YOU KNOW I LOVE L.A. AND ONE OF THE THINGS I LOVE THE MOST WITH OUR CITY ARE ITS HIDDEN JUELZ.

IT'S KIND OF OUT OF THE WAY PLACES THAT YOU STUMBLE ACROSS BY ACCIDENT.

FOR EXAMPLE WE'RE STANDING ON THE SIDE OF BUSY AND JAMMED UP SUNSET BOULEVARD.

IN FACT WE'RE AT THE INTERSECTION OF SUNSET AND POINT SETTA.

THE TRAFFIC IS MOVING SLOWLY.

THERE IS A LOT OF FOOT TRAFFIC IT'S A BUSY NEIGHBORHOOD.

BUT LET ME SHOW YOU SOMETHING.

IF YOU'RE WALKING DOWN THIS STREET AND YOU COME TO THIS LITTLE ALLEYWAY AND YOU LOOK DOWN THERE, EVEN THOUGH THAT BUILDING DOWN THERE IS SMALL AND KIND OF OUT OF THE WAY, THAT BUILDING AND WHAT'S INSIDE THAT BUILDING IS AN HONEST TO GOODNESS LOS ANGELES TREASURE.

>> LOOK AT ME PLEASE.

YES, AND TWO, AGAIN.

CATIE LIFT THE HEEL UP AND NOSE UP.

ONCE MORE.

NATASHA LOOK INTO ME.

NOSE TO ME MICHELLE.

THAT'S RIGHT AND SUDLE, OKAY.

LADIES.

NOW CAN I SEE HOW YOU TURN PLEASE.

MICHELLE, OKAY THAT WAS FINE.

>> Huell: THIS IS AN AMAZING PLACE HERE.

WELL--.

>> WELL I'M GLAD IF YOU THINK SO WE'RE HAPPY TO HAVE YOU HERE.

>> Huell: TELL US WHERE WE ARE AND WHAT THIS PLACE IS.

>> HERE IN THE MIDDLE OF THIS HOLLYWOOD AND THIS HAS BEEN HERE FOR 36 YEARS AND NOBODY KNOWS ABOUT IT'S A SENSE OF A HIDDEN PLACE.

>> Huell: AND WHAT IS THIS PLACE?

>> PLAIN AND SIMPLE IT'S A BALLET STUDIO WHICH TEACHES CHILDREN AND ADULTS UP TO 3 AND A HALF TO UP TO PROFESSIONAL AND PROFESSIONAL PEOPLE COME IN TO TAKE PLACES.

SO WHEN FAMOUS PEOPLE COME TO TOWN, THEY COME TAKE CLASSES.

>> Huell: THIS HAS BEEN HERE SINCE--.

>> 19 64.

>> MY DAD MYSELF AND MOM.

HIS PICTURE IS UP THERE.

>> Huell: THIS IS YOUR DAD RIGHT HERE.

>> SOONER OR LATER, YOU'LL GET THAT SPOT.

YOU CAME HERE FROM RUSSIA.

>> WE CAME FROM RUSSIA AND WE LEFT WWII.

WE WERE IN GERMANY FIVE YEARS AND ARGENTINA FOR 10 YEARS.

AND WE MADE IT TO UNITED STATES WITH AN ENGAGEMENT TO PERFORM MYSELF.

SO LUCKY THE STARS WERE WITH US.

THE AMERICA GOVERNMENT FELT WE WERE OF SOME USE HERE.

WE WAITED 11 YEARS FOR A VISA.

SO TOOK A LITTLE TIME BUT MADE IT.

>> Huell: WHEN YOU FIRST CAME TO CALIFORNIA THERE WERE NOT THAT MUCH RUSSIAN HERE LIKE TODAY.

>> NOT AT ALL WE WERE PROBABLY THE ONLY ONES.

WHEN YOU CAME, YOU HAD TO LEARN THE LANGUAGE.

SO I SPEAK A LITTLE BIT.

WE CAME NOVEMBER OF ' 63 BY FEBRUARY OF 64 THIS STUDIO WAS OPENED.

>> Huell: AND YOUR MOM HAS BEEN PLAYING THE PIANO EVER SINCE.

>> YES EVERY DAY.

>> Huell: LOOK LOUIE, SHE REALLY GETS INTO THIS.

