Maurice Bejart (1927-2007).

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Maurice Bejart, born in Marseille, was always a figure of controversy. In continental Europe and Russia he was considered one of the major figures of 20th-century dance, comparable to a Balanchine or an Ashton. But in the English-speaking world, notably in New York and London, his reputation stood much lower, as a historically interesting, always theatrical fringe figure. His true measure is probably somewhere between the two extremes. His influence on European dance, especially through his emphasis on the male dancer, is unquestionable.

He studied with Lubov Egorova in Paris and with Vera Volkova in London. I first encountered him both as dancer and choreographer with Parisian pickup troupes. In 1949 he joined Mona Inglesby's International Ballet in London, where he danced in such works as Massine's Gaite Parisienne and proved a creditable Bluebird in The Sleeping Beauty. After a couple of years he moved to Sweden, dancing with the Cullberg Ballet and the Royal Swedish Ballet.

On his return to Paris, although continuing to dance, he set his sights on choreography, forming in 1953 his own Les Ballets de l'Etoile. But it was not until 1957 that he had his first major success with Sonate a Trois, set to Bartok and based on Sartre's play No Exit. His career really took off in Brussels where he choreographed his Sacre du Printemps, and established himself there for many years at Le Theatre de la Monnaie, his troupe touring internationally as Ballet of the 20th Century. Much later, in 1987 following management disputes, Bejart relocated to Lausanne, Switzerland with his company and school, Mudra.

Apart from the U.S. and Britain, Bejart choreographed everywhere, his versatility--from a ballet version of Wagner's Ring to The Merry Widow--making him welcome, almost, worldwide. He was also a major champion of talent--encouraging dancers as various as Jorge Donn, Paolo Bortoluzzi, and, yes, Suzanne Farrell.