Bettis found success both as a
modern dancer and as a choreographer, often both in the same production. She was known for her "versatility, vivid stage presence, and flamboyant theatricality". before moving to New York City to study modern dance under
Hanya Holm. She performed and toured with Holm's company from 1937 tto 1940.
Ballet In 1947, Bettis choreographed with a major
ballet company. In 1948, she adapted, directed and choreographed
William Faulkner's novel
As I Lay Dying, fusing acting and dance into a dance play. John Martin,
The New York Times dance critic, called it "a completely authoritative work of art".
Doris Hering of
Dance Magazine wrote, "Only an artist with the deepest feeling for movement and drama could have worked the wonders Miss Bettis did with the material at hand." Bettis's next attempt at a dance play,
Domino Furioso, which was premiered at the 1949
American Dance Festival, was less successful, attracting mixed reviews: "attractive" and "easy to take in", Hering this time wrote, "If Miss Bettis is not careful she will talk us all to death." Bettis found success in 1952 when she choreographed a ballet based on the
Tennessee Williams play,
A Streetcar Named Desire. Critics described it as "gripping" and a "stunning, explosive creation".
Musical theatre Bettis first tried her hand at
musical comedies when she choreographed and performed in
Glad to See You in 1944. a
revue that ran for nearly 400 performances at the
New Century Theatre and the
Majestic Theatre. Her performance in the 1950 revue
Bless You All was praised by
Life magazine both for her dancing and for her singing abilities.
Movies Rita Hayworth's dances to the songs "Trinidad Lady" and "I've Been Kissed Before" in the 1952 movie
Affair in Trinidad, as well as the "Dance of the Seven Veils" in the 1953 movie
Salome, were choreographed by Valerie Bettis. ==Selected choreography==