YOU LIKE PLAYING THAT PIANO DON'T YOU?

>> OH YEAH, IEFSH PLAYING HUNDRED YEARS.

>> Huell: AND YOU PLAYED THE SAME--FOR THE EXERCISES.

>> YEAH, FOR EVERYBODY.

>> Huell: NOW WERE YOU A DANCER?

>> NO NO, I NOT FIT TO DANCER.

MY HUSBAND AND SON.

>> Huell: BUT YOUR A TERRIFIC PIANO PLAYER.

>> I HAD TO HELP.

>> Huell: LET'S HERE WHAT YOU HAD TO PLAY WHEN YOU WERE EXERCISING.

OKAY.

♪ ♪.

>> Huell: YOU HAVE AN ASSISTANT DOING IT NOW.

BUT THIS IS THE WAY YOU START THEM OFF.

>> THIS IS THE BASIC CLASS AND IT HAS A CERTAIN AMOUNT OF STEPS THAT THEY HAVE TO LEARN IN EACH GRADE.

IT'S JUST LIKE GOING TO SCHOOL.

AND THEY LEARN THEIR AMOUNT OF STEPS AND THEN PERFECT THEM THROUGH THE YEARS.

SXL AND WHEN PROFESSIONAL PEOPLE COME IN, THEY DO THE SAME STEPS.

MY ASSISTANT I TRAINED HER FROM 0.

>> Huell: IS SHE FROM RUSSIA.

>> NO SHE IS CALIFORNIA BORN.

A TWO AMERICAN BUT I TRAINED HER HERE AND HAS BEEN ASSISTING ME FOR MANY YEARS.

>> Huell: WHERE DO YOU GET YOUR STUDENTS.

>> TO TELL YOU THE TRUTH, I DO NOT KNOW.

>> Huell: WHY ARE YOU LAUGHING?

>> ONE BRING THE OTHER ONE.

AND HE EVEN HAS TWO SISTER THE ONE IN GREEN AND WHITE.

SO THEY BRING OTHER STUDENTS.

>> Huell: KIND OF WORD OF MOUTH FROM ONE TO ANOTHER.

>> AND WE HAVE SOME PERFORMANCES AND HE WAS ON TELEVISION.

HE WAS DANCING HIMSELF THERE ARE PICTURES.

AND THINGS LIKE THAT.

>> Huell: YOU HAD QUITE A PROFESSIONAL CAREER AS WELL.

>> I'VE DONE A LOT OF WORK.

I STARTED DANCING AT AGE FOUR AND I'VE BEEN ON MY FEET EVER SINCE.

SO OF COURSE, I STARTED PERFORMING.

>> Huell: SHE'S DOING WELL HERE.

>> TELL US ABOUT IT.

>> FIVE-YEAR-OLD.

>> Huell: ALREADY DANCING.

>> I THINK YOU BETTER START PLAYING.

>> SO THAT'S HOW IT GOES.

>> Huell: SO YOU WORK TOGETHER AS A TEAM--YOUR MOM.

>> THERE WAS LOTS OF OTHER PEOPLE.

MY DAD, AFTER THE WAR, WORKED FOR THE RED CROSS AND THEN HE BECAME SUPERINTENDENT OF ART FOR ALL OF THE GERMANY FOR GENERALAL EISENHOWER.

THE HEADQUARTERS WERE IN GUARD.

SO THEY FELT THEY WANTED TO GIVE ENTERTAINMENT FOR THE TROOPS.

SO HE WAS IN CHARGE OF STARTING THE WHOLE ARTS ACTION IN GERMANY.

SO FIVE YEARS OF NON SLEEPING AND 24 HOURS A DAY, THAT'S WHAT HE DID.

>> THE RED CROSS WORKING FOR THE RED CROSS.

>> Huell: YES HE GOT AROUND.

>> THAT'S HOW I STARTED AS A LITTLE CHILD PERFORMING WITH, OF COURSE, HE HAD PROFESSIONAL DANCERS ADULT.

BUT THE ATTRACTION WAS MY SAILOR DANCE.

AND THAT HAD TO BE REPEATED.

AND THEN I DID A LITTLE PADA DANCING WITH HER A YOUNG LADY.

SO FROM THAT MOMENT ON I MADE MY LIVING WITH MY FEET.

