ABT - Don Quixote June 2008

[Haglund's]

Having purchased a ticket for last night's opening of Don Quixote for no reason other than to see the debut of Abrera in Mercedes, as advertised in the press release less than two weeks earlier, imagine my disappointment when: A) she did not perform, and B) ABT knew far enough ahead of time that she would not perform so as to actually make the change in the printed program. Part did an admirable job in the role, but it just wasn't what I had expected to see.

The highlight of the first act was not the principals. The highlight of the first act was the sum total of Misty Copeland and Yuriko Kajiya as the flower girls. Spunky. Vibrant. Dancing like best friends. Either one looked like she could have stepped out and danced Kitri on the spot. Such different dancers who last night dancing together showed how a performance can be enriched by such diversity.

Stiefel as Basilio was challenged by the demands of the technique. I was more than a little ticked off when during their Act I PdD lift, he felt it was more important to show that he could hold Murphy up in the air with one arm (which he couldn't) rather than show her in the position cleanly with two arms supporting her. Each time, Murphy kind of dangled in a slow, awkward descent, but Stiefel kept his arm stuck out there to show everyone that he was doing the lift with one arm.

Murphy slam-banged her way through Kitri with some impressive gymnastics in her Act I variation (right leg to the ear followed by left foot to the back of the head). Pirouettes were highly multiple but they were also highly unmusical if not off-music. She always rushed to the preparation ahead of the music, rushed into releve ahead of the music, and finished the pirouette whenever it happened to finish. Not exactly what I pay to see or want to applaud. The end doesn't justify the means.

I left at the first intermission. I felt somewhat bad about not staying to see Boone and Lane as Queen of the Dryads and Amour, respectively, but I just was not interested in sitting through more of what I'd just seen.

[nysusan]

Having purchased a ticket for last night's opening of Don Quixote for no reason other than to see the debut of Abrera in Mercedes, as advertised in the press release less than two weeks earlier, imagine my disappointment when: A) she did not perform, and B) ABT knew far enough ahead of time that she would not perform so as to actually make the change in the printed program. Part did an admirable job in the role, but it just wasn't what I had expected to see.

Hmm...I just bought a ticket to tonight’s performance based on the announced casting of Part as Mercedes & Gomes as Espada. Since I doubt that Part will be scheduled 2 nights in a row I may be almost as disappointed tonight as you were last night. Almost, but not quite since hopefully Gomes will dance and I can count on not seeing Murphy as Kitri

Murphy slam-banged her way through Kitri with some impressive gymnastics in her Act I variation (right leg to the ear followed by left foot to the back of the head). Pirouettes were highly multiple but they were also highly unmusical if not off-music. She always rushed to the preparation ahead of the music, rushed into releve ahead of the music, and finished the pirouette whenever it happened to finish. Not exactly what I pay to see or want to applaud. The end doesn't justify the means.

Murphy is a dancer I admired greatly a few years ago but to me she has become exhibit A in the case of arrested development of female dancers under McKenzie’s direction. She is a monster technician but instead of developing her musicality & artistry she seems to be backsliding into pure exhibitionism. I avoid her when possible.

[carbro]

Murphy is a dancer I admired greatly a few years ago but to me she has become exhibit A in the case of arrested development of female dancers under McKenzie's direction. She is a monster technician but instead of developing her musicality & artistry she seems to be backsliding into pure exhibitionism. I avoid her when possible.

This is especially disheartening since Murphy did hint that she might have considerable artistic depth as she was getting her first soloist roles. I remember her in one small role (Paquita? Don Q Flower Girl?) when a small cambre or change or epaulement gave her movements expressive weight. That's the quality that draws me to a dancer, a sense that s/he understands that movement has meaning. It's sad that that quality of the young Murphy seems to have gotten lost somewhere along the way.

[nysusan]

Just wanted to post a quick note before I turn in to let everyone know that there were no changes to tonight's Don Q casting. Everyone who was scheduled danced, and danced really well - except Corella who was STUPENDOUS. I find his combination of lightning fast turns, incredible jumps, unending charm & enthusiasm irrresistable.

The evening started with McKenzie on stage welcoming us all to Noche Latina night & presenting the first annual Fernando Bujones award to Carolina Herrera & Julio Bocca. Bravo.

