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Dance Theatre of Harlem visits North Carolina.

Q&A with Alice Robb on the negative aspects of studying ballet. Preview in brief of Avant Chamber Ballet's new program.

A review of New York City Ballet by Leigh Witchel for dancelog.nyc. Mary Cargill reviews NYCB for danceviewtimes.com.

On the eve of the Super Bowl, Kansas City Ballet challenges San Francisco Ballet to a dance-off.

Photographs of Rudolf Nureyev by Colin Jones, with commentary.

A TV news story on the Royal Winnipeg Ballet's problem with online ticket fraud. Related.

A story on the "toxic" ballet world by Charlotte Lytton in The Daily Telegraph.

Sounds like something they'd name a post-menopause medication here in the States. Oh, dear, now I'm seeing a commercial in my head. ("Maestro can help you during those difficult days and nights of hot flashes and other discomforts. Do not take if you have X, Y, or Z.....") I thought Bernstein was cuter than Cooper as Bernstein.

On Pointe writes; I’d say they married because they loved each other and also Bernstein would have understood that it would be good for him socially and professionally to marry, even if many of his gay friends did not. Bernstein came from an uncommonly close family background and presumably he wanted that for himself as well – not to mention that a wife and children are also another audience 😊. I understand what Ebert was getting at but in the end I don’t agree. I don’t know how you can comment on a picture critically without saying or implying that something about it should have been done differently or that something is missing. As has already been noted in this thread, calling the movie “Maestro” was a major error, given that they’re telling the story of a marriage and Carey Mulligan even gets top billing. A lot of people came to the movie with different expectations. If the movie is about Lenny and Felicia, call it that. AnthonyNYC writes: Very probably yes.

Well, she was young and in love. While Felicia was obviously more sophisticated and better prepared for life with a gay man than many women of that era (Rachel Kempson, for example, thought that Michael Redgrave could be cured by the love of a good woman), I thought one of the better aspects of "Maestro" was that it demonstrated how you can enter a marriage or long-term relationship ostensibly knowing what you're "in for" and still be unable to protect yourself from hurt and loneliness, particularly if you feel with a certain amount of justice that the other party isn't keeping up his end of the bargain. (You can't even say you were deceived.:)) As Jamie has said, her mother married a "tsunami."

Rivera was in her nineties, a very advanced age, and she was in the public eye almost to the end. In such cases of long life the NYT has draft obits and possibly appreciations already prepared. That said, writers can write fast when they have to, and an article of appreciation for both certainly suggests itself (and may appear eventually).

The NYT must have read your post, On Pointe: It may be that the NYT didn't have a draft obit on file for him.

Deborah Jowitt has just published her first book in decades - "Errand into the Maze: the Life and Works of Martha Graham." The New York Times The Economist The Wall Street Journal

Emily Adams talks about dancing the dual role of Odette/Odile in "Swan Lake" in Ballet West's Nutcracker.

A review of New York City Ballet by Mary Cargill for danceviewtimes.

George Lee, who as George Li was the originator of "Tea" in Balanchine's Nutcracker, is the subject of a new short film.

Jamie's book "Famous Father Girl" is a good read. The idyllic part seems to have been true as far as it went - the good times were really good. There were bad times too, like pretty much every other family, only this one had Leonard Bernstein in it.

Tulsa Ballet revives Derek Deane's "Strictly Gershwin."

Matthew Bourne brings "Romeo + Juliet" to Los Angeles.

The Trocks visit San Diego.

A review of "La Strada" by Jenny Gilbert for The Arts Desk.

The Bejart Ballet Lausanne fires Gil Roman.

A review of Kim Brandstrup's "Metamorphoses" by Teresa Guerreiro for CultureWhisper.

A review of "La Strada" by Louise Levene in The Financial Times.

An interview with Tiler Peck.