Jurretta J. Heckscher

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The Classic and the Comic

E VERY PRESENTATION of full-fledged classical ballet is to some degree an exercise in anachronism. Performer and audience alike must

Blues from the Bottom of the Barrel

Be forewarned. It's April and 38 degrees out. Not only that, but a lot of my friends spent vacation in

The Eloquence of Gesture

T HE CREATIVE PROCESS, in Jacob Bronowski's view, is a matter of perceiving profound unity in apparent unlikeness. Perhaps it

Footnotes on Footlights

What's worth wet feet? Consider the price of a play this weekend: waterlogged Wallabies, slush-flooded socks, or klunking around in

Dance on its Own Two Feet

Over one-fourth of the audience walked out on the opening night of the Boston Ballet's Fall, 1974 season. The reason:

Or, You Could Plead Temporary Insanity

In the interests of hilarity and anarchy, we are pleased to present: Three Theories to Get You to Sneak Off

A Hedda Its Time

T IME IS NOT KIND to artistic mediocrity. Only a work of drama that deserves continuing attention endures, but the

Etheriality vs. the Senses

D ANCE IS AN ART built on tensions. From the primary element of the working muscle to the elegant patterns

Playing an Eclectic Blend

S PECIALIZATION MAY BE the peculiar affliction of many individuals and organizations at Harvard, but in its concert Saturday the