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1945-1969 page 12

On another special occasion Doreen agreed to appear, for one performance, in a ballet choreographed by Geoffrey Cauley called Reverence, created in tribute to Adeline Genée. This was in 1987 for the 20th anniversary of the Adeline Genée Theatre, sadly, also the final production by Bush Davies before its closure. After exhaustive historical research, Geoffrey recreated a series of scenes and dances which Genée had made famous. This included the caractère, The Hunting Dance, from 1904. It was short and relatively undemanding. Doreen drove down to Charters for several rehearsals and costume fittings; she was such a happy and refreshing presence around the grounds - the students loved to see her. She prepared for the matinée performance in Joyce's office, in the Noreen Bush Centre, whilst chattering away nervously to this author. Suddenly, from her hand-bag, she produced four tiny boxes each containing exquisite ear-studs with equine depictions. "Now John, which pair should I wear?" After about twenty minutes procrastinating, and trying them all on in front of the mirror over and over again, I chose the largest pair - they were all so small - in the hope the spot would be able to highlight them. This short tale is offered simply to illustrate the desire for perfecton that Doreen, and any true artist, considers when presenting themselves to their public and, in this particular case, slavish to the memory of another great dancer. She went on to give a coquettishly charming performance and her dancing had an improvisational quality to it. Needless to say, no-one but me noticed the ear-studs!

Happily, like Stanley before her, Doreen, Lady Londonderry, continues to trumpet Bush Davies and remains a true friend. Read more in Bush Telegraph, memoires.

Doreen Wells and John Harrison


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