ONCE MORE CAN I SEE THE KNEE TURNING THIS WAY, PLEASE.

LE AND HOLD.

OKAY.

YES, HANNA CAN I SEE?

KNEE TURNS TO ME AND THE HEAL HAS TO GO UPWARDS.

CAN YOU GET THE NOSE UP, LOOK AT ME.

THE LEG IS NOT STRAIGHT.

YES!

I'M WATCHING FOR THAT.

I'M GOING TO GO TO THE NOSE.

TURNING THE HEEL FORWARD.

HOW ABOUT TOUCHING, I KNOW YOU CAN DO THAT, SEE I KNOW YOU CAN DO THAT!

CATIE, YES YOU GO UP.

NOW CAN YOU HOLD IT THERE?

OKAY.

NOW LIBA GOING TO GO UP TO THE NOSE.

YES THAT'S FINE.

NOW YOU'RE TRIG.

CAN I GET YOUR FACE, OKAY.

>> Huell: THIS IS YOUR DAD OVER HERE AND WHAT A DISTINGUISHED MAN HE WAS.

>> THAT'S MY DAD AND THERE IS AN OLD PICTURE OF MINE ABOUT THE SAME TIME.

>> YOU LOOK MUCH ALIKE.

>> PROBABLY BY NOW, YES.

>> Huell: THESE ARE ALL PEOPLE OF DANCERS OR STUDENT.

>> THAT'S RIGHT, THIS IS I CAN SHOW YOU A COUPLE OF THINGS.

THAT IS ROBERT FOX WORTH I DID CHOREOGRAPHY,.

>> Huell: WHAT IS THIS?

>> THIS IS MY PICTURE.

ALL OF THESE PEOPLE HAVE GONE CAREERS OF THEIR OWN NEW YORK BALLET AND SO ON.

SO ALL OF THESE PICTURES HAVE A STORY.

THIS IS FROM THE PARTY WITH PETER SELLERS.

AND I KEEP THIS PICTURE BECAUSE I CAN PROOF I DANCED WITH AN ELEPHANT.

MOST DANCERS DON'T DO THAT.

I HAD FUN WITH THAT ELEPHANT.

>> Huell: HERE'S YOUR OFFICE RIGHT HERE, WHICH IS FILLED--OH LOOK AT THE SIGN HERE.

BALLET MASTER.

>> THAT'S RIGHT.

A SIMPLE DENOMINATION.

>> Huell: NOW LOOK AT THESE PICTURES HERE, WHO IS THIS?

>> THIS IS MY DAD'S PICTURE.

>> Huell: WONDERFUL SHOTS.

AND THAT PAINTING HOUSE IN PINA.

>> Huell: IN RUSSIA.

>> YES.

>> Huell: THIS IS YOUR DAD.

>> YES.

>> Huell: THAT'S WONDERFUL.

ALL OF THESE ARE FROM THE CITY.

NOW THIS A PICTURE OF YOU AND YOUR DAD.

>> THAT'S CORRECT.

I JUST SAW THIS, THIS IS YOU DO LOOK VERY MUCH ALIKE.

YOU AND YOUR DAD TOGETHER.

SO DID YOU USED TO DANCE WITH YOUR DAD.

>> NO BUT HE CAME ON STAGE IN HIS OLDER YEARS, AN OLDER MAN TO WALK ON.

HE WOULD STILL DO THE WALK I'VE WALK-ONS.

>> Huell: AND YOU HAVE ALL YOUR PAINTINGS AND PICTURES.

THIS IS A WONDERFUL COLLECTION OF WORK.

OH, BOY YOU'VE GOT IT ALL HERE.

THIS IS LIKE A LITTLE MUSEUM.

UP HERE AT THE CORNER WHAT IS THIS.

>> I DID A FILM WITH VA VALENTINO,.

>> Huell: THIS IS YOU AND YOUR DANCE PARTNER.

>> YES.

>> Huell: NOW THIS IS ANOTHER PART OF THE STORY BECAUSE YOU HAVE PARENTS AND SIBLINGS AND FRIENDS AND RELATIVES COMING BY TO WATCH AS THEIR CHILDREN DANCE.

>> MANY TIMES THE PARENTS COME.

MANY TIMES ALSO PEOPLE COME FROM OUT OF TOWN LIKE NOW VACATION TIME.

