Suzanne Ames truly is an example of a woman who had a lackluster career in Hollywood but an incredibly rich and rewarding private and professional life outside of Tinsel Town. She really is an inspiration, as you will see int he story of her life…
Suzanne Marguerite Ainbinder was born on December 31, 1931, in Chicago, Illinois, to Myron “Marcus “Ainbinder and Florence Grosse Ainbinder. Her father, a salesman by trade, was born in Illinois to immigrants parents from Poland.
Both Myron and Florence were lovers of the fine arts, and were more than happy when their only child got into singing from a young age – Suzanne her professional debut at age 4 by singing on radio station WGN in Chicago. She was also passionate about dance from the time she could walk, taking ballet lessons. The Ainbinders moved to Akron, Ohio for Myron’s work in 1937. They lived as lodgers with a building contractor and his wife.
Suzanne grew up in Akron and considered it her hometown. She attended Our Lady of the Elms, an independent Catholic college preparatory school immersed in the Dominican tradition for girls grades one through 12 and co-ed preschool through kindergarten. She was a member of the Elms chapter of the National Honor Society at the Elms school since her sophomore year and had the highest grades in her class several years in a row. She had a record of straight A’s and graduated with honors in 1949.
After graduating, she studied ballet and music in Cleveland, being chosen as a protege of ballerina Rosella Hightower. Then she moved to New York.
For a year, Suzanne was understudying four people in the Agnes DeMille musical “Gentlemen Prefer Blonds,” and was offered the dancing lead in the road company of “Call Me Madam.” The Ballet Theater was also after her for its European company. But she turned them all away in favor of her favorite – after auditioning she became a member of the Metropolitan Opera Ballet. She became a leading ballerina, performing not only in operas but at the Met during the regime of Rudolf Bing.
Suzanne’s first real success was a role in The Fledermaus. Here is a brief description of it:
The Metropolitan Opera thinks Akron’s ballet dancer, Suzanne Ames, who’s only 17, is old enough to play a woman of the world. Suzanne, the pretty daughter of Mr. and Mrs. Myron Ames, who used to live at 3 Cyril ter., Akron, but moved to New York, has been as-signed the role of “Ida” In the Met’s April 5 production of “Fledermatis” here. “Ida” is a famous Vienese ballerina who is much favored by the gentlemen, and who educates her younger sister in the ways of the wicked world of the 1800s. . CURIOUSLY, Patrice Mun-sel, a veteran of the Met, will , play the younger sister to Suzanne’s “Ida.” “I thought I’d be playing the part in the road production of ‘Fledermaus’ in Chicago and Rochester,” Suzanne said, “but then I saw my name on the casting sheet for the New York showing.” “Patrice Munsel, who’ll play my younger sister, is about 10 years oMer than I am,” Suzanne, a graduate of Our Lady Of The Elms, in Akron, said.
It was via MET that she got a chance to appear in Hollywood movies, and off she was to Los Angeles.
Suzanne’s first movie was the legendary musical that half the dancers appeared in Two Tickets to Broadway. Sorry to say, despite the stellar cast it’s a purely mid tier musical – no big trash nor no big thrill. In view of all the other good musicals to watch, I guess this one is a skip.
Slightly better was The Las Vegas Story, a sultry, heavy film noir with a typical love triangle and interesting actors – Jane Russell, Vincent Price and Victor Mature. No,it’s not a staple of the genre nor a particularly good movie, but it has a strange charm of its own and the actor really work somehow (despite the fact that Mature was an abysmal thespian). Then came a small role in The French Line, the infamous Jane Russell extravaganza with tons of beautiful girls and thin plot. Yep, you can’t say that Suzanne was ta all visible in it, flaked by 100 of other wanna-be starlets.
