaboration with Rogers and Hammerstein.
The gist of this (somewhat skittery at times) book is de Mille's struggle to make herself heard as a choreographer, punching through the influences and suppressions of ballet makers and theater producers of the 1920s-1940s. Her insider's look at film studios of the silent era, lit with natural light, is remarkable. Her slant-eyed assessment of Gertrude Lawrence is delectably dishy:
Touring by train for less than $100 a week; the disaster of Flying Colors; the rubbishing of her work on Marie Antoinette; the scalding sexism of casting the chorus for Hooray for What. Why would anyone want to suffer this rotten road? But travel she did, and found success.
The gist of this (somewhat skittery at times) book is de Mille's struggle to make herself heard as a choreographer, punching through the influences and suppressions of ballet makers and theater producers of the 1920s-1940s. Her insider's look at film studios of the silent era, lit with natural light, is remarkable. Her slant-eyed assessment of Gertrude Lawrence is delectably dishy:
Her flair for improvisation being phenomenal, each performance, each rehearsal became in the great tradition a direct, fresh experience between her and the audience. She repeated nothing, including sometimes the author's lines, but remade new magic afresh each time out of her enormous zest. (p. 204)
Touring by train for less than $100 a week; the disaster of Flying Colors; the rubbishing of her work on Marie Antoinette; the scalding sexism of casting the chorus for Hooray for What. Why would anyone want to suffer this rotten road? But travel she did, and found success.
October 30, 2018
Agnes De Mille may be known best for her choreography of 'Oklahoma!' She transformed dance on Broadway, and works like 'Rodeo' and 'Fall River Legend' are still performed. 'Dance to the 'Piper' is her autobiography, written in 1951, just a few years after 'Oklahoma!' hit the stage.
The book tells how she became captivated by dance after seeing Pavlova. Her career followed, despite the disapproval of her parents. Success did not come quickly and she lived mostly hand to mouth, depending on the kindness and generosity of family and friends, in London, New York, and elsewhere through the 1930s and beyond. Indeed, as World War II broke out, she had decided to give up dancing. But her failures gave her experience and the friendship of many of the young guiding lights of dance, people, like Martha Graham, who were revolutionizing what dance could be.
She writes well and honestly. The book emerged from snippets written at odd hours in odd places. But, pieced together, De Mille proves to be a talented writer. Indeed, 'Dance' bears comparison with Moss Hart's Act One as a portrait of the arts in the 1920s and 1930s. The chapter on 'Rodeo' is an picture of a first night performance--a triumph--that many performers will recognize. It will leave some readers ecstatic.
My knowledge of modern dance and ballet is sadly lacking. Until I read 'Dance to the Piper,' I was no fan of De Mille. I am now.
The book tells how she became captivated by dance after seeing Pavlova. Her career followed, despite the disapproval of her parents. Success did not come quickly and she lived mostly hand to mouth, depending on the kindness and generosity of family and friends, in London, New York, and elsewhere through the 1930s and beyond. Indeed, as World War II broke out, she had decided to give up dancing. But her failures gave her experience and the friendship of many of the young guiding lights of dance, people, like Martha Graham, who were revolutionizing what dance could be.
She writes well and honestly. The book emerged from snippets written at odd hours in odd places. But, pieced together, De Mille proves to be a talented writer. Indeed, 'Dance' bears comparison with Moss Hart's Act One as a portrait of the arts in the 1920s and 1930s. The chapter on 'Rodeo' is an picture of a first night performance--a triumph--that many performers will recognize. It will leave some readers ecstatic.
My knowledge of modern dance and ballet is sadly lacking. Until I read 'Dance to the Piper,' I was no fan of De Mille. I am now.
September 1, 2022
Agnes de Mille's ego comes through loud and clear and in nauseating detail. She was fortunate that her parents supported her financially for so long without prospect of success. Hidden in her egotistical minutiae are some well-written gems- "in California the earth and sky clash, and space is dynamic " "Ballet has striven always to conceal effort" "effort was life". Also the chapter Rodeo has a good narrative of life on the road for a ballet company.
September 5, 2024
A glimpse into the early days of Hollywood. Also, it brought an understanding to entertainment industry (from the perspective of a dancer and choreographer) in the 30's, 40's. I was surprised at the amount of international travel discussed and how expensive it was to 'put on a show'. Not only that, but the creativity to turn something out of nothing. Not being a creative, the writing style as well as the content was intriguing to me.
