Mr. Duberman is, I believe, the source for stating that the appointment of Clive Barnes as NYT theatre critic, was owing to an intervention by Lincoln Kirstein, aka. the Warburg interests.
Now, when one reads the following from Mr. MacAulay, in today's NYT,
"“These are among New York City’s greatest treasures, works to set beside the Greek art or Renaissance paintings at the Metropolitan Museum, beside the Picassos at the Museum of Modern Art, works that make the New York State Theater seem the same kind of sublime haven the Frick Collection is. I saw every ballet but one (“Episodes”), most of them at least twice, and I record my gratitude both to Mr. Martins for presenting such fare and to Lincoln Kirstein, the centenary of whose birth prompted it. ....
"And there were more than a few performances that made me feel, as the greatest choreographic repertory in the history of the world passed before my eyes, that the State Theater was the only place in the world I wanted to be."
... it does raise the question of the Who-fore or the Why-fore, of Mr. MacAulay's appointment.
Anyvey (i), the author of these lines is Not Alone, in rejecting, outright, the view that Georges B. created "the greatest choreographic repertory in the HISTORY OF THE WORLD".
And anyvey (ii), it's fun-time listening to the New York Intelligentsia in Anglophile Knee-Jerk Mode, or rather, On Their Knees before the aforesaid gentleman's reviews. Parlaiz-vousSONGLEZ?
Anyvey (iii), and, Hello? What world? Perhaps Mr. MacAulay meant, THE UNIVERSE? In which case, might one consult, with all due courtesy, the Saturnians on this?