“Margot Fonteyn Autobiography” (Alfred A. Knopf, New York 1976)
In Fonteyn’s autobiography, her voice reflects a cheerful personality, always looking at the world with a sense of innocent wonder, gratitude and humor. Sure enough the Prima Ballerina Absoluta had endured much hardship in her life, ranging from her physical pain as a result of dancing so much and so hard, to the tough marriage with her Panamanian politician husband who was shot in a coup d’etat and became paralyzed the rest of his life. Seldom do we hear any whining or complaints from her account. I imagine her to be an extraordinarily strong woman. I was a little surprised she did not give as much coverage on her relationship with Rudolph Nureyev, her epic stage partner, as I expected. But we did get a good glimpse of how it was for her to work with the many male dance partners she had throughout her long and luminous career.
Being a Chinese, I especially enjoyed reading her accounts of her early life in Shanghai and Tianjin! She even visited Hong Kong in her childhood and met a tall Norwegian in Repulse Bay who told her all about Russian ballet. Here is an excerpt:
“The following summer that I spent on the beach in Hong Kong was the most important of my childhood because I literally lived in the sea from morning till night, swimming and diving until water was the most natural element for me to inhabit. A tall Norwegian, who had spent several years as a diplomat in Russia before the Revolution, was my great friend. He was a handsome man, big-boned but lean and well-preserved with the blue eyes of a sailor, and he loved dancing. At every tea dance in the Repulse Bay Hotel we waltzed and foxtrotted and danced the paso doble, he so tall and me a little shrimp of eleven years, but in perfect harmony. I could say it was my first dancing partnership. He had loved the ballet in St. Petersburg and Moscow, knew about all the ballerinas and talked to me for hours on the beach about Tamara Karsavina in Sleeping Beauty. My uninformed mind could not visualize the delights he was describing, as I did not know at that time what a big ballet company was. Many years later I danced in Oslo, where I got a letter that said: “I wonder can the famous Margot Fonteyn be the little Peggy I used to know in Hong Kong?” Enclosed was a snapshot of us sitting together on the beach, and written across the back were the words, This is Peggy, she swims like a fish and dances like a ballerina. It was dated Summer, 1930.”
I was surprised to hear about Fonteyn’s insecurity regarding her technique and performances. In fact, she had to overcome some physical limitations in order to dance properly. Her humility is something that I did not expect of a Prima Ballerina Absoluta and a Dame.
Overall, a really enjoyable book.