Posted 01 December 2009 - 06:57 PM
As Cristian says, Seay will be missed. There isn't much in the MCB repertory that Seay hasn't danced, and danced well.
I have had the opportunity to see her perform all kinds of roles, from the Siren (Prodigal Son) to Swanilda (Balanchine's Coppelia). When you think about it, there aren't many dancers who with a range like that. Inevitably, some parts fit her style and personality better than others. What I will remember most fondly are her deeply felt Woman from his Past in Lilac Garden, "All the Way" from Sinatra's Song, the second couple in In the Night, the walking pas de deux from Emeralds(at an Open Barre performance), Balanchine's Swan Queen, and the poignant solo from Company B, already mentioned.
Roles like this demand refinement, technique that does not keep calling attention to itself, delicacy of detail: all qualities suggested by jsmu's term "lapidary." They also demand the capacity to suggest the more delicate emotions: yearning, vulnerability, emotional maturity, quietness, even serenity. Seay has all of this.
But I also find myself replaying my memory tape of her cannonball Stomper in Tharp's In the Upper Room! Now THAT was a surprise -- and a revelation. I can see her, in her striped pajama suit, jumping and rolling on the floor right along with the company's kids. And obviously having a great time.
I notice that Seay is listed as teaching in the MCB School. I don't know her plans for the future, but I am willing to bet that she has the potential to be an exceptional teacher.