Robert Irving

Allie is an aspiring journalist who meets Sam, a coffee shop owner who plays matchmaker for his customers. Allie agrees to be matched but going though Sam's process causes her to see that her perfect match might just be the matchmaker himself.

Kate is part of a writing duo with her boyfriend, and thinks her author days are over when they split, until her publisher requests a sequel.

Diana, una joven abogada, debe trabajar durante seis semanas en el viñedo de su tío para poder heredarlo. Si no lo hace, corre el riesgo de perder las tierras.

A man uses methods from romantic comedy movies to try and win back his ex-girlfriend.

Two of Balanchine’s most beloved ballets, Serenade and Orpheus, in this first release in VAI’s historic series featuring the New York City Ballet in Montreal. Beginning in 1954, NYCB’s Artistic Director and co-founder George Balanchine presented the company in performances produced for Radio-Canada, the Montreal division of Canadian Television. These live telecasts capture legendary dancers in core works of NYCB’s repertoire. Serenade stars Jacques d’Amboise, Diana Adams, and Patricia Wilde. Balanchine himself appears on screen to discuss Orpheus, which stars Nicholas Magallanes and Francisco Moncion dancing the roles they created in the 1948 premiere, and Violette Verdy as Eurydice.

A pirate radio station is granting callers their hearts' desires. But as some teenagers find out, be careful what you wish for.

This enchanting, evening-length ode to Shakespeare’s comedy features Maria Calegari (Titania), Ib Andersen (Oberon), and Jean-Pierre Frohlich (Puck). Set to music by Felix Mendelssohn, this ballet weaves a tale of love and magic in delightful fashion. Robert Irving conducts the New York City Ballet Orchestra.

Night Journey, the dance, had its premiere only two and a half years after Appalachian Spring, and it is a close cousin. It too has a stream-of-consciousness narration: Jocasta, as she is about to kill herself, remembering what has happened to her. It too contains soul-delving solos, broken up by ensemble dances. Here, however, the ensemble is a darker element. As the story was taken from Greek tragedy, so the corps is the equivalent of Greek tragedy’s chorus. They tell us how to feel: afraid mostly. In this piece Graham pushed her habitual economy to its limits.