Submitted by Sir Joshua, Jun 25, 2007 06:51

Uncle Misha, as Baryshnikov is affectionately known in his intimate circles, is now an odd duck of the ballet world who continues to fly in name only to some, yet certainly in fact to those who remember his first appearences here in the U.S.A. and his managerial days at ABT, before the arrival of the odious Kevin McKenzie. Anyone who saw his Don Q and was levitated by his innovative adjustments to Petipa loves him as the man who let loose the earthly bonds we all know and who put ballet in the US on a new course. He was a complete package. A hero for achieving his own personal freedom in escaping the Soviet regieme. A young handsome fellow who knew his own potential, utilized it, married Jessica Lang, a golden girl of the cinema, made himself a youthful legend and made ballet fun and a joy for people who responded to his bravura on stage like they had only responded previously to athletes in Yankee Stadium. When you hear culture vultures go berserk in the Metropolitan Opera's staid gilded interior, you know you are watching someone who has their finger on the pulse of the human heart. Since then, his only performance peer has been Angel Corella.

Baryshnikov's appearence in pieces of modern choreography are disappointing to his old followers who want to see him jete his way across the stage as in days of old. But, these acolytes would line up to watch him cross the street as well. I remember seeing the aged Nuryev performing Don Q with Boston Ballet. You sat and watched a legend move, not to his full former potential, but as legends do, no longer with the crack of a whip, but with the statley grace and richness of the reedy oboe. One does what one can, but being there for the audience is everything in itself. The ballet audience knows it's gods by sight. And we are thankful for all apparitions.

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