[dancedance40]

Don Q. is a shameless flirt of a ballet, and I was not disappointed last night. Paloma was amazing, holding balances and then rushing through the music to get back on track. She would look at the audience and just smile - she was excellent. She embodied a jealous, fiery, yet soft and lyrical Kitri. She owns this role through her ability to play with the texture and quality of her movement, which I think is one of her biggest strengths as a dancer. Angel was also amazing, very cheeky and playful, and also technically stunning - how he can do 8 pirouettes off-balance and then land smoothly defies the laws of physics. He also held Paloma aloft in that big one-arm lift, and held it so long that the conductor stopped the music and had to wait until he was ready to bring her down. Fireworks! Marcelo was strong and solid in his performance, had great flare and masculine energy - I am excited to see him dancing again. Renata Pavam as Cupid was excellent, technically brilliant and polished, and had the speed required for the role. The corps looked VERY good too, very together and exciting to watch.

I had never seen ABT do Don Q, but this is one of the best ABT performances I have been to. Every dancer was flirting with the audience, and everyone looked like the were having so much fun - It was so light and easy and joyful. The costumes and sets were exquisite. I might even say that I liked this better than Corsaire!

[Haglund's]

Tuesday - June 10

Bocca – who proved yet again that when ballet dancers retire, they tend to go crazy and cut off all of their hair – looked handsome, happy and rested when he came out for a bow before last night’s performance. He graciously thanked the audience and expressed how much it had meant to him to dance here for twenty years.

As nysusan said, everyone danced really well last night. Herrera’s Kitri is so nuanced, natural, and exquisite. Brilliant balances. Unforced turns. And, pardon me, but her Kitri packs a whole lot of sex-talk into an arched foot. Developpe en avant = “Want some?” Developpe en arriere = “Catch me.” Slow 90 degree developpe a la second = “I’m really enjoying it.”

Corella had a super performance last night (well, youknowwho was watching), and teased the audience when he entered the stage for his variation with a glance and a “I know what you’re waiting for” laugh, and then he took off – like a rocket.

And those lifts in the Act I PdD! They went on so long that they deserved their own intermission. They were PERFECT. PERFECT. PERFECT. Add THRILLING.

I’m glad I got to see Kristi Boone as Queen of the Dryad’s. One more thing that is starting to stand out about her now is how completely coordinated she is. Arms precede legs. Head and neck always have a clear path of movement. There is a sense of completeness to her dancing which makes one not necessarily look at the feet, legs or face in isolation, but one looks at the whole image. I hope we get to see her debut as Myrta in the Abrera/Hallberg Giselle.

Renata Pavam’s Amour was swift and dainty with a pinch of spunk. Sean Stewart stood out among a spirited group of Toreadors. I thought the flower girls, Maria Riccetto and Simone Messmer did well individually, but the pairing didn’t add much, and they had a few disorganized moments.

I think we all had a very good time last night.

[SanderO]

The ABT really seemed to have fun with Don Q - every last one on stage and it was indeed a pleasure to watch.

Angel is simply an amazing man at his craft. As I came to work sitting on the train I was thinking about his amazing turns and can't for the life of me understand how he imparts so much rotational energy t get his body to spin so quickly! And Paloma did a few too - but Angel was whirl.

Both Angel and Paloma seemed very relaxed last night and seemed to float through their parts absent any stress. Both of them smiled and the audience could feel their confidence. Both were brilliant.

Marcelo never fails to deliver and he proved it again last night. Maria Ricetto turned in a wonderful performance, but I felt that she needs more stage when she dances. She's not at all "compact". IRRC Viktoria Part appeared but I didn't see her at the curtain? Ha?

The ballet itself made me think back to the Twyla piece and how classical ballet can be playful and athletic without being and looking "goofy". Don Q had lots of laughs too. It's pretty hard to improve on something as well conceived as this one.

I had the feeling that the Noche Latina seemed to have a magical effect on Paloma and Angel and that may be part of what contributed to their stunning perfomanaces.

I sat next to a man from OK who has come for a week of ballet. This was his first live ABT and at the end he was thrilled and almost speechless. He took pages of notes during intermission but told me that their local OK ballet pales compared to ABT. He remarked how lucky we are to have such a great company so accessible. He's right.

I agree with Haglund's comments but would add that the corps ladies were super as well.

Didn't I see Viktoria Part? Was she not on stage at the curtain?

