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Milwaukee Ballet plans to return to full-capacity live performance.

Q&A with Calvin Luckett on the "ABT Across America" tour.

A story on the shoemakers of Freed of London.

Hope Muir is appointed as the new artistic director of the National Ballet of Canada. The Toronto Star The Globe and Mail Yahoo! News The Charlotte Observer

American Ballet Theatre visits Nebraska.

An op-ed in The Philadelphia Inquirer calls for the newly-renamed Philadelphia Ballet to hire more local dancers.

Richmond Ballet, likewise.

New York City Ballet returns to Saratoga.

Milwaukee Ballet announces its 2021-22 season.

Ballet Tech names a successor to Eliot Feld.

How Nashville Ballet hung on during the pandemic.

An interview with Sara Adams.

This article on fashion designers' work for Broadway is illustrated with an undated photo of Halston, Baryshnikov, Liza Minnelli, and Gower Champion on the town. Those were the days.

A review of the Royal Ballet by Graham Watts for Bachtrack.

An interview with Mats Ek by Jann Parry for DanceTabs.

A review of the Royal Ballet by Jann Parry for DanceTabs.

Lee Christofis lists some of his favorites from years of watching dance.

The executive director of San Francisco Ballet is leaving after two years on the job.

A review of the Royal Ballet by Lyndsey Winship in The Guardian.

Beatrix Stix-Brunell is leaving ballet to attend university.

American Ballet Theatre holds a master class in Lincoln, Nebraska.

The Royal Ballet cancels its summer series after a rise in COVID-19 infections.

I don’t think we’re disagreeing, exactly. But I think it was “her time” mainly because of bad decisions, not because she didn’t feel like getting up a bit earlier. (Shearer’s beauty and physical fitness regimen wasn’t quite as intense as Crawford’s, but she put a lot of work into it.)I agree she would not have wanted to carry on in supporting parts and she certainly didn't have to worry about money.

Good points. It's certainly true that black-and-white was more forgiving than Technicolor. And MGM tended to be a bit heavy with the makeup for its female actors. When Ava Gardner went over to Universal for "The Killers" - a noir, as it happens - and appeared in her customary makeup, Robert Siodmak told her to take it all off. (Which is not to question miliosr's Grace Kelly story via Vidal.) I don't remember MGM as being big on film noir generally although it did produce some - "Laura" was a Fox picture if I remember correctly. The major MGM noir that I can think of offhand would be "The Asphalt Jungle."

I don’t think Shearer was ready to quit just yet. Her last two pictures did not do well and they were her own bad choices (as she said in response to rumors that Mayer sabotaged her, “on those last two, nobody but me was trying to do me in” – from memory). She might well have retired by 1945 but I doubt she wanted to go out on that note. Garbo was always a little phobic and the longer she was away the harder it became to come back, and as time passed she was indeed worried about how she would look. As we now know from the tests that have surfaced from the movie of La Duchesse de Langeais that never happened, she had nothing to fret about. That was a fine sequence and it did feel true to life.