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Michael

Miranda Weese

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It's nice that Miranda Weese is having a critical success at the Edinburgh Festival. No matter what the British critics have thought of the programming and of the choreography, and even when they are totally negative about both, I haven't read a single review which has not contained a marked appreciation of Weese's performances.

It's very well deserved. I remember talking to a friend after one of her performances of

Theme and Variations in Tschai Suite No. 3 last spring (and also after her Act II divertissement in Midsummer Night's Dream last spring) and noticing how, with her attack and her losing herself in the role, I had almost been holding my breath as she moved.

And although I wouldn't want to push the comparison, much of what has been said on another thread about Margot Fonteyn's concern with line and placement rather than with big extensions and circus effects could be said of Miranda's style as well.

[ 09-04-2001: Message edited by: Michael1 ]

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A belated thanks for this post. I have never seen Ms. Weese perform, but it's interesting that there seems to be such a wide divergence of opinion. Some seem to regard her as an omnicompetent automation, while others obviously see her very differently!

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Sadly, I just heard that she recently injured her hip. She won't be dancing for couple of months. frown.gif I will miss seeing her as the Sugar Plum Fairy this Dec.

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Oh, how sad. Weese will be missed in much of the rep. I felt that she dominated last Spring season. She has become the standard in Theme and Variations, 4Ts, Divertimento No. 15, 1st mvt Symphony in C and the 1st mvt of Episodes. And she is only getting better in roles that one wouldn't necessarily think of her, such as Swan Lake and Mozartiana. I hope she gets well quickly and completely.

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