He was Diaghilev's right hand and, from what I have seen of him, I should say that no man was better served. His responsibilities were so vast and so all-embracing as to be almost illimitable. It may be said that short of actually composing the choreography of a ballet, he was responsible for the efficiency and smooth running of all future performances, once the details had been determined.
. . . .
He kept a watchful eye on the company's wardrobe, decided whether such and such a costume should be replaced or repaired, and to what extent, whether new embroidery or stage jewellery were to be purchased, or whether what was required could be adapted from a certain costume in store. He exercised a very strict economy upon all such expenditure and would not sanction the outlay of a shilling unless he deemed it necessary.
I remember just before a performance of L'Apres Midi d'un Faune, Mme. Chamie, who was one of the nymphs, approached Grigoriev with the entreaty that she might have a new costume.
"It is so ragged that I shall soon appear naked," she declared.
Grigoriev gave a swift glance at the costume and, turning away, observed:
"That will be charming, madam."
Diaghilev Ballet in London: a personal record by Cyril W Beaumont. 1940. Pages 238, 239-40.
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