A big storm blew through during the ballet, but we didn't have a clue, we were all enjoying the energy on the stage.

[bingham]

SanderO Viktoria Part? You are probably thinking 0f Veronica Part.

[SanderO]

right... mental lapse... sorry

[bingham]

Did anyone see Herman's DQ New York debut?

[sealings]

I saw Herman. You would never have known it was his debut; he was flying. He drew many deep gasps from the audience, particularly for his tours and midway through the first act, when Basilio and Kitri scamper back onstage: he entered with a tremendous leap. He and Xiomara had a sweet comic feeling between them. He was devilish and playful, while she teased him back. I haven't seen Xiomara in a principal role in ages, and forgot how light and unassuming she is. I liked them together.

Merrill Ashley and Gelsey Kirkland were both in attendance (separately). A pair of older ladies behind us flipped out when they spotted Gelsey; one even walked up the aisle and then walked back down again to confirm.

[sealings]

Kristi Boone was Mercedes and Sascha Radetsky played Espada. They were on fire; Radetsky was so commanding with his cape. Flower girls were Lane and Boylston. Misty Copeland and Joseph Phillips were the gypsies, and Melissa Thomas was Queen of the Dryads. Anne Milewski played Amour.

[christine174]

I also saw Cornejo and Reyes. I find him a very different dancer when solo versus partnering. When he takes to the stage himself he is, as we all know, spectacular, glowing with confidence and charisma. When he's handling his partner he seems less confident, his rapport with his partner and the audience is not as generous and open as when he's alone, and he doesn't seem to truly love it the way he loves taking to the stage alone.

Reyes is a very impressive dancer technically; she whipped off a series of pique turns with absolutely stunning speed; and her fouettes were solid -- singles punctuated with (I think) triples, and kept a clean form throughout, not sloppy. In terms of her acting, I just find her too cute. I wonder if she could carry off a serious role? I'd be interested in seeing her do something besides "cute."

Sarah Lane was beautiful as one of the flower girls... and speaking of cute, I was relieved to see her not smiling excessively, which was really grating on my nerves when I saw her last year and earlier this season.

One of the benefits of having four corps women promoted to soloist, is that it frees up all the demi-soloist roles they used to do so much. Now we're getting to see other corps members in these roles, like Melissa Thomas as the Queen of the Dryads. Very lovely, solid in her technique, with a soft and elegant manner.

[sz]

I saw Herman too. Absolutely fresh, clean, youthfully sexy, playful and brilliant; technically and in his acting of the role. In an extremely impressive debut, Herman managed to add many new nuances to all of his demands (technical and acting) that I've never seen before including a triple tour en l'air in Act 1. Herman was at ease and on fire at the same time!! I want to see him in this again ASAP. All I can say is what were they (ABT/Kevin) waiting for??!!!

[Colleen Boresta]

I also attended the June 11th matinee. My first Don Q. was in June of 1981. Kitri was danced by Gelsey Kirland (the only time I got to see her dance) and Basilio was Mikhail Barysnikov. It was an unbelievably exciting ballet, forever implanted in my mind’s eye. However, that performance set a very high standard for Don Q’s, one I was sure then would never be reached. Fortunately, I have seen some wonderful Kitris and Basilios since – Susan Jaffe, Nina Ananishvilli, Paloma Herrera, Gillian Murphy, and Xiomara Reyes as Kitri – Julio Bocca, Angel Corella, Jose Manuel Carreno, and Carlos Acosta as Basilio. But yesterday’s Don Q might have been the best Don Q I’ve ever seen. It’s certainly up there with the three or four best ballets I ever saw.

Cornejo was unbelievably exciting – the best Basilio I’ve ever seen. His leaps, his spins, the multiple double turns en l’air – all stupendous. His comic timing was right on, and I thought his partnering was fine. I wasn’t at all sure about Cornejo’s partnering abilities before seeing him on Wednesday. I’ve never seen him before in a full length ballet where he was the leading man. Several years ago during the pas de deux from The Nutcracker (it was one of those Tschaikovsky Celebrations) I saw Cornejo almost drop Reyes. But yesterday, there were no partnering problems. He even did very well with the two one handed lefts over his head in Act I. (Is there a name for those? This seems to be very clumsily worded. But if I worry too much about my phrasing I’ll never post on Ballet Alert again – so…)

