[9] Kirkus Reviews called it "an intelligent, fair, fascinating portrait of a seminal figure in American ballet", praising Anawalt's writing: "Unusual among dance critics, she never hides behind a professional dance vocabulary.

She also ventures worthwhile observations on contextual issues, such as the uncomfortable coupling of dance with business in this country and the politics of American arts funding".

[11] Allan Ulrich of The San Francisco Examiner called it "an absorbing in-depth study of the company".

[12] Jack Anderson of the New York Times wrote that it was "a book remarkable for its warmth and vigor, and for its blending of candor and judiciousness" and that Anawalt's "appraisal of Joffrey's directorial philosophy is shrewd indeed".

[19] In 2009, Anawalt resigned from the Pasadena, California Arts and Culture Commission after the commission refused to display two pieces of public art "after complaints by residents and preservationists that the works were too big for the space," according to a New York Times article.