Suzanne took a short breather from Hollywood, and returned two years later in Son of Sinbad, a typical colorful, happy-go-lucky 1950s costume pastiche. Just mix handsome actors and actresses, lavish sets and sumptuous costume with a hokus exotic story and you have a box office bonanza. Far from any semblance of art, but hey, they made it for the money not the artistical achievement. Her next feature, Kismet, was made in the same vein (Exotic location, tons of pretty girls), but overall it’s a better movie, with a slightly better story and some pretty good musical numbers (and Ann Blyth! Gotta love Ann Blyth!!).
Unfortunately, as time went by, Suzanne’s career didn’t seem to soar, and the quality of her movies never reached a satisfying level. She was in I Married a Woman, a lesser effort for both of it’s stars, Diana Dors and George Gobel. It’s about a cranky middle aged man married to a gorgeous model. Yawn.
It’s sad that Suzanne’s last movie was by far the best one she even appeared in – Bells Are Ringing. The man highlight of th emovie is of course, it’s star, Judy Holiday – she was simply wonderful, so buoyant, bubbly, irresistible, truly one of the most talented comediennes ever to grace the silver screen. She is aptly supported by Dean Martin – and the movie is all about them, their relationship, their singing and dancing. Everything else is just a bonus – but a nice and lofty bonus, with a strong supporting cast, great music and solid (if a bit stagy) direction. A recommendation for sure!
That was it for Suzanne’s movie career.
When Suzanne lived in New York as a MET dancer, she said of her life:
SUZANNE finds the life here rigid. She can’t have dates during the week because she must be fresh for the rehearsals at the Met. “I’ve had a few dates with Cesare Siepi. He’s quite young and very nice.”
Siepi and Suzanne dated for some time, but were over by the time she left for Hollywood. When she came to Hollywood and was a Goldwyn Girl, she was five feet seven and one-half inches tall. Weight: 121 lbs, Hips 36 Waist 2o. Unfortunately, her career as a Goldwyn girl and actress never left the ground, and she returned to New York for good in 1960.
Suzanne traveled a great deal with MET, and appeared in a great number of plays. Of her experiences in American cities, Suzanne said:
“Minneapolis is one of my two favorite cities. The other is Atlanta, Ga. People here are so literate. They understand opera and don’t ask silly questions about it; they meet and talk to you as friends.”
Suzanne said countless that she liked dancing in the Metropolitan Opera Ballet, and was proud of the fact that occasionally the Met gives her an opportunity to sing as well as dance. Her dedication to the arts was boundless, but her private life was very scantly covered in the press. Finally, Suzanne married Albert Landry in 1975. Here is a short bio of Landry:
Born on Oct. 9, 1915 in New York City, he was a U.S. Army veteran of World War II, having participated in the D-Day invasion in the European theater. He received his master’s degree in art history from Columbia University in New York in 1948 and advanced studies in painting from Atelier Fernand Leger in Paris, France. An art dealer, historian and consultant, he had served as assistant director for Galerie Villand-Galanis until 1954. He was director of special projects for Associated American Artists from 1954-59 and president of Albert Landry Galleries from 1959 to 1963. He was executive director with the J. L. Hudson Co. and an advisor to the Detroit Institute of Arts.
Mr. Landry was also vice-president of Marlborough Galleries in New York until 1968 when he became adviser and curator for the London Arts Group. He served as publisher and distributor of original graphics and multiples for the Nabis Fine Arts of New York until 1974. An associate for the Gruenebaum Gallery of New York from 1977 thru 1980, he continued working as a private dealer and art consultant for major corporate clients, including Aldon Industries, Atlantic-Richfield, Avon, Ford Motor Co., Smith Barney, International Paper and US Steel. He was also a consultant and associate for Landry-Settles Inc. and the David Settles Gallery Ltd., both of Houston, Texas and was affiliated with Stephen P. Edlich & Co. until 1986.
