Chicago Allied Arts, Inc. was an organization formed in 1924 for the purpose of presenting small-scale ballet and music performances in Chicago.
In doing so, it brought together Eric De Lamarter's Solo Orchestra and the Ballet Intime of Adolph Bolm. Modeled somewhat along the line of Serge Diaghilev's Ballets Russes, the project was to be funded through the guarantees of individual sponsors. Composer John Alden Carpenter was one of the group's founders and took the lead in organizing the programs and attracting additional donors. Using his social connections, Carpenter assembled a list of supporters that included many of the most prominent names in Chicago society, including members of the Aldis, Goodman, McCormick, and Ryerson families. The earliest programs put on by Chicago Allied Arts also featured international guest stars, such as the ballerina Tamara Karsavina, to augment the dance ensemble. The first program, which took place at the Eighth Street Theatre on November 27, 1924, set the pattern that would be followed in subsequent seasons: the first half of the program presented the orchestra on stage, while the second part was devoted to dance. Bolm choreographed most of the dance pieces, many of which gave a prominent role to Ruth Page. Russian-born scenic designer Nicolas Remisoff, who had developed a reputation through his earlier work with the Chauve-Souris cabaret, created the front curtain, costumes, and sets for the entire first production, as well as the group's logo. These initial performances were met with critical praise and quickly followed by a second program in January 1925. Much of this same creative team reunited for a second and third season of programs (1925-1927), which perhaps were even more progressive in outlook. Among the highlights were a fully staged performance of Schoenberg's Pierrot Lunaire, the premieres of several new Bolm ballets, including Bal des Marionettes (Erik Satie) and Visual Mysticism (Aleksandr Scriabin), Page's The Flapper and the Quarterback (Clarence Loomis), and a special gala performance for the visiting Queen Marie of Romania (November 14, 1926). Although plans for an ambitious new season were announced for March 1927, that program never materialized. In July 1927, it was reported that Chicago Allied Arts, Inc. was to suspend its activities for one year, but the organization, which had been responsible for presenting some of the most innovative programs of new music and dance to take place in Chicago, never reemerged.
From the description of Chicago Allied Arts, Inc. records, 1922-1929. (New York Public Library). WorldCat record id: 84682299
