Bridget

Isn't Ed Liang back as a soloist?

I agree with Glebb about Amanda's artistry. She conveys so much emotion through her dancing. I've been known to shed a tear or two during a really good performace of Giselle, but I have never cried during a performance like I did today. Credit goes to Amanda and Ethan for impeccable dancing and great acting as well. Their characters really connected. They even hugged each other during one of the curtain calls.

Anyone else out there see the new Wheeldon ballet? If so, could you explain it to me. I realize it was abstract, but still there was a message being conveyed. Wendy Whelan was amazing in the "spider" scene. But that's all I understood.

Charles Askegard is the dancer who comes to mind right away. I was a doubter when he first came to NYCB, but he has won me over!

Leigh, Loved your comment about the people Peter Martins has promoted that you wished he hadn't accepted into the company. So--if you could be artistic director for a day, who would your choices be?

There were several casting replacements at the matinee performance on Feb. 26 also. Damien Woetzel replaced Peter Boal in Ballo, dancing with Abi Stafford. And Wendy Whelan and Nikolaj Hubbe replaced Pascale van Kipinis and Sebastien Marcovici in I'm Oldfasioned. Abi's footwork in Ballo was amazing. She seemed confident, smiling frequently at Damien, although he wasn't always looking at her at the same time to return the smile. He seemed more serious at times, concentrating on the partnering. They did a great job and received a loud sustained ovation at the end. Also on the program was Ancient Airs and Dances and I'm Old Fashioned-- and Aesha Ash performed in all three, having a demi-solo in Ancient Airs. Her arm movemens are wonderful with subtle accents that seem to enhance her expressive style. The entire ensemble really seemed to come alive in Ancient Airs--Borree, Kowroski, Whelan,Martins, Neal and Woetzel. But the most comments heard afterwards during the intermission were about Philip Neal's new haircut. Very short, combed forward look. I was in the minority for liking it, though. But I think the new look suits him.

This may be going off the subject a little, but I think it's definately related. Just as dancer's become associated with a particular role, such as Martine van Hamel's Myrta, they become associated with partners that can result in a form of selective casting also. Ferri and Bocca at ABT are one example.

Has anyone ever seen a performance where a character was played by one dancer in the first act and by another dancer in the second act? I recall a Don Q done by ABT where the gypsy girl, Mercedes -I think her name is, was played by Leslie Browne in Act I, but after the intermission, Susan Jaffe was dancing the role. The program listed only Browne. And no announcement was made about the replacement. Wondered how often this type of thing happens. Anyone else have a story? [This message has been edited by Bridget (edited January 23, 2000).]

In defense of dancersteven's Baryshnikov's comment that has been trashed here to some extent: Misha did bring ballet to mainstream America, which helped change people's perception of this art form. Edward Vilella did to some extent, also. Remember his appearance on the TV show "The Odd Couple"? But Baryshnikov took ballet's exposure to the next level with his television specials, and more importantly, I think, with his movies. I'm sure alot of people came to see a ballet performance after they saw "The Turning Point", "White Nights" or "Dancers" and got "hooked" on it, like me! His charisma added to the appeal. Ballet attendance increased not only at performances, but also in ballet schools. It's only a matter of time before Baryshnikov is honored by the Kennedy Center with one of those lifetime achievement awards. He deserves it already!