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The English National Ballet and Acosta Danza are both presenting productions of "Carmen."

Atlanta Ballet presents an in-house work by dancer Sergio Masero.

A review of the Royal Ballet in a MacMillan triple bill by Amanda Jennings for Bachtrack.

Dayton Ballet presents its final program of the season.

Reviews of the Royal Ballet in a MacMillan mixed bill. The Sunday Times The Stage The Daily Telegraph

A review of the Ballet Icons Gala by Amanda Jennings for Bachtrack.

Alberta Ballet presents "Hansel and Gretel."

How Pittsburgh arts organizations are coping with a long-term decline in subscriptions.

An interview with Anthony Madu, the subject of a new documentary.

A review of the Paris Opera Ballet by Jonathan Gray for Bachtrack.

The choreographer William Yong talks about his new ballet for the National Ballet of Canada.

A review of San Francisco Ballet by Charles Lewis III for 48hills.

La Scala Ballet visits Shanghai.

A preview of Hong Kong Ballet's new mixed bill.

A review of New York City Ballet by Leigh Witchel for dancelog.nyc.

Ballet Tucson wraps up its season.

Louisville Ballet presents a new piece with music by Jack Harlow.

A review of the Norwegian National Ballet by Maggie Foyer in Bachtrack.

A review of Pacific Northwest Ballet by Rich Smith in The Stranger. Moira Macdonald reviews PNB for The Seattle Times.

An interview with Alessandra Ferri by Deborah Weiss for Bachtrack.

Houston Ballet presents "Cinderella."

Ballet Austin presents a ballet based on the works of Edgar Allan Poe. Related.

A profile of the choreographer Emma Portner.

I gathered from the book that to some extent Ashley's promotion was slow because she was a slow(er) developer. I think she also mentioned that as she was rising her rival Colleen Neary was struggling, and Balanchine may have delayed her promotion so as not to demoralize Neary until he was certain Neary wasn't going to bounce back. He did tell Ashley initially that it was Mazzo's role, but soon after Mazzo was out again and Ashley was cast, and thereafter they shared the ballet. (Not disagreeing with your general points, I should note.) And of course when he was ready to show you the door he didn't hesitate to take roles away. For Violette Verdy the last straw was when he gave "Emeralds" to Christine Redpath, explaining that Redpath didn't have enough to dance.....

Thank you for telling us your reaction, abatt. Peck directed this as well, didn't he? How did you (both) feel about the staging?