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A review of American Repertory Ballet by Lisa Jo Sagolla for Community News.

Backstage with Houston Ballet's costume department.

Sergei Polunin complains of being censured for honoring fallen Russian soldiers.

The artistic director of Dayton Ballet will step down at the end of the 2022-23 season.

Sarah Jessica Parker misses the Fall Fashion Gala.

Peele has acknowledged his debt to Levin (for both "Rosemary's Baby" and "The Stepford Wives"). The resemblances in "Get Out" are both structural and thematic, I'd say, but there is a bit of Body Snatchers in there as well, now that you mention it. There was an excellent remake of Body Snatchers in 1978, directed by Phil Kaufman and written by W.D. Richter. In some respects I prefer it to the original, and it makes wonderful use of San Francisco as the setting. Great cast led by Donald Sutherland and Brooke Adams.

Roslyn Sulcas reports from Paris for The New York Times' "Critic's Notebook."

A review of Houston Ballet by Molly Glentzer in The Houston Chronicle. Natalia de la Garza's review for Houston Press.

A review of Pacific Northwest Ballet by Leigh Witchel for dancelog.nyc.

A preview of Pacific Northwest Ballet's new season by Marcie Sillman for Crosscut.

A review of NYCB by Mary Cargill for danceviewtimes.

Pacific Northwest Ballet opens its fiftieth season.

A review of New York City Ballet by Ivy Lin for Bachtrack.

A preview of New York City Ballet's Fall Fashion Gala.

An obituary for the cellist Fred Zlotkin.

A review of Ballet Austin in "Taming of the Shrew" by Courtney Thomas for Sightlines.

A TV interview with Mobile Ballet's Katia Garza.

A farewell service is held for Ukrainian dancer Oleksandr Shapoval.

Misty Copeland launches her "Be Bold" program.

My thanks as well, On Pointe. Florence Pugh has been going from strength to strength, so I'm not surprised to hear that she is good here. "Don't Worry Darling" seems to be a sort of Stepford Wives-Truman Show-Handmaid's Tale mashup, but derivative doesn't necessarily mean bad. Levin's Stepford Wives concept has proved to have remarkable staying power. Jordan Peele's "Get Out" was virtually an uncredited remake, right down to an I'll-just-die-if-I-don't-get-this-recipe breakdown at a garden party.

I also liked Judith Weir's setting of Psalm 42, "Like as the Hart Desireth the Water-brooks," another piece of new music for the occasion. Unfortunately the organ music was often hard to hear because of the commentators talking over it. Later on there was another striking moment that was filmed for the first time, the removal of the scepter, orb, and crown one by one from the coffin, the symbols of royalty taken away as she arrived at her final resting place.

It's been a long time since I read Taper, but that sounds right, Swanilda8.

I have as well, abatt. You don't see ritual like this every day. In fact it got so I recognized the Grenadiers who were given the task of toting Her Majesty's coffin hither and thither. As the article says, they performed admirably. Charles allowed the proclaiming of the king in the courtyard to be filmed for the first time. Talk about a blast from the past. The Vigil of the Princes doesn't have that long of a pedigree, since the first one was held for George V. It was neither filmed nor photographed, and it probably lasted longer than fifteen minutes. I believe they face outward because they are forming a kind of guard. I think that the grandkids' vigil is the first of its kind, and I rather hope it's the last. After a certain point it becomes a gimmick and not a gesture. The funeral service itself was a bit disappointing, although the interior of the Abbey is awe-inspiring. The choral singing was beautiful.

The Royal Czech Ballet performs "Swan Lake" in Australia.

Mikhail Baryshnikov dances on the catwalk.