Dale

I saw Makarova do Swan Lake and it was very beautiful but the white acts were soooo sloooow! Same with Giselle.

It's a shame that Kirkland is so under-represented in videos. But I gather she was better to watch in person. I saw her when both she and I were very young but I hardly remember that mutch.

To answer Alexandra's question, the male dancer (I think) seems to be developing on their own. But I also believe that many contemporary choreographers don't appear to be comfortable working with women on point, such as Duato's two works for ABT and Parsons' for NYCB (and others). This, of course, hurts the women instead of the men. They are unable to stretch or even use their full technique. About great men, the climate is different from the time that Baryshnikov and Nureyev defected. The Cold War is over, Russians are a dime a dozen. But I put forth these dancers: Igor Zelensky, Peter Boal, Yuri Possokhov, Vladimir Malakhov, Damian Woetzel, Farouk Ruzamatov and Irek Mukamedov (sp?). Maybe Julio Bocca. I can't add the Paris dancers because I haven't seen enough of them. Possokhov really impressed me when I saw the San Francisco Ballet. Zelensky is much more than a cavalier par excellent, he just isn't given the chance (I saw him do a fabulous Four Temperments -- 3rd mvt. I always thought he'd be good in Agon). In a few more years I'd add Jose Manuel Carreno, he has it all. Angel Corrella needs to gain a little more emotional depth (but I still love him) and Ethan Stiefel needs to become a better partner. ABT and NYCB have tried to pair him with everybody but he just seems dance better by himself.

I'd love to see them all but I read in the New York Times that all but Nina A. simplified the role.

When I come into contact with people I admire (with varying degrees of fame), I just try to be honest. Ed's idea of pointing out a specific point shows that you actually understand what they're involved in and not just going up to them because he or she is a name. However, I would add not to approach people when they are involved in a private moment or eating dinner. I figure, `What would I think if someone came up and complimented me?' I'd probably be embarrassed but pleased. But `How would I feel if someone came up to me while I was arguing with my mother or coming out of a bathroom stall?' I'd be pretty angry.

Hard question. It's difficult in this day and age as there are no truely great director to create for the great dancer. I will offer up Altynai Asylmuratova, Sylvie Guilluem, Kyra Nichols, and Nina Ananiashvili. At one time I would have added Darci Kistler but she has been injured too often to go down as one of the all-time greats. In the future, maybe Darcey Bussell or Viviana Durante. Bussell would do better to join a different company. Think of what she could do with the ABT rep. I'd love her at NYCB. But I don't think she'll reach her absolute best at the Royal, especially with the company's current woes.

I read it in the latest issue of Ballet Review. There's an article on Giselle by Irina Kolpakova. She said that Van Hamel got tired of doing to role. Kolpakova told her that at the Kirov, it was always done by a lead dancer. I was always a bit bored by the ballet (mostly Act 1) but after reading that article and one that was in the ABT Stagebill last season, I've decided to go see it this spring. The question is, who would you see it with? Jaffe, Ananiashvili, Kent, McKerrow or Ferri?

It irks me that all those "Great Performances" and "Dance in America" shows aren't available. Nonsuch bought the rights from PBS and is slowly issuing some of them out. In addition, they've taken parts out, such as Rubies from Jewels and Allegro Brilliant. I heard that the Balanchine Foundation didn't think they were up to snuff. In addition, I desperately covet ABT in San Francisco. Now it's only available on laser disc. Also Don Q with Baryshnikov and Cynthia Harvey. And Theme and Variations with Baryshnikov and Kirkland.

Since I was born too late, I'd like to see Balanchine's Don Q, Roma, Metamorphisis, Seven Deadly Sins, Jones Beach, Cotillion, Waltz Acadamy, or Electronics. I know the Balanchine Foundation was searching for film of Seven Deadly Sins but I think they were unsuccessful. Of ballets that probably could be put on is Meditation. Farrell owns it. I thought Igor Zelensky would be very good in the male part but don't know of a ballerina right now that could do the female part without me wishing it was Farrell. What about Hungarian Dances? At the time, it wasn't considered to be good but with no Balanchine around to make new ballets I think it would do much better. I'd love to see Robbins' Age of Anxiety or In the Night (or is Into the Night?). Sticking in the NYCB rep, I'd also like to see Estatic Orange and Black and White again. Or Capricio Italian. Plus the Tudor and Ashton ballets they did in the 50's.

Evidently, she hated playing the part, feeling that it was a solist part and she wanted to do lead roles.