The "Afternoon of a Faun" is lovely if a tad literal, with that special grace and refinement that was only his.
on the other hand, had she chosen an amateur skating career -- it was "amateur" in those days -- would have faced formidable competition in the US ranks, and her jump limitations would have made her a long-shot at best, even if she didn't have other serious interests and options, like ballet and Princeton. To have turned professional at age 11 means that her skating training was as least as formidable as her dance training
She does not appear to have been making the same degree of progress in both fields.
John Curry in his amateur career, even within the restrictions and expectations of competitive skating, showed that elusive artistry: his "Don Quixote" Long Program was masterful in the seamless transitions in music and movement, the posture, the glide the characterization, while Robin Cousins, who is an amazing skater, had musical cuts four years later that are un-listenable and his program has little coherence outside the requirements of competitive skating.
The musical cuts were customary at the time and continued to be so for some time. Curry had cuts in his beautiful and masterly (if dated in some respects) program, although he used the same piece of music (which can be quite as jarring, although Curry handled it better than others. Cousins, like Curry, selected and edited his own music with a view to offending the ear to the minimum and he was and is quite musical.
You could choose almost any other LP of the era as your HE, but I should suggest Dorothy Hamill's LP from the same year. It's by no means horrible and neither is the music choice, and America's Sweetheart is just fine, but it's lacking in structure and choreography; it just goes on and on until it stops. As Buttons rhapsodized in this commentary, Curry's program "has a beginning, a middle, and an end!"