Dance writer Deborah Jowitt. In her new book, Time and the Dancing Image, Jowitt approaches dance as an anthropologist, trying to reconnect dance to history by placing dance's major developments in the context of the culture that spawned it. Jowitt, a former dancer and choreographer, is the principal dance critic of The Village Voice.
Dancer Edward Villella. For thirty years he was a principal dancer with the New York City Ballet where his performances in Balanchine's "Apollo" and "Prodigal Son," first brought him to critical acclaim. Though shorter in stature than most dancers, Villella, has been heralded for his ability to handle vigorous athletic roles with grace. Villella developed his dancing style under the guidance of choreographer George Balanchine. He was also influenced by choreographer Jerome Robbins.
For three decades, Villella was a principal dancer with the New York City Ballet under George Balanchine. During that time, he also negotiated better pay for American performers. His career took a severe physical toll; now he's the artistic director for the newly formed Miami City Ballet.
Dancer and choreographer Edward Villella. Villella's new autobiography, "Prodigal Son," chronicles his rise as one of the best known male dancers and choreographers in the history of American ballet. It also looks at his often stormy working relationship with choreographer George Balanchine. (It's published by Simon and Schuster). (Interview by Marty Moss-Coane)
Classical music critic Lloyd Schwartz reviews a new documentary, Ballets Russes, just out on DVD. It tells the story of ballet after the death of Sergei Diaghilev, who founded and ran the company until 1929.