This spring, for the first time in its lively three-year career, the New York City Ballet Co. finished a season (February-March 1951) in the black. Chairman Morton Baum called his executive committee together, told the good news and got approval for an extra season. This week, at Manhattan's City Center, the ballet was ending its three-week special run. Red ink was dripping into the ledgers again, but balletomanes had had a look at three new works:
The Cage (by Jerome Robbins; music by Igor Stravinsky), the most important of the premieres, tells a story...
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