Point shoe worn by Alicia Markova as Giselle in her debut performance of the role with the Vic-Wells (now Royal) Ballet, Old Vic 1934. Signed, dated and dedicated to Cyril Beaumont.

Point shoe worn by Alicia Markova as Giselle, Vic-Wells Ballet, 1934. Pink satin point shoe, undarned, with ribbons attached and petersham band across front vamp and elastic loop at back of heel. Size 6.G, sole scored. Made by Anello and Davide. Inscribed on inner sole: ""Giselle" at Old Vic, / January 1st. 1934. / For Mr. Beaumont from / Alicia Markova."

Cyril W. Beaumont Bequest

One of a collection of signed ballet shoes given by various dancers to the dance critic and historian Cyril Beaumont.
The shoe was worn by Alicia Markova for her debut as Giselle which she danced with the Vic-Wells (now Royal) Ballet at the Old Vic on 1 January 1934. This was the first time that an English-born dancer had ever essayed the role and it was considered a milestone not only for British Ballet but for Markova herself. Giselle was to become one of her greatest roles and she danced it with various companies all over the world.
The soles of ballet shoes were often scored, either by the manufacturer or the dancers, to give improved grip on stage.
The shoe came to the Museum as part of the Cyril Beaumont Bequest.

Historical significance: An example of an English ballet shoe of the first quarter of the 20th century. Ballet shoes made in different countries are indicative of the different needs of the dancers and the choreography of the time.
The ballet shoe is the most personal of dance aretfacts, as each dancer is responsible for darning and stitching on the ribbons to suit her own personal preferences and each dancer 'wears' out the shoe in a different way, according to her physique and the role. The dancer darning shoes is a potent image in 20th century dance iconography, a symbol of at once her drugery and humility.
A shoe worn by a great dancer in a particular role on a certain night (such as a premiere) and signed, dated, and dedicated to the recepient, implying that the recepient was with the dancer at the time, attains almost iconic significance for balletomanes. This shoe is a perfect example, worn by a dancer who was to become one of the greatest ballerinas of her time, had already danced leading roles with the Diaghilev Ballets Russes, was to play a leading role in establishing ballet in Britain and giving her first performance of what was to become her greatest role and place her among the greatest interpreters ever of the part.

S.263-1979