AND THEY HAVE HEARD OF THE STUDIO.

>> Huell: THEY JUST SIT AND WATCH.

>> THAT'S RIGHT AND ENJOY THE VIEW.

INSTEAD OF GOING TO THE "HOLLYWOOD BOWL" DOWN THE STREET.

>> Huell: A LOT CHEAPER.

>> OF COURSE.

BUT IT'S JUST FOR PEOPLE WHO LOVE THE ART OF COURSE.

>> Huell: I'M JUST LOOKING OVER YOUR SHOULDER, THIS IS YOU ISN'T IT.

>> YES A PICTURE TAKEN HERE.

>> Huell: IN THE STUDIO.

>> IN THE STUDIO.

>> Huell: AND LOOK AT THIS.

WITH YOU?

>> THE KIND THAT WE'RE DOING TURNING POINT AND HE WAS IN TOWN AND THE REASON FOR THIS PICTURE, YOU NOTICE HE IS I'M THE ONE IN COSTUME AND HE'S IN CIVILIAN.

THAT'S WHY THE PICTURE IS UP THERE.

ONE, TWO, THREE, WHERE THE LEG IS, BACK.

ONE, TWO.

THREE, FOUR AND FIVE--TWO, THREE, FOUR--YES LADIES.

THAT'S FIVE.

HOW UP ONE AND TWO AND THREE AND FOUR.

FEET UP TWO, THREE, FOUR.

AND ONE AND TWO AND--LOOK AT YOUR KNEE PLEASE.

ONCE MORE.

NOW UP.

>> Huell: NOW WHAT IS IT LIKE TO WORK WITH SMALL CHILDREN?

HOW ARE THEY AS FAR AS LEARNING BALLET AND THE DISCIPLINE OF BALLET AT THIS AGE.

>> I THINK THAT AS YOU CAN SEE THE CHILDREN DO VERY WELL.

THE THING IS STARTING THEM PROPERLY.

WHICH MEANS WHEN THEY COME TO CLASS, YOU HAVE TO GIVE THEM LOVE.

THE MAIN THING IF THEY FEEL THAT YOU'RE ON THEIR SIDE, THEY ARE RESPONDING KIND.

IF THE TEACHER IS A LOOF OR YELLS OR SCREAMS, IT DOES NOT WORK.

>> Huell: AND YOU HAVE PATIENT.

>> YES, FAR MOST PATIENCE.

YOU CAN DO WHATEVER THEY NEED.

>> Huell: YOU'RE NOT USE TODAY TURNING IT OVER LIKE THIS.

>> NO THAT'S FINE.

>> Huell: YOU'RE THE MAN.

>> YOU HAVE TO KEEP AN EYE, YOU CAN HAVE 50 DANCERS DANCING WHETHER IT WAS MR. PALENCINO THEY WOULD BE IN A CORNER AND WATCHING EVERY STEP, AND IF YOU DIDN'T DO THAT.

>> Huell: SO EVEN THOUGH WE'RE TALKING, YOU KNOW EVERYTHING THAT'S GOING ON THERE?

>> EXACTLY RIGHT.

BUT GOING BACK TO YOUR QUESTION, THE THING YOU DO WITH THE CHILDREN IS GIVER THEM LOVE AND MAKE THEM LOVE WHAT THEY DO.

ONCE THEY LIKE WHAT THEY DO YOU CAN ASK FOR DIFFICULT THINGS AND THEY ARE WILLING TO TRY AND AS YOU CAN SEE THERE IS NO DISCIPLINE WHATSOEVER AND EACH CHILD IS FROM A DIFFERENT NATIONALITY.

THAT'S THE NICE THING.

EACH CHILD FROM A CLASS IS FROM A DIFFERENT BACKGROUND.

SO YOU HAVE A MINI UNITED NATIONS.

YOU HAVE PEOPLE FROM LATIN AMERICA, RUSSIA THE OLD REPUBLICANS OF RUSSIA, AND YOUNG LADIES FROM GERMANY.

>> Huell: YOU'VE BEEN LONG ENOUGH TO HAVE A SECOND GENERATION GOING HERE.

>> ALREADY THIRD.