June 24, 2020
This came to me by way of my ballet teacher. What an interesting life Ms. De Mille. The words that resonated with me: Ballet technique is arbitrary and very difficult. It never becomes easy; it becomes possible. Amen to that.
July 8, 2025
3.75
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March 13, 2021Reviews and more on my blog: Entering the Enchanted Castle
In the introduction a comment about de Mille is repeated, that she is a better writer than she is a choreographer. I thought that was an insult until I read the book. She is an excellent writer! I am not a judge of choreography, so can't say anything to that, but her words often show a sense of movement and rhythm that is a joy to encounter, given the plodding and inelegant prose one so often encounters these days. Language is a bodily art too, she reminds us.
The book is a sort of a hodgepodge, which she says she scribbled in odd moments while taking care of small children and handed over to her publishers as a mass of material in a shopping bag. Bits about her early life and dancing career are interspersed with backstage views of the creation of works like Rodeo and Oklahoma! and portraits of notable figures like Martha Graham, Antony Tudor, and Marie Rambert.
I think it's likely that as a dancer she was not as great as these, and that she was kept afloat so long as a struggling young artist only by her family's money and influence (she was the niece of Cecil B. De Mille). There is too much in the book about these early concerts, which become boring to read about since one cannot actually see the dancing. But there are other moments that absolutely shine and give wings to the words in a remarkable way.
In the introduction a comment about de Mille is repeated, that she is a better writer than she is a choreographer. I thought that was an insult until I read the book. She is an excellent writer! I am not a judge of choreography, so can't say anything to that, but her words often show a sense of movement and rhythm that is a joy to encounter, given the plodding and inelegant prose one so often encounters these days. Language is a bodily art too, she reminds us.
The book is a sort of a hodgepodge, which she says she scribbled in odd moments while taking care of small children and handed over to her publishers as a mass of material in a shopping bag. Bits about her early life and dancing career are interspersed with backstage views of the creation of works like Rodeo and Oklahoma! and portraits of notable figures like Martha Graham, Antony Tudor, and Marie Rambert.
I think it's likely that as a dancer she was not as great as these, and that she was kept afloat so long as a struggling young artist only by her family's money and influence (she was the niece of Cecil B. De Mille). There is too much in the book about these early concerts, which become boring to read about since one cannot actually see the dancing. But there are other moments that absolutely shine and give wings to the words in a remarkable way.
December 11, 2015
Agnes de Mille writes extremely honestly about herself in this memoir, often self-deprecatingly. Her tremendous skill as a writer is evident from the start.
She comes from a family of intellectuals: Father was William C. de Mille (playwright, writer and director) and uncle Cecil B. de Mille (renowned producer-director). Her father and uncle built the name that is synonymous with movie making and production... Hollywood. The filming lots in those days were little more than scrub land with snakes wondering around the grass.
She says of her father that: He was a display of intellectual pyrotechnics when speaking.
And of her uncle: He was a delightful conversationalist and an exuberant raconteur, leaning on exaggeration.
Not forgetting her mother, Mrs. de Mille, who also possessed a great intellect and was a tremendous influence on her.
And that is where Agnes grew up. Amongst some of the most famous stars of the silent movie era and the talkies, surrounded by creativity and intellect.
After meeting Anna Pavlova, in person (the famous ballerina of the period), Agnes decided that becoming a ballet dancer was her true calling. However, her lack of physical attributes needed for the art form impeded her progress. After much hard work, struggle and other avenues, she eventually turned to choreography. This is the best thing that could have happened.
Most people may not know the name Agnes de Mille, but they would have seen her choreography without realising. Productions such as: Rodeo, Oklahoma, Carousel, Brigadoon and many more. Her style was unique, a blend of American, Modern and sprinkles of Classical.
I was myself a principal ballet dancer in the UK and danced with The Royal Ballet and Birmingham Royal Ballet. During my career, I had the good fortune to perform in one of her creations. It was the ballet Fall River Legend about the life of Lizzie Borden (an American) who was tried and acquitted for the 1892 axe murder of her father and stepmother.
This ballet had the most amazing sinister atmosphere created with hardly any choreography or movement.