Xiomara Reyes was wonderful. She’s a real spitfire, and her chemistry with Cornejo is even better than the chemistry she has with Corella (which was very good the two times I saw Reyes and Corella dance together). Her footwork is amazingly precise and fleet. She can whirl across the stage at a really dizzingly speed. I just have two quibbles about her performance. The first was the leaps with the kicks to the back of the head. They didn’t seem that high yesterday. I’ve seen much higher leaps with kicks to the back of the head from Nina A., Paloma Herrera, Gillian Murphy, and even Reyes herself when I saw her in Don Q. with Corella in 2003. My second quibble is about her balances during the Grand Pas in Act III. It’s not that they were wobbly or anything. It seemed to me that she didn’t really attempt the balances. Of course steady balances are an essential part of Aurora’s Rose Adagio in Sleeping Beauty, but are they important to the Grand Pas in Act III of Don Q? I’m asking this because I’m not sure. And in my mind’s eye I still Paloma Herrera’s Grand Pas balances. (I saw Paloma dance Kitri with Julio Bocca in 2004). Her balances went on for so long it seemed like time stood still.

Cornejo and company brought the energy level of Don Q. to an incredible high. As has already been mentioned by Mary Cargill in her “Dance View Times” review (online), and posters Sealings and Christine174, the whole cast was wonderful. I knew Craig Salstein was a good dancer, but his acting as Gamache was superb! His Gamachje was a scream! Sarah Lane and Isabella Boylston were excellent as the flower girls. Sascha Radesky was one of the best Espadas I’ve ever seen. (I really hope he becomes a principal before too much longer.) Melissa Thomas was quite good as the Queen of the Dryads, but I thought her landings in her main solo were a bit heavy. Anne Milewski is always good as Amour. (I’ve seen her dance the part many times). She’s got a great light leap and quicksilver footwork. But again I wish she would tone down the cutesiness. It’s getting to be annoying (to me anyway). And Joseph Phillips as the main Gypsy! All I can say is “Oh my God!” Where does Kevin McKenzie get all these phenomenal male dancers? And not to take anything away from Reyes’ performance, but I wish McKenzie would work a bit harder on getting phenomenal female dancers for ABT.

[sz]

Xiomara Reyes as Kitri Wednesday... I thought she did about 50% of what she is capable of doing with that role except for her 3rd act variation and fouettes which were at her best. Those Kitri jumps (kicking the back of her head) were barely there in the 1st act and she made no efforts to hold any balances with or without a partner.

I too was a bit worried, in advance of the performance, that some of Cornejo's partnering might be far less than adequate, but, yes, even the two, one-handed lifts over his head in act 1 were nicely done. Some other less "big" partnering efforts still need some work/attention, but overall, Cornejo has come a long way with his partnering skills.

>(Is there a name for those?....)

Over the head held lifts with one arm seems perfectly described!

>And Joseph Phillips as the main Gypsy! All I can say is Oh my God!

Fantastically talented, Joseph, is quickly becoming a new favorite of mine. He's a bit taller than Herman and has a princely, calm elegance. He should progress into principal parts very well at ABT with the right female partner....

[PAmom]

Although I was unable to attend the matinee performance I was very happy to have seen Wednesday evening's cast. It is never a happy moment when casting changes but I can say I was thrilled with the performances of both Ananiashvili and Pavam last evening.

It was understandable how Ananiashvili's Kitri fools Krauchenka's Don Q into thinking she is his lovely Dulcinea; she won me over completely. Carreño was a wonderful sight to behold, as always. His Basilio was all one could ever hope for up until his final variation which left me a little flat.

Carreño and Ananiashvili were well matched. The joyous playfulness they projected combined with their rock solid technique made them a most enjoyable couple. Their trust in each other as partners blossomed into breath taking moments by the final curtain. The audience responded to them in what I found to be surprisingly more lively than typical mid-week politeness.

Flower Girls Copeland and Pavam were a highlight as was Scott's debut as lead Gypsy. With a nod to Cornejo's costuming, Scott sported the open fronted shirt and was on his leg for solid turns.

