Word: shee
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Dates: during 2000-2009
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...quite lackluster as well. The chorus, which did not dance on pointe, should have put on a cohesive, clean performance, but instead proved boring and imprecise. The pas de deux by the two leads, Gamzatti (Amanda C. Lynch ’10) and Solor (Kevin Shee ’10) was not much better. The two dancers were clearly talented but completely mismatched: Shee visibly shook when lifting Lynch and strained when turning her. At one point, Lynch even took an unfortunate fall. She redeemed “La Bayadère,” however, when she returned...
...Shee and Moore were a stunning couple. The well-matched pair brilliantly executed Balanchine’s technically complex choreography, particularly the difficult, daring lifts...
...Special Programs Instructor Brenda S. Divelbliss, offered an interesting—though dark—perspective on ballet. Electronic contemporary music, namely DJ Alexandre’s “Toma Toma,” inspired an unconventional blend of ballet and break dancing. The combination was ideal for Shee, who stood out as the only male in the show. The eight female dancers, clad in disheveled, sequined tutus of varying lengths and colors gave a performance that matched Shee’s, filled with dramatic leaps and exhilarating drops to the floor...
...ideal balance between the abstraction typical of modern dance and the visual appeal of classical ballet. The best moments of her exquisite choreography featured not only the usual leaps and turns but also interesting new movements, like dragged splits. She worked with the most talented HBC members: Lynch, Moore, Shee, Walker, and James C. Fuller ’10. Walker shone the brightest, but all five brought Schreier’s complex choreography to stunning fruition...
...Both incredible skills and sloppy execution characterized “Modern Muses.” While its first and last performances did not compare to those in between, one aspect remained consistent: its strong soloists. Miller, Moore, Lynch, and Shee brought skillful precision and lyrical prowess to the selections, suggesting a promising future...