Not extended afterward, Balanchine and the set designer Oliver Smith, the co-director of American Ballet Theater, questioned her to lunch. Balanchine preferred to choreograph a principal role for her in a new ballet, “Theme and Versions,” and Smith requested her to sign up for the company.
“I thought for a moment and claimed no,” Ms. Moylan recalled in “I Don’t forget Balanchine.” “I had an opportunity to go back to Ballet Russe and dance all the massive old roles, and I favored that. Balanchine was astonished, I believe.”
But even at the Ballet Russe, she remained a signature Balanchine dancer.
“Her brilliance of design and style, her excellent technical facility, and her terrific personalized distinction are admirably exhibited here,” Mr. Martin of The Occasions wrote in a overview of a 1949 output of “Ballet Imperial,” “and Balanchine’s choreographic tribute to the good times of the Russian Imperial Ballet could scarcely have identified a a lot more eloquent instrument.”
Ms. Moylan joined Ballet Theater in 1950 and toured South The us and Europe, teaching herself French. She danced main roles in “Giselle” and “Sleeping Beauty” as properly as in Roland Petit’s “Les Demoiselles de la Nuit,” Balanchine’s “Apollo” and Tudor’s “Lilac Back garden,” among other will work.
In 1955 she joined the Metropolitan Opera Ballet, wherever she produced roles in Zachary Solov’s “Soirée” and in a quantity of opera ballets. She returned to operetta in 1957, appearing as the premiere danseuse in a new staging of “The Merry Widow,” with choreography once again by Balanchine.
Afterwards that calendar year Ms. Moylan married a longtime suitor, Robert Stanley Bailes, whom she experienced satisfied when the two ended up in “Song of Norway,” he as an understudy. She then retired from the phase. They moved to Costa Mesa, Calif., wherever they acquired a hamburger stand. Ms. Moylan experienced a son and labored with her spouse in the shop.