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A story on Jupiter's Paris Ballet, with photos by Steven Caras.

Utah's Cache Valley Civic Ballet celebrates its fortieth anniversary.

An interview with Sterling Hyltin.

Helgi Tomasson bids adieu to San Francisco Ballet.

Houston Ballet receives a $10 million legacy gift.

A story on Susan Jaffe's appointment to lead American Ballet Theatre.

Susan Jaffe will succeed Kevin McKenzie as American Ballet Theatre's artistic director. The New York Times The Washington Post

It's never a good idea to talk to the press when your feelings are raw and Lillo's are plainly so. I don't think the article shows her in a favorable light and I don't think it makes her case for her. I just don't think she's a "diva" for feeling that her bro and his intended could have picked another day back in the day. I was responding to a comment that made a generic reference to bosses. However, I don't think a dancer should be professionally penalized merely for saying, even to the boss, that she doesn't love dancing anymore - unless it seems to be showing up in that work, which may have been the case with Stafford Lillo. "Wage labor" is not necessarily unrewarding labor even if it's not your be-all and end-all. It is quite true, however, that dancers aren't in it for the money because it's not that kind of profession. Still, they are workers who get paid.

The update is much appreciated, seattle_dancer.

Ballet Arizona celebrates the music of Juan Gabriel.

A review of Boston Ballet by Jeffrey Gantz in The Boston Globe.

Alexandra Waterbury scores a win in court.

A review of the Royal Ballet by Debra Craine in The Times.

That's wonderful. Thank you!

Agreed. It would have been fair for him to write, "This is what I saw and heard that day," but it's plain even from his own account that he does not have the whole story, or isn't interested, and doesn't understand the ghastly position in which Balanchine (and Mejia, in telling his wife he couldn't take it anymore and was going to leave) placed her.

I echo what Helene wrote earlier about the weird insistence that dancers must love what they do above all else in order to do their work well. Also most reasonable bosses understand that their employees do not necessarily seek self-actualization through wage labor and ask only that they focus on their work during those hours they are being paid to do so. There's a lot we don't know about this situation, but the sibling tensions seem to have been of long standing and fairly intense and announcing an engagement on a sibling's birthday would be a decision to discuss even in more harmonious circumstances. It's not as if there weren't 364 other days out of the calendar to choose from. ("Gee, this might annoy Abi. Okay, we think she's being unreasonable, but let's not go out of our way to stir the pot......")

A preview of Tulsa Ballet's final program of the season by James D. Watts Jr. for Tulsa World.

Ballet Idaho presents "Beauty and the Beast" and "Peter and the Wolf."

A review of Toni Bentley's "Serenade: A Balanchine Story" by Peter Tonguette for the National Review.

West Australian Ballet presents "ALICE (in wonderland)." Related.

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

A review of Oakland Ballet by Rachel Howard in The San Francisco Chronicle.

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

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

A Vogue article on New York City Ballet's gala.