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DanceFebruary 2009 Brute blood: Tudor at ABT by Laura Jacobs On the centennial celebration of Antony Tudor at the ABT. I first saw Antony Tudor’s ballet of 1942, Pillar of Fire, on television. It was aired in 1973—a “Dance in America” broadcast of American Ballet Theatre—and Sallie Wilson danced the lead role of Hagar, a young woman who makes a rash move and feels the full force of her town, her family, her body, and her conscience descend. I watched it in Arlington Heights, Illinois, with my younger sisters. We were cultured kids, no question. But in the 1970s, everyone, to a certain extent, was cultured. For instance, Monday nights in Chicago and its suburbs were devoted to the movies of Ingmar Bergman, shown in a televised series introduced by the Sun-Times film critic Roger Ebert. Because my sisters and I had piano lessons on Monday nights, plinking away in turn, each of us missed a half hour of each movie. But what a brew, the shades-of-gray women of Bergman—daughters, virgins, spinsters, wives—and the Old ... This article is available to subscribers and for individual purchaseSubscribe to TNC (Print and Online editions) Subscribe to TNC (Online only) This article originally appeared in The New Criterion, Volume 27 February 2009, on page 33 Copyright © 2009 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/Brute-blood--Tudor-at-ABT-4011
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by Laura Jacobs On the American Ballet Theater, the New York City Ballet & Veronika Part. by Laura Jacobs On Alexei Ratmansky, Rabbit and Rogue at American Ballet Theatre, and Jupiter Symphony at Pennsylvania Ballet. by Laura Jacobs On American Ballet Theatre's Sleeping Beauty at the Metropolitan Opera House, New York.  The New Criterion is now optimized for Mobile Devices 
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