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This enormous late work casts its ghostly and turbulent shadow over the whole gallery where other Titians, Veroneses and Moronis hang. Its subject is probably the most repulsive in the classical lexicon: the implacably vain Apollo has beaten the satyr Marsyas in a music contest judged by the nine Muses...

Author: /time Magazine | Title: Art: The Legacy of La Serenissima | 2/6/1984 | See Source »

Tuesday night's performance seems to say that ABT is potentially still the same company of international acclaim as its dancers are masters of classical ballet and also versatile in other areas. However, in the future, it must filter out those pieces that detract, rather than heighten that impression.

Author: By Andrea Fastenberg, | Title: Comme Ci, Comme Ca | 2/3/1984 | See Source »

ABT regained its national prestige with the last piece on the program. Twyla Tharp's "Push Comes to Shove." This ballet is a with, virtuosic, humorous dance that had its world premiere in 1976. This almost ultra modern dance takes classical ballet and turns it inside out. Twyla Tharp catches...

Author: By Andrea Fastenberg, | Title: Comme Ci, Comme Ca | 2/3/1984 | See Source »

This dance, like "The Leaves are Fading," has not plot. Its central them is a satire of classical dance. The prelude opened with the three leads tossing around a derby hat, alternation jazz and ballet, relaxed and tense positions, humorous and serious approaches to the ballet. The entire dance continued...

Author: By Andrea Fastenberg, | Title: Comme Ci, Comme Ca | 2/3/1984 | See Source »

At 44, Ian McKellen is perhaps the most respected classical actor of his generation in England (and the creator, on Broadway, of the sinuous Salieri in Ama-deus), but an adolescent's enthusiasm and wonder animate every moment of Ian McKellen Acting Shakespeare, the one-man divertissement in which...

Author: /time Magazine | Title: Theater: Once More into the Labyrinth | 1/30/1984 | See Source »

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