Dunham continued to develop dozens of new productions during this period, and the company met with enthusiastic audiences in every city. Despite these successes, the company frequently ran into periods of financial difficulties, as Dunham was required to support all of the 30 to 40 dancers and musicians. Dunham and her company appeared in the Hollywood movie Casbah (1948) with Tony Martin, Yvonne De Carlo, and Peter Lorre, and in the Italian film Botta e Risposta, produced by Dino de Laurentiis. Also that year they appeared in the first ever, hour-long American spectacular televised by NBC, when television was first beginning to spread across America. This was followed by television spectaculars filmed in London, Buenos Aires, Toronto, Sydney, and Mexico City. In 1950, Sol Hurok presented Katherine Dunham and Her Company in a dance revue at the Broadway Theater in New York, with a program composed of some of Dunham's best works. It closed after only 38 performances. The company soon embarked on a tour of venues in South America, Europe, and North Africa. They had particular success in Denmark and France. In the mid-1950s, Dunham and her company appeared in three films: Mambo (1954), made in Italy; Die Grosse Starparade (1954), made in Germany; and Música en la Noche (1955), made in Mexico City. Later career The Dunham company's international tours ended in Vienna in 1960. They were stranded without money because of bad management by their impresario. Dunham saved the day by arranging for the company to be paid to appear in a German television special, Karibische Rhythmen, after which they returned to the United States. Dunham's last appearance on Broadway was in 1962 in Bamboche!, which included a few former Dunham dancers in the cast and a contingent of dancers and drummers from the Royal Troupe of Morocco. It was not a success, closing after only eight performances. A highlight of Dunham's later career was the invitation from New York's Metropolitan Opera to stage dances for a new production of Aida, starring soprano Leontyne Price. In 1963, she became the first African American to choreograph for the Met since Hemsley Winfield set the dances for The Emperor Jones in 1933. The critics acknowledged the historical research she did on dance in ancient Egypt, but they were not appreciative of her choreography as staged for this production. Subsequently, Dunham undertook various choreographic commissions at several venues in the