I'M SO OLD THAT PEOPLE COME BACK AND THEY SAY I'M BRINGING YOU MY GRANDDAUGHTER AND THEY DO CLASS WITH ME AND THEN THE DAUGHTER AND NOW SHE'S MARRIED AND HER CHILD IS ALREADY FOUR OR FIVE.

YES, IT'S HAPPENING.

WE'VE BEEN VERY LUCKY FOR THAT THAT WE'VE BEEN HERE.

THAT THEY CAN FIND US BACK.

>> Huell: AND IF I HAVE A FEELING THAT IF I WOULD HAVE COME HERE 35 YEARS AGO, IT WOULD HAVE LOOKED AND SMELLED AND FELT JUST ABOUT LIKE IT DOES NOW.

YOUR MOM WOULD BE PLAYING ON THE PIANO.

YOU WOULD BE OUT THERE WORKING WITH THE KIDS.

>> THAT'S RIGHT.

>> Huell: IT WOULD STILL HAVE THE SAME AMBIANCE.

>> THAT'S RIGHT.

REAL CLEAR.

ONE AND TWO THREE, YES LADIES.

NEXT RIGHT FOOT.

GO MICHELLE.

RIGHT FOOT.

YES, OKAY.

YES.

SIMONA.

ONE TWO, THREE, OKAY.

CATIE.

RIGHT FOOT UP.

THAT'S RIGHT.

WAIT WAIT WAIT OKAY.

NOW, NOW, OKAY.

NOW LET'S GO FROM LEFT LEG GOES IN BACK AND WHAT DO I GET?

PARISHA.

YES.

NO HARA.

THAT WAS NOT YOUR RIGHT FOOT.

YES, SIMONA, OKAY.

FIVE, SIX, SEVEN, EIGHT, LEFT LEG, LEFT LEG.

ONE MORE TIME.

A LITTLE FASTER.

ONE, TWO, THREE, GOIT GOIT, LEFT LEG MICHELLE.

LET'S GET IT UP.

OKAY.

OKAY.

TWO,.

>> SO THAT IS THE DIFFICULTY TO MAKE THE DECISION DO YOU WANT TO KEEP THE FLOOR MINK OR AT SOME POINT YOU START TRANSMITTING TO THE NEXT GENERATION.

SO IN MY CASE, MY DAD SAYS, YOU CAN DANCE BUT NOT ALL YOUR LIFE.

SO YOU HAVE TO LEARN HOW TO TEACH.

SO HE HAD ME ASSISTING HIS WORK.

I SAID I'LL NEVER USE IT BECAUSE I THOUGHT HE WOULD GO ON FOREVER.

AS UNUSUAL HE LEFT US AND I TRAINED MY ASSISTANT AND YES MORE OR LESS LOOKING THE SAME.

>> IT'S A MATTER OF LOVE.

I INSTILLING THE CHILDREN THE LOVE FOR THE ART.

AND THEN WHETHER THEY BECOME, DOCTORS OR ATTORNEYS, THEY STILL BECOME A GOOD PERFORMED AUDIENCE.

ONE, TWO, THREE, FOUR, YES NUBA, NOW BEND THE KNEES.

CHIN UP A LITTLE HIGHER WHEN THE LEG IS BACK.

YES NATASHA.

POINTING THE TOE A LITTLE KNOW.

NATALIE, CAN I SEE THE NOSE UP.

UP TWO, THREE, HIGHER MARGARITA.

YES MICHELLE THAT'S FINE.

FOUR, FIVE, TOOáE TWO, NOW HEELS DOWN.

>> Huell: NOW HERE'S THE LADY WHO WROTE US THE LETTER AND TOLD US ABOUT THIS PLACE.

YOU'RE HERE GETTING READY TO TAKE AN ADULT CLASS.

YOU HAVE TWO DAUGHTERS TAKING CLASSES.

>> THAT'S RIGHT.

>> Huell: WHO DID YOU FIND THIS PLACE.

>> MY HUSBAND FOUND THIS PLACE.

WE USED TO DO A GROCERY SHOPPING AT RALPHS AND HE WOULD SEE THIS LITTLE SIGN BALLET ARTS.

AND WHEN IT WAS TIME FOR THEM TO START TAKING BALLET LESSONS, MY OLDEST WAS THREE, AND WE CAME HERE FOR A SHORT HIM AND BETWEEN NURSERY SCHOOL, WE MOVED AND WENT TO ANOTHER BALLET SCHOOL.

