Word: pena
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...scarcely matters. Her zest is infectious and leaps across the footlights. In other major parts, Christine Andreas is a touching, warm-voiced Frankie, George S. Irving is an amusing impresario, Dina Merrill is silkily elegant as the ballet's rich sponsor, and George de la Pena is convincing as Makarova's partner and lover...
...Right now I have the feeling of late," said Martins last week, propped up on a litter of pillows to support his aching back, recently reinjured in class. The heavy work on On Your Toes, with Natalia Makarova and George de la Pena, is over now, but adjustments go on in Washington. In New York, there are the endless details of running a company: "I will finish my dancing career in a year or two," he says. "Then I'll throw those little slippers out the window! I have two movie offers that I haven't absolutely turned...
Thompson came up through the Detroit Tigers' system but was dealt to the Angels last summer in exchange for Al Cowens, Ott, the Pirates' starting catcher until losing his job to rookie Tony Pena this spring, hit .260 with eight home runs and 41 RBIs last year...
...young George Ballanchine honed his craft with this troupe. Under the direction of Russian impresario Diaghilev, the Ballets Russes featured the avant-garde: music by Stravinsky and Debussy, sets by Picasso and Matisse, choreography by Fokine and Nijinsky. The film opens in 1912, with Nijinsky (George de la Pena) at the height of his distinguished dancing career, and beginning to design his own ballets, encouraged by mentor and lover Diaghilev (Alan Bates). But as Nijinsky's innovative ballets meet with hostile receptions, the relationship deteriorates. Convinced of Diaghilev's rejection, Nijinsky impulsively marries Romola (Leslie Brown), an infatuated heiress...
...then why cast two American Ballet theatre artistes, Leslie Browne and George de le Pena, in leading roles that demand precious little dancing, but require substantial emoting? Browne has lost much of her nasal whine of The Turning Point, and handles the dramatics fairly well. But the role swamps de la Pena; he acts like a dancer, relying on exaggerated expressions and quivering limbs to convey emotion. He performs several of Nijinsky's most famous ballets, including Afternoon of a Faun and Le Spectre de la Rose, but we see all too little of his dancing; Ross focuses the photography...