"FIGHTING OVER FOKINE," an hour-long cable television program, looks at the legacy of the groundbreaking Russian choreographer Michel Fokine, who sought to impart seriousness to ballet in the early 1900s, a time when the art form had become, in some viewers' minds, a jolly parade of short skirts and nice legs. What's interesting here is the perspective of Isabelle Fokine, who is on a mission to restore to such ballets as "The Dying Swan" and "Le Spectre de la Rose" what she believes were her grandfather's true intentions. Not to be missed is footage from decades-old performances, like those of legendary ballerina Alicia Markova, and Markova's recollections of Fokine's coaching.
On the Ovation network (check local listings for availability), Thursday night at 8.
THE VIOLINS OF LAFAYETTE and the Four Nations Ensemble, regular ambassadors to the interesting niches of early music, have titled this evening's performance "A Rococo Noel." The composers on the program, including Leclair and Mondonville, don't fit an obvious stylistic pigeonhole, but "rococo," that weird mix of ebullience and classical restraint, will do as well as any.
At the Corcoran Gallery's Salon Dore, 500 17th St. NW. Tonight at 6. $42. Call 202-639-1700.
SHE WAS DELIGHTFUL, she was delovely, she was delectable: Audrey Hepburn, and no one else. Yet she's often remembered as a pure innocent, so it's odd that one of her most morally compromised roles has become her most famous. That's as "party girl" Holly Golightly in Blake Edwards's version of Truman Capote's "Breakfast at Tiffany's." "Party girl"? Well, I think we all know what the quotation marks mean. That's George Peppard, years before "The A-Team," opposite her, and ladies and gentlemen, can't we agree: No matter what, Audrey Hepburn deserved a lot better than George Peppard. I mean . . . George Peppard!
"Breakfast at Tiffany's" screens tomorrow at 12:30 p.m. at the National Portrait Gallery, Eighth and F streets NW. Free. 202-357-2700.
ARTIST KENNETH HAYES MILLER gathered inspiration from contemporary life. His 1940 painting "Bargain Hunters" depicts determined competition among female shoppers on sale days in New York's Union Square neighborhood. This work, along with paintings by Miller's onetime students Reginald Marsh and Paul Cadmus (who died last week), is part of a small show, "Modern American Realism: Selections From the Sara Roby Foundation Collection," at the National Museum of American Art. Wolf Kahn's "High Summer" is a welcome sight in dreary mid-December. The painting of his Vermont barn embodies the sense of the season with its swaths of brilliant colors--tangerine, golden yellow and deep violet.
At the National Museum of American Art, Eighth and G streets NW. Through Jan. 3. Free. 202-357-2700.