In Agnes' version, Lizzie is found guilty and hanged. The reason I was given (by the person setting the production) was that the composer could only compose hanging music. I actually believe Lizzie was guilty of the crime.
Agnes has very strong views about dance throughout, which she voices most eloquently. Some of her views I don't share, but at least she stands by them and doesn't take a vague, politically correct and diplomatic position. However, she is from a different era and this has to be remembered when reading this wonderful book.
The book is entertaining, humorous and replete with anecdotes and wonderful prose. Given that she was a physical person throughout her life, and she expressed herself through movement and choreography, her skill as a writer is second to none.
This is a book worth reading.
I loved it.
Sergiu Pobereznic (author)
She comes from a family of intellectuals: Father was William C. de Mille (playwright, writer and director) and uncle Cecil B. de Mille (renowned producer-director). Her father and uncle built the name that is synonymous with movie making and production... Hollywood. The filming lots in those days were little more than scrub land with snakes wondering around the grass.
She says of her father that: He was a display of intellectual pyrotechnics when speaking.
And of her uncle: He was a delightful conversationalist and an exuberant raconteur, leaning on exaggeration.
Not forgetting her mother, Mrs. de Mille, who also possessed a great intellect and was a tremendous influence on her.
And that is where Agnes grew up. Amongst some of the most famous stars of the silent movie era and the talkies, surrounded by creativity and intellect.
After meeting Anna Pavlova, in person (the famous ballerina of the period), Agnes decided that becoming a ballet dancer was her true calling. However, her lack of physical attributes needed for the art form impeded her progress. After much hard work, struggle and other avenues, she eventually turned to choreography. This is the best thing that could have happened.
Most people may not know the name Agnes de Mille, but they would have seen her choreography without realising. Productions such as: Rodeo, Oklahoma, Carousel, Brigadoon and many more. Her style was unique, a blend of American, Modern and sprinkles of Classical.
I was myself a principal ballet dancer in the UK and danced with The Royal Ballet and Birmingham Royal Ballet. During my career, I had the good fortune to perform in one of her creations. It was the ballet Fall River Legend about the life of Lizzie Borden (an American) who was tried and acquitted for the 1892 axe murder of her father and stepmother.
This ballet had the most amazing sinister atmosphere created with hardly any choreography or movement.
In Agnes' version, Lizzie is found guilty and hanged. The reason I was given (by the person setting the production) was that the composer could only compose hanging music. I actually believe Lizzie was guilty of the crime.
Agnes has very strong views about dance throughout, which she voices most eloquently. Some of her views I don't share, but at least she stands by them and doesn't take a vague, politically correct and diplomatic position. However, she is from a different era and this has to be remembered when reading this wonderful book.
The book is entertaining, humorous and replete with anecdotes and wonderful prose. Given that she was a physical person throughout her life, and she expressed herself through movement and choreography, her skill as a writer is second to none.
This is a book worth reading.
I loved it.
Sergiu Pobereznic (author)
July 25, 2022
Found myself thinking about this again:
"The girls have to wash their tights at each wearing to make the silk cling, so the washroom is full of pink legs swinging in the train vibration. The girls talk shop, intrigue and knitting patterns. Never anything else. Never, although war, flood, strikes, elections and plague pass over them. Never. They talk technique and what so-and-so’s mama said to Mr. Denham last night. The older men play poker in three or four languages. The younger men look out of the window and hold hands."
"The girls have to wash their tights at each wearing to make the silk cling, so the washroom is full of pink legs swinging in the train vibration. The girls talk shop, intrigue and knitting patterns. Never anything else. Never, although war, flood, strikes, elections and plague pass over them. Never. They talk technique and what so-and-so’s mama said to Mr. Denham last night. The older men play poker in three or four languages. The younger men look out of the window and hold hands."
April 29, 2009
What an interesting life. Agnes DeMille - as a choreographer is enough, but her family, early Hollywood - this is rich with context
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March 18, 2017Haven't read this since I was 9. Really liked it then.
June 10, 2016
I don't know how I could have possibly loved this book more.
September 19, 2016
If you like any of the following, read this:
1) dance history
2) strong, persistent, spunky women
3) incisive cultural commentary
Loved!
1) dance history
2) strong, persistent, spunky women
3) incisive cultural commentary
Loved!
Read
July 11, 2024also watched Wiseman’s BALLET (1995)
Displaying 1 - 19 of 19 reviews