Word: baryshnikov
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...maintained an eclectic repertory that mixed full-length classics with the works of innovative choreographers, including Jerome Robbins, Agnes de Mille and Antony Tudor. Chase nurtured great dancers like the Americans Nora Kaye and Cynthia Gregory, as well as the Soviet defectors Rudolf Nureyev, Natalia Makarova and Mikhail Baryshnikov...
...room suite to rest up for the gala White House dinner Saturday evening. The swanky soiree for only 79 guests, certainly the hottest ticket in town, was a mixture of glitz and ritz, power and talent. The guests included Actors Clint Eastwood, Tom Selleck and John Travolta, Dancer Mikhail Baryshnikov (who was seated at Diana's right), Architect I.M. Pei, Explorer Jacques Cousteau, Artists Helen Frankenthaler and David Hockney, and Nancy's cat pack, Jerry Zipkin and Betsy Bloomingdale. The menu, in keeping with royal preferences, was light: lobster mousseline with Maryland crab followed by glazed chicken capsicum...
...cold war's back, and Hollywood's got it. Rambo muscles his way into Viet Nam and gets to win this time. Chuck Norris and Arnold Schwarzenegger make every infidel bleed red, white and blue. And now, Mikhail Baryshnikov stars in a parable about a ballet star who eight years ago sought asylum in the West only to plunge into a refugee's nightmare: his plane crash-lands in Siberia, and he's back in the U.S.S.R. Once again, the good guys wear white, the bad guys...
...sure, defectors traditionally move west, and no one lately has made a compelling case for the Soviet Union as a Utopia of artistic freedom. But White Nights sails giddily over political realities like the farm animals in a Chagall landscape. When Kolya Rodchenko (Baryshnikov) is "welcomed back" by the KGB, he is put in the custody of Raymond Greenwood (Gregory Hines), a black tap dancer who defected from the U.S. after Viet Nam. Poor Raymond is a neurotic mess; glamorous Kolya has the nimble tread of melancholic star quality. Raymond agonizes about his family back home; Kolya never visits...
...show is Baryshnikov's. He might have been embarrassed at having elements of his autobiography drossed into pulp fiction; instead he displays a muscular, ironic elegance. And when he throws himself into an improvisatorial solo to the folk strains of Outcast Singer Vladimir Vysotsky, Baryshnikov creates a tingling explosion of anger, isolation, homesickness and ferocity. Any viewer not wiped out by this dance is hereby excused from the human race. For all its superpower simplifications, White Nights has discovered in Baryshnikov a keen and passionate movie hero. Giggle at the film's naiveté; then feast on Misha and dance down...