“To face the cultural and economic issues of our time, we need new kinds of organizations, and I’ve realized that it’s too hard to turn this one into what I think is most relevant for ballet today. It’s two and a half years that I’ve worked on this, and I know it’s a short time, but it is long enough to realize this is not something I want to do. They need someone better suited to run this company.”
Paris Opera Ballet Won’t Open Up About Benjamin Millepied
At the end of a two-hour event unveiling the coming season, “[general director Stéphane] Lissner declared the floor open for questions. But, he added: ‘I ask that your questions be about the 2016-17 season, and only about the season. We won’t answer anything else.’ There was a brief silence, then Mr. Lissner rose to his feet. ‘No questions? Well, thank you.'”
English National Opera’s Music Director Publishes Plea To Reverse Cuts In Staff And Pay
Mark Wigglesworth: “ENO’s identity as a team defines its past and will be its greatest asset in protecting its future. Cutting the core of the company – musicians and technicians alike – would damage it irreparably.”
Aaron Sorkin Is Adapting ‘To Kill A Mockingbird’ For Broadway
“[Sorkin’s] version will open differently than the novel and will include new dialogue and fleshed-out scenes that are alluded to in the novel but not fully depicted.” Observes the director, Bartlett Sher, “The conversation between Harper Lee and Aaron Sorkin is going to be an interesting one.”
What T.S. Eliot Knew About Himself
“The degree to which a writer shares the prejudices of his family, his class, and his culture is less telling than the degree to which he is ashamed of them. Ezra Pound was defiantly unashamed of his prejudices. Eliot was more than ashamed: he was penitential.”