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The context of the "bitching on a high level" remark changes its coloration a bit. It's taken from an interview from 1974 and this is what Gorey said in full:

American Ballet Theatre photo gallery.

Georgina Pazcoguin talks about her new memoir.

By all means the companies should not abandon digital access, and indeed should move forward with it and capitalize on it, but if the pandemic has proved anything, it's that finally this art form lives in live performance. Many thanks, Hogmel, for starting this very interesting topic!

Good points. Women did become stars but not in the numbers they did in the big league days of the Golden Age and the "woman's picture," and I think only Streisand and Fonda were up there with the men in box office and staying power. If I remember right by the late seventies Christie was playing the old Evelyn Keyes role from "Here Comes Mr. Jordan." Shirley MacLaine became big in the Sixties but she was mostly playing prosties, not exactly peacock parts. Ann-Margret can be quite good and in a different era for women she might have done more and better good work, although she made some bad decisions.

An interview with Carlos Acosta by David Jays in The Sunday Times.

An obituary for Oleg Briansky in The Post-Star of Glens Falls.

A look at Megan Abbott's new book, "The Turnout."

The New Jersey Performing Arts Center restores live dance to its schedule.

The Nantucket Atheneum Dance Festival returns to live performance.

Paul Craig of the Boston Ballet will speak this week as part of a local lecture series.

Yuan Yuan Tan presents a "Magical Night at the Arts Museum."

Adam Cooper talks about getting back to work.

Oleg Briansky has died at age 91.

The Royal New Zealand Ballet's Ana Gallardo Lobaina talks about her Sunday routine.

Tiler Peck talks up her Instagram fitness series.

American Ballet Theatre returns to the New York stage later this year.

Ballet Arizona announces its 2021-22 season.

The American Ballet Theatre tour hits St. Louis.

Students at the Royal Ballet School prepare for their annual show.

Karen Kain talks about what her legacy at the National Ballet of Canada.

Georgina Pazcoguin writes a memoir.

RIP. What a dancer! Watch Pat's feet go wickety-wack.

I pulled Bentley's "Costumes by Karinska" off the shelf and the layering of colors pherank describes was used by Karinska elsewhere and earlier, including in Cotillon. Bentley says Bérard's maquettes were lovely but also rather general (even if more specific than other sketches Karinska worked from), and it was Karinska who added many of the details and grace notes of the costumes in her execution of them. From the book: Bentley reproduces the well-known photo of a wistful young Toumanova in her Cotillon costume; it was Bérard who asked for something sparkly on the skirt, but Karinska who came up with little moons, stars, and musical notes. Ultimately, the costumes of Cotillon incorporated "sea green, lemon, cyclamen, rose, and lime." Bentley reproduces a cool group photo taken in Monte Carlo in the early thirties, with Karinska, Youskevitch, Massine, Markova, Bérard, and Kochno; Bérard is bearded and hearty, with a hand on Kochno's shoulder. If you take a good look at the "white" costumes for the Rosenkavalier section of "Vienna Waltzes" you'll see a lot of off-white.

Cybill Shepherd, anyone? Not a great time for female stars. Nobody really breaks through beyond Streisand and Fonda. On the other hand, Jill Clayburgh probably doesn't become a star at any other time.