DANCE REVIEW : AMANDA McKERROW, ABT AT SHRINE

Amanda McKerrow--the youngest, frailest, most vulnerable and ideally lyrical of Juliets--made American Ballet Theatre seem to be a mere backup company and Kenneth MacMillan’s three-hour dance drama an insufficient vehicle for her talents Saturday afternoon in Shrine Auditorium.

Dancing opposite Robert La Fosse (previously reviewed), McKerrow exuded such purity of style, security of technique and sincerity of emotion that nothing less than the full “Sleeping Beauty” would showcase her properly.

At 20, she is youthful enough to look plausible in Juliet’s games with the doll, yet mature enough to bring passionate urgency to the love duets. Her finely modulated performance was a down payment on what should be a major career.

Other notable new casting in the matinee “Romeo and Juliet”: Kevin McKenzie skillfully playing Mercutio as a likable jock--but meeting the bravura dance challenges unevenly; Victor Barbee as a memorably sardonic, charismatic Tybalt; Eric Weichardt as a lightweight Escalus and a sanctimonious Friar Laurence. Alan Barker conducted.

Saturday evening, Jack Everly conducted the best- sounding “Romeo and Juliet” this season while Ballet Theatre coped with dancer injuries by making wholesale casting replacements.

For instance, Robert Hill danced Romeo in place of Patrick Bissell--who was scheduled as a substitute for Ross Stretton. Hill had some of the same gifts as McKerrow--including a perfectly proportioned body for ballet and superior technique. However, facial mannerisms and overwrought emoting weakened his promising coltish approach to the role. Marianna Tcherkassky again danced Juliet.

Raymond Serrano made a baleful thug of Tybalt--unimpressive except in his violent death throes. As Mercutio, Johan Renvall also died impressively--and danced brilliantly before that--but his characterization had little individuality or even focus. David Richardson changed costumes but not his expression of glazed authority as Escalus and Friar Laurence.