The pinnacle of the evening was Lane's Amour. Her sprightly and gay performance had me beaming and feeling blessed to be able to be in the audience. It is rare when we can afford the trip from central PA to see ABT at the Met; that evening's Don Q was like a gift to us

[sz]

Wednesday evening's cast: Ananiashvili was, as ever, a wonderfully strong, daring performer even if her age and physical abilities are not quite up to a fine technical Kitri any longer. But both Nina and Carreño were having such a good time, along with Sarah Lane (Amour), Veronika Part (2nd act Queen) and Simone Messmer (Gypsy lead) that this performance quickly became great fun and a thrilling joy.

[Luvin Lulu]

Did anyone watch Hallberg and Wiles' debuts? I'm quite interested to know how they went against the 'hesistation' people have of them dancing the leads (as David said himself).

[Roberto Dini]

Did anyone watch Hallberg and Wiles' debuts? I'm quite interested to know how they went against the 'hesistation' people have of them dancing the leads (as David said himself).

I saw Hallberg and Wiles. Overall, I thought it was very good. Hallberg never ceases to amaze me. Every performance seems to get better. He was great as Espada too earlier in the week. I thought Wiles could use more "Spanish" flair, but I think that will come with time. My favorite Gamache was Alexei Agoudine. I thought he was perfect while Salstein, who I usually enjoy, pushed the comedy a bit too hard.

Nina and Angel's performance tonight was very good. Her balances were spot on. Veronika Part's balances were good too, there was one that was especially amazing in her Queen of the Dryads solo in the dream sequence. I thought the corps was pretty sloppy tonight.

I will try to post more about the performances I saw this week when (if) I have more time.

[mitzi50]

Did anyone watch Hallberg and Wiles' debuts? I'm quite interested to know how they went against the 'hesistation' people have of them dancing the leads (as David said himself).

I saw Hallberg and Wiles. Overall, I thought it was very good. Hallberg never ceases to amaze me. Every performance seems to get better. He was great as Espada too earlier in the week. I thought Wiles could use more "Spanish" flair, but I think that will come with time. My favorite Gamache was Alexei Agoudine. I thought he was perfect while Salstein, who I usually enjoy, pushed the comedy a bit too hard.

Nina and Angel's performance tonight was very good. Her balances were spot on. Veronika Part's balances were good too, there was one that was especially amazing in her Queen of the Dryads solo in the dream sequence. I thought the corps was pretty sloppy tonight.

I will try to post more about the performances I saw this week when (if) I have more time.

I thought Wiles/Hallberg Don Q had a wonderful human, open, comic feel -- the scenes flowed easily and there was an ease and delight to their efforts. No pushing, no striking. Wiles has electrifying turns and as I read the comments here and elsewhere I often feel she is overlooked and taken for granted. Her balance, aplomb, stylishness, quick-footed attack and joy in movement is underrated by those looking for a more diva-ish approach. Yes, the old Russians ate up the stage but its hard to find someone who brings freshness and dedication to so many different roles as Wiles -- and, though I love Hallberg, I think she enjoyed the jokes more than he did.

[bingham]

Michele and David were the sunniest,least-Spanish-looking Kitri and Basilio i have seen but they were certainly among the most elegant pair.Michelle , with her height and blonde-looks ,seems out of place in the 1st act but made it up in the last 2 acts. Her variation and esp her foeuttes were spectacular .It brought the loudest applause of the evening.David was his usual elegant self . He did not do the one-arm lifts of the other Basilios but was esp good in his partnering of Michelle. I really enjoyed watching him anticipate the balances of Michele in thePDD letting her alone when she held the balance.

The rest of the supporting cast was as good as can be esp K Boone and R Pavam.S Messmer was impressive in her 3rd act variation.Marcelo and Veronica? They are just so good together that i am already sorry to miss their La Bayadere

[FauxPas]

I broke my resolution not to see Nina Ananiashvili in "Don Quixote" this season as the combination of Nina and Angel seems to have an age-defying magic. Saturday night indeed was a wonderful performance.

