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f.y.i. 1934 newsphoto of Nini Theliade

as far as it's known today, the NYTimes does NOT pay for the tickets allocated to its reviewers, such admittance is given to the paper by individual press offices connected to the companies wishing to be reviewed, or in some cases wishing the writers on staff to have access to their performances even if they're not assigned reviews to the particular event . apparently, there was a time when the TIMES paid for its press seats but this seems not to have been the case for some time; it was not so by the day of Clive Barnes's tenure at the paper, on either the dance or drama desks, and has not been so since. similar policies pertain in London, Paris and Copenhagen, to name but three other major culture centers. there have been times, which stood out, when companies such as American Ballet Theatre and the Martha Graham Dance Company barred certain reviewers from being given tickets, but these instances, which went against established policy, were controversial and eventually rescinded.

has your friend tried to run this 'fact' by the publications in question?

as far as i know, DI is not digitized or on-line. there is a website: danceinternational.org where you should find ways to contact the magazine and see about back issues, etc. good luck.

f.y.i. the current issue of DANCE INTERNATIONAL (Fall 2016) includes a sidebar about Theilade's 101st birthday, on June 15, on the page of a report from Copenhagen (by Anne-Marie Elmby). this is the youtube clip mentioned in the sidebar:

F.Y.I. the following has come from the press rep. for ARDANI 25 DANCE GALA: <<Diana Vishneva suffered a foot injury and cancelled last night. Mariinsky soloist with the appropriate name of Philipp Stepin, who was on vacation in California, arrived this morning on the Redeye to replace her. The role of Louis XIV was originally choreographed on Mr. Stepin.>>

for what it's worth, i find it simple to get the latest unread post by clicking on the time given for the comment in question, such as "26 minutes ago" in the case of this post. getting the 'hang' here is a learning curve, i suppose, but his low-level 'puter user is finding things fairly easily now, even if/when the process is different from a previous process.

While it's true that old habits die hard, "Patience is virtue" is still a truism. Ingratitude is toxic. Unhappy campers can always decamp to whatever campsite they choose. Thank you, Helene, for all your thankless efforts.

my guess is that it's a Bolshoi Ballet dancer, and just possibly Yekaterina Maximova, but that's just a wild guess

presumably there are typos above regarding the term "danse d'école"...

Theilade is quoted in a short article in the current issue Dance International (summer 2016) concerning working with Salvatore Dali: "DALI DESIGNS BACCHANALE - A look back at 'the first paranoiac ballet'" by Karen Barr.

re: Balanchine's AMND, the only contact between Oberon and Titania in the staging is for O to escort T out of the final scene by the hand. otherwise, T is partnered by her cavalier in the bower sc. and by Bottom in the rustics' sc. and arguably by her retinue in the lullaby sc.

F.Y.I. - a Columbia faculty member has noted that this lecture/demonstration is being held in the 'large studio' of Barnard hall and that it might be advisable to arrive some 15-20 min. early.

my hunch that as a lecture demo. is that it might in the gym. the lecture hall upstairs is more limited seating, but if it needs space to move i suspect the gym is the likely location. that's where some Tharp lecture-demos were held. if i hear anything more specific i'll post again.

f.y.i. (from a recently received email) Feng Ying, Artistic Director of the National Ballet of China, will be conducting a lecture-demonstration at Barnard College on Sunday, February 28, from 4-5:30p.m. The event, which is open to the public, will take place in 305 Barnard Hall. Feng Ying will speak about classical ballet in China, and four dancers from the National Ballet of China will demonstrate/perform. There are no reservations for this event.

i've have a note in my CHOREOG BY GEO BALANCHINE: A CATALOG OF WORKS that has the first female solo in the Emeralds PdT as being danced by Schorer and the second by Leland. if mem. serves this came from Schorer herself when asked about the sequence; tho' it's possible my note was made inaccurately once i got to make it in my book. the credits for the film in library indicate that Schorer dances Mimi Paul's leading role and that Sumner dances Schorer's in PdT. SS is in the theater w/ some frequency, maybe she can asked to confirm this.

