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...festive mood continued that evening at a jubilant white-tie state dinner at the White House. On hand once again was a large complement of notables, including Comedian Bob Hope, Singer Pearl Bailey, Dancer Fred Astaire, Auto Executive Henry Ford II and his wife Cristina, and Pan American World Airways Chairman William Seawell. Without specifically mentioning the Mayaguez affair, the Shah congratulated the President "for the great leadership and the right decisions that you took for your country." The state dining room rang with applause as the Shah lifted his glass of Schramsberg Blanc de Blanc to Ford...

Author: /time Magazine | Title: THE WHITE HOUSE: Friends Well Met | 5/26/1975 | See Source »

...shouldn't a black be a ballet dancer?" No reason why not, said former City Ballet Member Arthur Mitchell, the first black artist to become a principal dancer in a major ballet company. In 1969, Mitchell and Dance Pedagogue Karel Shook started the only black classical company in the U.S. Today they preside over a school of 1,000 and an exuberant troupe of 27. Chicagoans will have the chance to see stylish, unaffected dancers next week...

Author: /time Magazine | Title: Dance: Rites Of Spring | 5/19/1975 | See Source »

...outside of Manhattan with budgets exceeding $100,000. Last year there were 20. Bustling activity in other U.S. companies, like the San Francisco Ballet, reflects the new enthusiasm for dance. There is wit behind the footwork of San Francisco's Alexander Filipov, who is yet another Kirov-trained dancer. Dramatic range, nervy dancing and a varied repertory -Giselle, Merce Cunningham's Winterbranch-place the Boston Ballet high on the list. Small wonder that subscriptions nearly tripled last year. The most important company outside of New York, however, is the Pennsylvania Ballet. The women are lithe; the ensemble work...

Author: /time Magazine | Title: Dance: Rites Of Spring | 5/19/1975 | See Source »

BOLSHOI BALLET. The key to the enduring Bolshoi mystique is its magnitude: the colossal technical prowess of its dancers, their grandeur of emotion, the elaborate theatrical productions. Alas, on the stage of the Metropolitan Opera the gallant dancers often sag beneath the weighty spectacle of the frantic choreography of Director Yuri Grigorovich. Yet Giselle, the company's corner stone, abounds in fresh lyrical dancing and finely drawn characterizations. Radiant young Ludmila Semenyaka and Vyacheslav Gordeyev, a powerful classical dancer, should win fans during the Bolshoi's nine-city national tour...

Author: /time Magazine | Title: Dance: Rites Of Spring | 5/19/1975 | See Source »

STUTTGART BALLET. This is the group's first U.S. appearance since the death of principal Architect-Director John Cranko in 1973. American Choreographer Glen Tetley, a former A.B.T. and Martha Graham dancer, was the company's unanimous choice to succeed Cranko. But whereas Cranko's story ballets and acrobatic choreography strengthened the theatrical aspect of Stuttgart, Tetley's blend of classical and modern dance vocabulary may add more plasticity of movement. His Voluntaries and his new Daphnis and Chloé will be given U.S. premieres during May-July visits to New York's Metropolitan Opera...

Author: /time Magazine | Title: Dance: Rites Of Spring | 5/19/1975 | See Source »

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