First of all, Angel's maturity and greater authority onstage matches him up better with Nina. Before it seemed like a boy and a woman dancing together, now they seem to be more equals. Angel also is a much better actor now relying less on the smile and boyish charm and really revealing all sorts of character details as Basilio. His byplay and reactions are much more specific and not just Angel being cute or funny. I was always frustrated by the Nina/Julio combination in "Don Quixote" which I always had hoped would be the greatest ever. Timing and injuries frustrated my hopes. Unfortunately, the premiere of the new staging, Nina was injured and replaced by the young, and at that time full of infinite promise, Paloma Herrera. Nina the next year was good but not up to top form yet. Then Julio started having his knees replaced. I kept going and one time he was better than she was and then she would be competing with Julio but he wasn't up to that anymore. They never had the kind of virtuoso duel in dance that I remembered from Julio and Nina's Black Swan Pas de Deux. Angel and Nina had a very friendly mellow rapport and each seemed to spark the other in lovely ways.

There were technical tour de force moments galore but also a few tiny disappointments. Often if a step didn't quite dazzle on the first try, Nina or Angel would drive themselves to the utmost on the second try and they succeeded gaining applause for their efforts. Case in point, the one-handed lifts in Act I. The first was short and wobbly but on the second Angel practically held her aloft for a minute and would have walked around with her if he wanted to. Same with Nina's balances in the last act Wedding Pas, the first was short but the second she held forever. Nina's back doesn't seem as strong as it was so her arabesques and kicks to the back of the head were not has high as they were once. She still has good pirouettes and piqué turns. The fouettes were solid singles with just a little tiring at the end. Still stunning. It also seemed to me that Angel was not taking all the risks he used to such as jumping up on one foot and bending the knee during spins a la seconde. Still his leaps and turns still stun and his generosity with the audience is so winning. Sometimes he would kind of wink at the audience before performing a variation which you'd think would be obnoxious but was very charming and fun. Nina and Angel were beautiful and joyous together with finely honed interpretations. Only in comparison with themselves 6 to 10 years ago do they seem anything less than perfection.

Sascha Radetsky was Espada and Kristi Boone was Mercedes - she had strong stage presence and fire, his long legs and strong attack made the most of his choreography. Marcelo the Magnificent has the best characterization for Espada hands down, the perfect send-up of over the top Latin machismo. Veronika Part and Sarah Lane were a dream pair as the Dryad Queen and Amour. Nina was beautifully classical in the Dream Sequence with chiseled steps and formal perfection. I enjoyed the flower girls of Isabella Boylston and particularly Renata Pavam. Simone Messmer had the total fire and commitment of the wildest Bolshoi character dancer as the Gypsy Girl and Joseph Philips showed that he is a dancer to watch as the Gypsy Boy. Craig Salstein made a major character out of Gamache.

Very, very fine evening of dancing and I was so glad I went.

[Haglund's]

I couldn't resist going Saturday night either.

The thing about Nina is that she knows how to vary and modulate the intensity of her performance so well. Her variations and the PdD are very different from what the other Kitris dance. Some of that is the result of good choices by a maturing artist, but some of it is just there to heighten the magic of the performance.

That wedding PdD was pretty thrilling, and I NEVER anticipated that final fish dive. Nina came running out of the downstage house-left corner, threw herself at Angel, BUT completely reversed her direction so that her head was facing in the direction that she had just come from. Nobody should do that without a net.

And it was a nice touch to see her actually playing the castanets while doing her traveling single pirouettes down the diagonal.

Nina is just on the other side of her pinnacle, certainly not some aging ballerina who should give up roles like this. Since she began appearing regularly in New York fifteen years ago, a whole new generation of twirly-gig dancers has emerged, thus moving the standard of dancing along (I won't say in which direction). So, there is that perceptible difference. And as far as I can recall, Nina always possessed certain characteristics which could be attributed to any dancer's "aging" - for example, her arabesque during grand allegro always had a little bit of attitude in it. But you know, she packs a lot into any performance and has a clear understanding of why she's out on the stage. And I agree with FauxPas, she and Angel are very complimentary to each other.

Angel went crazy again last night. It was fun to watch the other men watching him while he performed some of his miraculous maneuvers. They were as amazed and unbelieving as the audience was - and they get to see him do it all the time!

Kristi Boone as Mercedes was a standout - a commanding stage presence with all the technique to back it up.

And now, I shall bite my tongue in preparation of next week's Bleeping Beauty, and will refrain from re-hashing and re-invigorating old complaints in favor of finding positive aspects of the dancers' performances.

[Roberto Dini]

Then Julio started having his knees replaced.

Julio had both knees replaced? Wow! I did not know this. I've seen people have trouble with a knee replacement. I can't image dancing on one let alone two replacements.