Suzanne danced until the mid 1970s. Here is a short description of what Suzanne did after her retirement from an active dance career – she stayed in the industry as an knowledgeable insider with much to offer:
After retiring as a dancer, she became an executive of Atlanta’s Performing Arts Center and then head of a U.S. State Department cultural exchange program that established a ballet company in Rio De Janeiro, Brazil. Why? Well, because in 1968, she was sent to Brazil along with Arthur Mitchell and Gloria Contreras by the U.S. State Department at the behest of the Brazilian Ministry of Culture to assist in the establishment of the first National Ballet of Brazil and maintained close ties to the company.
Landry went on to serve as director of General Copyright Administration for Frank Music Corporation, CBS/SK Songs and EMI Music Publishing.
Eventually, she went into music publishing and became a copyright specialist. She managed the administration of Frank Music Corp., Paul McCartney’s publishing companies, and then became a vice president for EMI Music Publishing in New York.
A crowning achievement of Suzanne’s life happened when the she established the new Suzanne Ames Landry Performing Arts Studio at the Our Lady of the Elms School in Akron, Ohio, her alma mater, through a bequest of half of her total estate. Truly, Suzanne lived a fulfilling and very active life!
Following many years in New York City, she and her husband moved to Saratoga Springs, where they had vacationed for many years. Never the one to sit idly, she continued working in Saratoga Springs: Suzanne provided volunteer work at the National Museum of Dance and gave many pre-performance lectures at the Saratoga Performing Arts Center. Here is a short description of her volunteer work:
Suzanne Ames Landry considers the National Museum of Dance and Saratoga Performing Arts Center as Spa City treasures.
She is no less valuable to them as a volunteer, drawing upon her own unparalleled career as principal ballerina with the Metropolitan Opera Ballet.
Whether giving tours or organizing files, she pursues each task with heartfelt enthusiasm stemming from a lifelong love of the arts.
“Anything they want me to do, as long as it’s not fattening, I’ll be happy to do,” Landry said with a laugh. “This is the only National Museum of Dance in the United States. It is a jewel. What it does is tell the history of dance, which is important.”
There’s no need for Landry to read from a text when giving museum tours. She simply relates much of her own personal experience and especially likes sharing stories with children.
“You have to give back the feeling of it,” she said.
She also organizes archives at the SPAC and the Dance Museum.
“Everything has to be filed,” she said. “Not everybody like files. I find it extremely relaxing to get these things in order. Once it’s in order, anybody can find it easily.”
SPAC opened in 1966, and Landry has organized clippings, reviews and programs of virtually every classical and popular artist who’s ever performed there.
“You have to have a library and it has to be a logical one,” she said. “It’s your background and helps you keep going forward. It’s something I find very interesting.”
Landry also instructs dance history classes at the museum. One program, called “Dancing Through Time,” is designed specifically for people ages 55 and older.
She also does historical research for exhibits such as one now showing at the museum called “Classical Black,” a look at black dancers who danced classical ballet.
On June 20, Landry will present a special lecture on “The Evolution of the Firebird Ballet,” including a history of the Diaghilev Ballet Company and notes on choreographers Mikhail Fokine and George Balanchine. The talk is set for 7 p.m. at Saratoga County Arts Council’s building on Broadway.
“That’s what I saw growing up,” she said. “I’ll do anything I can to give something back to this lovely city.”
But at the same time, Landry admits to having a slightly selfish motivation, because her volunteerism keeps events and activities alive that she thoroughly enjoys.
“You’re paying yourself by having these venues,” she said. “If the volunteers don’t help, where are they going to get a cast of thousands?”
Landry is also involved with Lake George Opera Company, which performs at the Little Theater in Saratoga Spa State Park. This summer, she’ll be doing brief talks prior to the production of Mozart’s “Abduction from the Seraglio.”
Suzanne’s husband Albert died on May 13, 2001. Suzanne continued to live in Saratoga Springs and was very active in the local civic life.
Suzanne Ames Landry died on June 6, 2008 in Saratoga Springs, Florida.