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Tamara Geva (Russian: Тамара Гева, Жева, or Джева; 17 March 1907 – 9 December 1997) was a Russian actress, ballet dancer and choreographer. She was the first wife of dancer/choreographer George Balanchine.
She was born with the surname Zheverzheieva, sometimes spelled Gevergeyeva (Russian: Тамара Жевержеева), the daughter of Levko Zheverzheiev, whose own parents, although Tatar Muslims, founded a business, which their son inherited, which manufactured objects for the Russian Orthodox Church, including precious icons and ornaments, as well as gold lame and lace for church vestments. Levko Zheverzheiev was a patron of avante-garde artists.
She shortened her surname to Geva when she came to St. Petersburg, Russia. Her father, although raised Muslim, became a freethinker. Her mother was Swedish. Geva described her mother as a beautiful but selfish woman, frequently unfaithful to her husband. Geva's parents were unable to marry until their daughter was six years old.[clarification needed] As a child she lived in a huge 18th-century house which had a miniature theater and a theater museum. The museum is preserved and is currently known as The State Museum of Theater and Music.
Geva studied ballet privately, but after the Russian Revolution of 1917 she entered the Theatre School of the Soviet Ballet when it began to accept older ballet students for night classes. Here she met dancer and later choreographer George Balanchine, who was teaching ballroom dance classes. She married Balanchine in 1923 at age 16; the marriage was dissolved in 1926. She married Kapa (also known as "Karp" and "Kappa") Davidoff, né Garabed Tavitian (1897-1982) after her divorce from Balanchine. Davidoff, an actor and fashion executive, had previously been married to a flier, Lucia Davidova; Geva and Davidova became friends, and were often publicly escorted together by Davidoff. Geva married, lastly, American actor John Emery, the former husband of Tallulah Bankhead. Geva had no children.
Tamara Geva died on 9 December 1997, aged 90, at her home in Manhattan from natural causes.
While still in Russia, Geva began appearing professionally in ballet concerts. In 1924, together with Balanchine and Alexandra Danilova, Geva defected from Soviet Russia on a tour to Germany, after Diaghilev had invited them to join the Ballets Russes, where she danced until 1926. She also appeared in 1925 in a German production of A Midsummer Night's Dream as Oberon. In 1927, she introduced Balanchine's choreography to New York City, when she danced two brief solos by him. At the time she was touring with Nikita Balieff's Chauve-Souris, a touring revue which was composed of Russian emigres. On Broadway, Geva appeared in the musicals Three's A Crowd (1930), Flying Colors (1932) and Whoopee (1934).
In 1935 she performed with the American Ballet. This was Balanchine's initial company in New York. Geva immersed herself in film and theater work. In 1936, she was paired with actor Ray Bolger in the musical On Your Toes by Rodgers and Hart. For On Your Toes, she danced in a dramatic "Slaughter on Tenth Avenue" sequence and a balletic parody. One reviewer described her performance as "magnificent", adding "she can burlesque it with the authority of an artist on holiday". She went on to act in plays that demonstrated her great flexibility as a performer in productions of the works of Euripedes, George Bernard Shaw, and Jean-Paul Sartre. She starred with Raymond Massey in the London premiere of the anti-war play Idiot's Delight (1938), written by Robert E. Sherwood. She acted in Euripedes' The Trojan Women in New York in 1941, and in the Los Angeles production of Sartre's No Exit in 1947.
In 1953 Geva played the character of a sarcastic acrobat in a New York revival of George Bernard Shaw's Misalliance. The cast included Roddy McDowall and Richard Kiley. In 1959, Geva and Haila Stoddard created Come Play With Me a musical comedy with a score penned by Dana Suesse, which had had a short off-Broadway run. She was the choreographer for the film Specter of the Rose (1946), written by Ben Hecht. Her last performance was on screen in Frevel (1984), credited simply as Tamara. In her later years, she had several exhibitions of her paintings.