ABSTRACT
Lew returned from Germany in early July 1946. After the initial excitement of the reunion with Gisella and his family had subsided, he faced the question of his future career. Four years had passed since Lew had danced professionally. While he had escaped serious injury during combat, trudging across France had destroyed his once finely tuned leg muscles. At age thirty-seven Lew was too old to regain his former strength as a dancer. Fie might essay a comeback, but never again could he be the artist he had once been. One of Lew’s army buddies had offered him a job in the friend’s family business; it was something to fall back on if a career in ballet proved impossible. 1 But just as L.P. had been drawn back into the circle of family musical activities after the mill accident crushed his hand, Lew was drawn back to ballet by the strong influence of his older brothers. Willam had great plans for the future of ballet in San Francisco and an undying belief in Lew’s talent. Before the war, Lew’s presence had lent stature to Willam’s production of Swan Lake. Now Willam hoped his brother would someday figure prominently in the future of his company. Gisella, who was still performing, also encouraged Lew to return to the realm of ballet. 2 When Lew filled out his official discharge papers at Camp Beale that August, in the blank for occupation he entered “choreographer.”
