Word: ballets
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Dates: during 1950-1959
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...London's Piccadilly Theatre was originally devised for last year's Spoleto Festival. Included last week were N.Y. Export, Op. Jazz, a deadpan exercise in which knees break, shoulders shrug in a serpentine evocation of youthful loneliness; The Concert, Robbins' acidulous spoof of the classical ballet; Moves, an abstract ballet without musical accompaniment; and Afternoon of a Faun, Robbins' coolly lyrical dissection of Debussy...
...found it "as exciting to us Limeys as anything that could be dished up by Chinese, Turks, Russians or what have you." To the granny London Times it was apparent that "what Diaghilev did for a past generation of balletgoers, Robbins is doing now. [He] is evolving the valid balletic idiom of today." And the Guardian's James Monaghan, after rapping the Royal Ballet for its "ivory-towered conception of the dance," concluded that what Robbins had brought to town was "the best foreign ballet by far that London has ever seen...
...Ballet on Skates. Polished as any professional production. Buick '60 is not overburdened with appeal for anyone but Buick salesmen and prospective Buick buyers. It is not meant to be. The admen who put it on have only one object-to kick off the new models with as much razzmatazz as $500,000 can buy. Four cars, manned by formation-driving chorus boys, run through an elephantine ballet as chorus girls dance an accompaniment on foot and on roller skates. And the songs are enough to make even Tin Pan Alley blush: / Could Have Danced All Night comes...
With wide-eyed envy, the first episode of Sweet Success reported the rise of Don Loper, a onetime ballet dancer, who gives up the stage for dress designing. To Producer Douglas, the critics' sneers seemed almost unAmerican. "Something's wrong in this country right now," says he. "With the beatniks and all, it seems fashionable to be a failure. In Sweet Success I'm going to show people who are successful because they worked hard, and people who live well because they enjoy...
...intimacy of her parlor, the frail old woman in the gold ballet slippers and purple kimono played some of Mozart's loveliest and most deceptively simple music (Sonatas K. 282, 283, 311, 333, Rondo in A Minor, K. 511, Country Dances, K. 606) as RCA Victor engineers recorded her art, sometimes for five hours at a stretch. By now, her fingers were gnarled and clawlike; yet her articulation was so sure, her tone never more pure. After a year of daily sessions, her recordings won cheers as one of the most important contributions to the interpretation of Mozart (TIME...