AND THEN AGAIN WE REDISCOVERED THIS PLACE AND IT WAS SO IDEAL.

AND I FEEL THAT COMING HERE, THEY'RE LEARNING THE REAL BALLET TRADITION.

>> Huell: IT'S LIKE THE OLD SCHOOL.

>> RIGHT.

AND I'M GERMAN, I WAS BORN IN GERMANY AND RAISED THERE PARTIALLY SO FOR ME, THIS IS MUCH MORE WHAT I WAS BROUGHT UP WITH.

THAN, YOU KNOW, WHAT YOU SEE IN A LOT OF SCHOOLS THAT TEACH DANCE.

>> Huell: TO WATCH HIM WORK.

>> IT'S FANTASTIC.

>> Huell: IT'S GREAT.

THE RAPPORT HE HAS WITH HIS STUDENTS AND THE LOVE HE HAS FOR THE DANCE.

>> IT'S RARE TO FIND SUCH A GOOD EDUCATOR.

THIS WOULD BE GREAT FOR THEM INTO THE WORLD OF DANCE AND CULTURE.

AND ALSO I FELT THAT THIS IS THE WONDERFUL PART OF LIVING IN A CITY LIKE LOS ANGELES.

THAT WE HAVE JUST IN CREDIBLE DIVERSITY.

WITH THE ENTIRE HISTORY BEHIND IT.

AND YOU KNOW, IT'S A PASSING DOWN OF VERY VERY OLD TRADITION.

AND IT'S ALWAYS ONLY BEEN HANDED DOWN FROM TEACHER TO STUDENT.

YOU KNOW, IT'S NEVER BEEN A RECORDED TRADITION.

SO IT'S REALLY AMAZING TO HAVE THEM FEEL THAT THEY ARE PART OF THAT.

>> Huell: AND THAT TRADITION CONTINUES.

>> THAT'S RIGHT AND THAT TRADITION CONTINUES FOR THE NEXT FEW GENERATIONS.

>> ONE, TWO, THREE, FOUR, FEET UP.

TWO, THREE, FOUR--YES LADIES.

THAT'S FIVE.

NOW UP, ONE AND TWO AND THREE AND FOUR UP, THREE, FOUR, AND ONE AND TWO, LOOK TO ME PLEASE.

ONCE MORE HIGHER CATIE.

TWO, NOW LEG GOES UP, ONE AND SUT, I SAID BACK.

GOOD.

HEEL FRONT AND SHOOT OKAY, OKAY.

STOP STOP STOP ONE SECOND.

ARM GOES FROM FIRST TO SECOND AND NOSE GOES UP, THAT'S RIGHT THEN WE GO ARM THROUGH UP AND THIRD AND WE DO GLISAD AND THAT MEANS TO DO WHAT?

TO SLIDE AND THE HEEL AGAIN GOES UP IN FRONT, AND THE HEEL GOES FORWARD ON THE SIDE.

NOW LET ME SEE THE FACE, YOU NEED WHEN THE LEG IS UP AND SIDE, GOOD.

ONCE MORE HEEL ONE, YES SIMONA THAT WAS FINE.

AND YUMA THAT WAS RIGHT.

REAL CLEAR, SHOOT, AND SIDE, OKAY.

NOW LADIES WE GO UP AND SHOOT AND, HIGHER.

GOOD.

HEELS UP.

YES GOING UP AND CHECKING COME ON HANNA, HEELS, OKAY SIMONA.

UP, NOW CATIE CAN I SEE.

SUPA LOOKING UP TO MY HAND AND GOOD, AND THAT'S RIGHT.

AT CAN I SEE JULIA, LOOKING AT THE UP HEAD.

THAT'S RIGHT.

A LITTLE HIGHER, NOW NATALIE CAN I SEE HOW HIGH YOU GO PLEASE.

OKAY.

HEELS ONE, NOW MICHELLE, MICHELLE,[SPEAKING LATIN]AND NOW RIGHT-HAND GOES ON THE BAR.

OKAY.

NOW THAT WAS FINE.

♪♪♪ "CAPTIONING EQUIPMENT DONATED BY LLOYD RIGLER AND PERFORMED BY RAPIDTEXT."