Hard to believe but it has been a year since the last Artist’s Muse profile – these are men who inspired and were subjects of 20th Century painters, photographers, and other artists. It was last January that we cast the spotlight on Jose “Pete” Martinez. Chuck Howard was profiled in September, 2022 and is currently being featured in George Platt Lynes photographs on exhibition at Childs Gallery in Boston. If you read our post and then take a look at their press release, you might surmise the primary source of their biographical material.
Our latest Artist’s Muse is William Weslow, a ballet dancer with an extraordinarily long career who was also a Broadway performer, artist, and masseur. He posed for George Platt Lynes’ camera during their brief relationship, and was later involved with choreographer Jerome Robbins. He posed nude for dance photographer Kenn Duncan when he was in his 50’s, looking as fit as in photos from 25 years earlier.
William Edward Weslow was born on March 20, 1925 in Seattle, Washington. His mother had been a Ziegfeld dancer, and he soon followed her lead. As a teen, Weslow studied with famed dance instructor Mary Ann Wells. His 1943 draft registration card lists him as a student at Broadway High School in Seattle. Later that year, he joined the Navy Coast Guard and was stationed in the Alaska.
After his stint in the Navy, Weslow headed to New York to continue his ballet study. He joined the Ballet Theatre, but soon turned his attention to the Broadway stage. He was in the original Broadway casts of two Ethel Merman vehicles: Annie Get Your Gun and Call Me Madam, the latter choreographed by Jerome Robbins. Besides touring companies, he also appeared on Broadway in the original casts of The Girl In Pink Tights and Wonderful Town with Rosalind Russell.
It was around 1951 that Weslow had his brief relationship with photographer George Platt Lynes. The affair was so fleeting that it did not garner a mention in Allen Ellenzweig’s recent Lynes biography. In David Leddick’s Intimate Companions, it is summed up in a single anecdote:
Dancer William Weslow, who had a transitory but more serious than usual romance with George Platt Lynes in the early 1950’s, evidently treated the photographer to the kind of temperament Platt Lynes had displayed to his admirers in the past. Dining at Platt Lynes’s apartment before a performance, Weslow had requested a steak because of the demanding dancing that was to be done that evening. Instead, Platt Lynes served him an elaborate veal dish, which the young dancer flung against the wall before leaving in search of a steak.
Lynes’s photographs of Weslow are also rare, due in part to the paper negative process that the photographer was experimenting with at the time. This cost-cutting technique gave the photos a quality that have been described as either “ethereal” or “muddy.”
When he wasn’t on stage, Weslow enjoyed painting and sketching, with an affinity for exotic birds, both real and imagined. His work garnered several gallery showings through the years.
Buffalo Courier Express (4/1/51) & New York Post Star (7/9/71)
New York Daily News (1/1/54) & (11/6/54)
In 1955, he originated the role of Levi Stolzfuss in the Amish musical Plain and Fancy. After nearly 10 years in musicals, he felt the need for a change. When the show closed the following year, he rejoined the Ballet Theatre for a brief stint before settling in at the New York City Ballet for the rest of his dance career.
Like his relationship with Lynes, Weslow’s dalliance with choreographer Jerome Robbins was so fleeting that most biographers fail to mention it. It is worth noting as it caused friction between the two while they continued to work together. Weslow is not alone in saying that Robbins could be vindictive, manipulating his dancers because of personal grudges, often pitting them against each other.
Weslow also caught the eye of New York City Ballet Director Lincoln Kirstein. He rebuffed his advances, stating “I don’t find you attractive, Mr. Kirstein.” “Who asked you to find me attractive?” Kirstein snapped, “I was just asking you to come over to the house for a few drinks and stay over.”
Later, the two had a chance meeting at a gay bathhouse. Weslow greeted him loudly with “Why Lincoln, hello! Come here often?” The married Kirstein did not respond and left the establishment.
In the mid 1960’s, Weslow began cultivating a side career as a masseur, working on fellow ballet dancers including Alicia Alonso and Edward Villella, who credited Weslow’s massages with extending his career by several years. Weslow makes a brief appearance as his masseur in the 1968 documentary Man Who Dances: Edward Villella.
In 1972, Weslow was dismissed from the New York City Ballet. He was 47 years-old and had been with the company for 14 years. In the book I Remember Balanchine, he recounts Balanchine telling him, “You’re too old. You have to leave company. We only want young, pretty dancers here. Old dancers – you see, when they get old they should just go away and die. This is what they should do, die. Because you’re not pretty. No youth… Besides, dear, you’re not going to commit suicide, are you?”
He replied; “To please you, no, I wouldn’t, Mr. Balanchine.”
“And that was that,” Weslow writes; “He didn’t say ‘You have been a good dancer’ or anything. It was just ‘Go away. Go away.’ I was close to tears. It was a terrible blow because I adored the company.”
Weslow’s massage work helped him to keep a connection to the dance world while easing into the next phase of his life, as he became known as “masseur to the stars.”
When interviewed later in life, a reporter recalled “He seemed to love Maria Tallchief and had a poster of her on the wall. He also had kind words for Allegra Kent. He could be quite sarcastic, compassionate, cranky and deeply moving remembering certain people and other things.”
Allegra Kent called him “the funniest comedian ever” while also noting his empathy for others. He could also be quite brutal in his assessment of those he had worked with. Of Kirstein he said, “There was cruelty in Lincoln.” Jerome Robbins, he told a biographer “should have been cut up in small pieces and burned in a microwave somewhere because he was so horrible to me.”
While photographing male nudes for his 2011 book Shades of Love, photographer Demitris Yeros recounts how a naked octogenarian William Weslow would repeatedly interrupt the photo shoot, arms waving to chase the pigeons from his veranda.
William Weslow passed away at age 87 on January 29, 2013 in New York City. He was remembered in a Dance Magazine article as “A flamboyant personality with a sassy comeback for any remark directed his way…. (he) was as colorful off stage as on.”
See also:
The Colorful World of Carl Van Vechten
Artist’s Muse: José “Pete” Martinez
Artist’s Muse: Donald Windham & Sandy Campbell
Artist’s Muse: Chuck Howard
Artist’s Muse: Randy Jack
Artist’s Muse: Ted Starkowski
Artist’s Muse: Wilbur Pippin
Artist’s Muse: The Mystery Model
Fire Island Muses of George Platt Lynes & The PaJaMa Collective
Revisiting George Platt Lynes’ Fire Island Muses
George Platt Lynes: In Touch Magazine (1982)
Kenn Duncan After Dark
When I began hosting my internet radio show 
