We had maybe the greatest success of any company that I know of in Paris, and after two or three years I wanted to do this same number that we did for PBS, so we did it and Paris had always considered us their darlings.

Dunham is reflecting on the unusually strong reception her company received in Paris—an international validation that she frames as unmatched (“maybe the greatest success”). The remark also shows her sense of repertory as portable and repeatable: after establishing a hit abroad, she wanted to recreate “this same number” for a U.S. public-television context (PBS), suggesting a desire to translate stage triumph into broadcast form and reach wider audiences. The final phrase—Paris considering them “their darlings”—captures both affection and cultural adoption: her work, rooted in Afro-Caribbean and African diasporic dance research, was embraced by a major European arts capital, underscoring how artistic legitimacy and audience enthusiasm can be shaped by transatlantic circuits of taste and prestige.