In a curious juxtaposition, after reading Croce's "Farrell and Farrell-isms", I had the most curious image of Suzanne Farrell's reappearance in the Symphony in C Adagio; she is jammed unceremoniously into her costume before someone gives her a great shove, at which time Ms Farrell begins bourreeing fantastically, floating in the direction of the force applied onto the stage and into the arms of her cavalier.

It is then I realize that it is merely a ballet recreation of the Prince on the Bridge of a Castle Moat from The Sound of Music and grow heartily ashamed of myself.