dirac

Promotions at Tulsa Ballet.

A review of American Ballet Theatre in "Like Water for Chocolate" by Gia Kourlas in The New York Times.

An interview with former dancer and ballet teacher Myrna Galle.

A look at the late Robert Gottlieb's involvement with ballet and the dance world by Alastair Macaulay in The New York Times.

The National Ballet of Canada presents "Romeo and Juliet."

Heather Ogden's recommendations for sweatproof makeup.

The Prix Benois Laureates for 2023, listed in full.

A preview of American Ballet Theatre's summer season.

Winners are announced at the 12th USA International Ballet Competition in Jackson.

Texas Ballet Theater holds a dinner benefit.

A review of Queensland Ballet by Denise Richardson for Dance Australia.

Magda Saleh has died at age 79.

Indianapolis Ballet announces its 2023-24 season.

A review of Dutch National Ballet by Vikki Jane Vile for Bachtrack.

A review of Queensland Ballet by Ruth Ridgway for Bachtrack.

An interview with Andrew McNicol.

Kang Mi-sun of the Universal Ballet wins a top prize at the Benois de la Danse.

A review of the Royal Ballet by Sarah Crompton in The Observer.

A review of the English National Ballet in "Cinderella" by Louise Levene in The Financial Times. Graham Watts reviews ENB for Bachtrack.

New artistic director Dani Rowe talks about her ambitions for Oregon Ballet Theatre.

A look at the creation of "Like Water for Chocolate" by Marissa DeSantis for Harper's Bazaar.

Labor unrest at the Australian Ballet.

Li Cunxin is retiring from the artistic directorship of the Queensland Ballet.

I found the use of first names most disconcerting with regard to Kirstein, who is consistently referred to chummily as "Lincoln." I think the topper for me was when she kept calling Nelson Rockefeller as "Nelson," even in contexts where there was unlikely to be any confusion with his brother David, who also figures briefly in the book. vipa writes: Some of what Homans writes about von Aroldingen tallies with what others have written (cf. Moira Shearer's "Balletmaster). She does go into more unflattering detail. However, she is generous to von Aroldingen as a dancer, I think. And she does give credit to von Aroldingen for being there when Balanchine needed her most. I was more puzzled by the treatment of Farrell, who is accused of "wily manipulations" that go undescribed and with "unerring instinct" helps herself to a choice place at the barre occupied by a "rising young dancer," which readers of Merrill Ashley's "Dancing for Balanchine" will identify readily, since Ashley complained therein that when Farrell came back she took Ashley's favorite spot at the barre. (Farrell says in her own book that she just wanted to stand next to her old comrade and partner d'Amboise for support, as they had always stood together, a perfectly reasonable explanation.)

I finally got around to watching "Give a Girl a Break" in its entirety. I always enjoy watching the Champions dance, especially Marge. I generally agree with what miliosr writes above. No classic, but there are worse ways to spend ninety minutes. Fosse's character is also named "Bob" and since his character is very much second banana to Gower Champion's Ted Sturgis and Fosse spends much of his onscreen time racing around doing Champion's bidding, it makes for some unintentionally amusing moments ("Bob, get me some coffee....Bob, I don't have time for this right now").