f.y.i. (from a press release) CHOREOGRAPHER/DANCER MURRAY LOUIS DIES ON FEBRUARY 1, 2016 AT AGE 89 American choreographer/dancer Murray Louis died on February 1 at his home in New York City. He was 89 years old. Louis, who was also a world renowned teacher and pedagogue, was born in Brooklyn in 1926 and grew up in Manhattan, not far from Henry Street where his company would be founded years later. After being discharged from the U.S. Army in 1946, Louis went to San Francisco, and then enrolled in Colorado College’s summer dance session, where he met choreographer Alwin Nikolais who became the single most important influence in his career. He moved to New York to dance with the Nikolais Dance Theater in 1949. While Louis danced with the Nikolais Dance Theatre throughout his career, he also performed with his own troupe, the Murray Louis Dance Company, which he founded in 1953. In 1968, the Louis Company was chosen to represent the U.S. State Department on a two-month tour of India; it subsequently toured throughout the United States and the world. Louis created two works for Rudolf Nureyev’s 1978 Broadway season, as well as choreographing a series of dances for himself and Nureyev when he guested with the Louis Company. “Brubeck Pieces,” a collaboration between Louis and the Dave Brubeck Quartet, which premiered at City Center in New York in 1984, went on to tour for four years around the world. Louis’s work was recognized with many awards and honors both in the United States and abroad including the Grand Medaille de vermeil de la Ville de Paris in 1979; in 1983 Louis was honored with a Chevalier de l’ordre des arts et des lettres by the French Government. He was also the recipient of the 1977 Dance Magazine Award, two Guggenheim Fellowships, and the Lucia Chase Fellowship, among others. Louis received honorary doctorates from Boston Conservatory, Rutgers University, Ohio University and Indiana University. Louis’s work in television and film included a five part film series, “Dance as an Art Form” and a five part video series, “The World of Alwin Nikolais.” Louis and Alwin Nikolais were the subjects of Christian Blackwood’s award-winning film, “Nik and Murray,” which aired as part of the American Masters series on PBS television. Louis was the author of two books of essays about dance, “Inside Dance,” published by St. Martin’s Press and “On Dance,” published by A Cappella Books.. A memorial to celebrate Murray Louis’s life is being planned for next year.

the following has been passed along in an email: From the Nikolais/Louis Foundation for Dance. Dear Nikolais/Louis family and dance lovers; It is with great sadness and a heavy heart I share the news of the passing of our beloved Murray Louis. On February 1st at 4:30am the world lost one of America's dance icons. His spirit, wisdom and artistry will forever live in our hearts. He died peacefully at his home in New York City. He was 89 years old. The Nikolais/Louis Foundation for Dance will hold a Celebration of his life at a later time. Thoughts and condolences can be left at murray@nikolaislouis.org. Much love to All. Alberto del Saz Artistic Director. Nikolais/Louis Foundation for Dance.

acc'd to Beaumont (p. 476 in my edition of his Complete Book of Ballet), Diaghilev's SLEEPING PRINCESS omitted two divertissements: Cinderella and Hop o'my Thumb, his Brothers, and the Ogre, thus there was no 1921 design scheme to follow for Hudson's production.

re: the Ogre and Ogress - turns out, it would seem, that the Vikharev/Mariinsky reconstruction opted to exclude the costume detail noted above by Natalia, (see attached scan) which shows a detail of a Mariinsky Theater cabinet card from the 1890 production with Mikhail Obukhov, if the caption Konstantinova's SPYASHAYA KRASAITSA is correct, as the Act 3 Ogre in Vsevolozhsky's design of the time.) thus it would follow that Hudson chose to make reference to this 1890s costuming for Ratmansky's production.

then there was Makarova's short-lived version before Mason's most recent staging, no?

the preceding post with a link to photos showing the costumes for the studio company's staging of MONOTONES I proves these to be a fair approximation of what was used originally; a photo of the first cast in Ashton's originals is on p. 347 of David Vaughan's FREDERICK ASHTON AND HIS BALLETS; it documents that the ABT studio versions were an exaggeration of the original creations.

the 'green' Monotones, in which Copeland appeared, is performed with plain, domed 'helmets' very similar to those for the 'white' Monotones; i fear the loving detail of the additional, dimensional detail on the original caps, which you aptly dub 'Phrygian,' is gone forever. alas.

the Russians can be proprietary about their rare musical scores. the re-construction of LA BAYADERE for the Vikharev staging was copyrighted as a new score because it had to be re-pieced together and as far as is now known, it was not published. i suspect there will be articles about the information found in these documents, but as for the documents themselves and the score itself, there's no telling at this point.

the SUITE 3 Elegy is danced in bare feet.