NEWS

The First Princess Ying on Broadway and the Original Connie in A Chorus Line, Baayork Lee, Looks Forward to Directing at Ash Lawn Opera

this Summer

You were the original Princess Ying in The King and I on Broadway in 1951. How does a five year old get cast in an important part on Broadway? Was it fun to perform or were you nervous? How did your family feel about your 'going on Broadway'?

The casting directors went to New York City Chinatown schools looking for children. That was how they found me. It was like playing a game for me back then because I was with so many other children, so it wasn't anything for me to be nervous about. My mother was very supportive, but my father was not. Since they knew nothing about the theater, they were not aware of the magnitude of what I was involved in.

You have choreographed many shows including Camelot, Damn Yankees, and South Pacific. How did you make the transition from performer to choreographer?

Michael Bennett gave me the tools to make the transition. That began with being his Dance Captain in Promises, Promises, See Saw, and then his Assistant Choreographer on A Chorus Line. With each position that I graduated to, I began to discover my own voice creatively and choreographically. Through his guidance, I was able to make this transition smoothly because I was working with the best. Michael was a genius.

Being the first Connie in A Chorus Line must have been a very intense experience!

It was an extremely intense experience, since I had only been a dancer on Broadway up to that point. During the workshops, Michael Bennett was experimenting with us as actors and actresses and we were not used to that. We were the first to do a show through a workshop format, which set the stage for other shows to follow the same formula. We were not writers, and yet we were called upon to co-write our life stories with Michael. We had no idea what we were involved in, and how groundbreaking and historic it would become.

You have directed national and international tours of Bombay Dreams and Jesus Christ Superstar. What is the difference between directing a production for one theater, and directing a production for a tour?

When we are talking about staying at one venue, it's fantastic because you can use the proscenium and what is available to the production at the theater. The actors have a home where they can settle in, and become comfortable in the space. When you are directing a touring production, you have to consider how it will work in each of the different venues where the show appears. The various stages are different, the size of the venue varies, as well as the lighting options, etc... So you have to put the show together with those differences in mind.

You have directed so many productions of The King and I. Do you ever get tired of it? What will be different about our production?

I never get tired of it because the story is compelling, and the music is just beautiful. It's a challenge to me because I was in the original production, so I want the actors I work with to put their stamp on their production. The difference with your show will primarily be the set, which has been redesigned beautifully, and tailored to your particular theater in which we are working. Also, we are blessed to have the Young Artists from the Washington National Opera involved in this production, who have been chosen by Placido Domingo to be a part of his program.

Tell us about the new company you have formed, National Asian Artists Project (NAAP)?

Because of the lack of work for Asian artists on Broadway and in theater, I formed this company to educate, encourage and inspire Asian artists to have a place in the performing arts. In the two years that we have existed, we have produced Oklahoma with an All-Asian cast and received two grants to put on a Discover New Musical series, again featuring All-Asian artists.

Michelle Krisel

New General Director

April 12, 2010

President of the Board of Directors, Frank Buck , announced today that Michelle Krisel will be the new General Director of the Ash Lawn Opera Festival. "We are delighted that Michelle Krisel will assume the artistic and administrative leadership of our company. With her thirty-years of professional work in the opera field, Michelle brings us broad experience and extensive contacts both nationally and internationally. Her record demonstrates an extraordinary commitment to the development of young artists. We look forward to welcoming her to our community and to working with her in the months and years ahead”.

Michelle Krisel said, "I am excited to be taking the leadership of the Ash Lawn Opera Festival in the beautiful city of Charlottesville at this special time, with the move to the elegantly renovated Paramount Theater on the historic Downtown Mall. Ash Lawn Opera has a long track record of discovering and nurturing young talent, and excellent Apprentice and Education Programs already in place. I particularly look forward to working with the dedicated Board of Directors, the enthusiastic Guild, and the greater Charlottesville community".

Ms. Krisel will be only the second General Director in the history of the Ash Lawn Opera Festival. Judith Walker, whose distinguished leadership brought the company from its infancy to its current professional status, announced her retirement at the end of 2009 and was recently named General Director Emeritus by the Board of Directors.

The appointment of Michelle Krisel marks the successful conclusion of a national search. Mr. Buck thanked the Search Committee and co-chairs Donna Plasket and Anne Fife, for their excellent work.