THE STAGE “Caribbean Rhapsody" Is New Entertainment

Press, Volume XCV, Issue 28262, 27 April 1957, Page 2

THE STAGE “Caribbean Rhapsody" Is New Entertainment

With “Caribbean Rhapsody” Katherine Dunham and her company scored a considerable success at the Theatre Royal, Christchurch, last evening. When the curtain rose on “Afrique,” it seemed at first that this was just another show, rather more noisy and garish than some. However, the truly remarkable vitality of the dancing at once seized the attention of the audience, and with the Brazilian Suite in Act I “Caribbean Rhapsody” was perceived to have a spirit all its own and to offer something quite new to Christchurch audiences.

The strangeness of the ballets and of much of the music is heightened by the eccentric movements and extravagant gestures of the dancers. Miss Dunham has tried to express the spirit of the two Americas, and behind the strictly contemporary craziness of much of “Americana” may be discerned the voodoo of Haiti and the witchcraft of Trinidad.

The opening Brazilian Suite proved charming indeed, and the wonderful early nineteenth century quadrilles danced by Janette Liddell, Deborah Velasquez, Lenwood Morris and Jorge Saenz held the audience quite spell bound. Then too, Miss Dunham's own vivid personality and colourful costumes made her dancing stand out in “Dora” and “Bel Congo.” “Los Indios,” which followed, was set high in the Andes. The two weary Indian women were interpreted with infectious humour by Elleanor St. Ann and Camille Yarbrugh, and Robert Wise made a tantalizing and elusive flute player. “Shango,” a ballet of black magic, was a great contrast. Here the cast created an atmosphere that was real and sinister enough to be disquieting. Francisco Aguabella and Ural Wilson danced with a fervour expressive to the utmost of a barbaric poetry of motion, and they were ably supported by the rest of the company. Indeed, not even the comedy of “Veracruzana,” which followed,' could completely dispel the overtones of “Shango.” As the not always reliable Veracruzana herself, Katherine Dunham gave another vivacious performance, in which she managed at the same time a lover and the enormous flounced train of her gown with triumphant virtuosity. The whole of the third act was devoted to material drawn from the Southern States of the United States. This act was entitled “Americana,” and began with a skilfully adapted group of negro spirituals and plantation dances. Katherine Dunham next appeared in “Barrelhouse—a Saturday Night in Jacksonville.” Here the act of Vanoye Aikens was apparent: but Miss Dunham’s personality was regrettably diminished. What a pity that an art so flamboyant and alive should be used to express the deep South at one of its dreariest moments! With “The Strutters’ Ball,” however, the pace of “Caribbean Rhapsody” quickened again. “The Strutters’ Ball” was a delightful period piece and a suitable prelude to “Cakewalk,” in which the whole company appeared, with the

unexpected addition of two pipers in kilts. Katherine Dunham and Vanoye Aikens were both at their best here, and Miss Dunham delighted the audience with a series of curtain calls, on each occasion appearing in a different and unexpected guise.

The choreography of “Caribbean Rhapsody” is Katherine Dunham’s own and is obviously of great distinction. The company is a happy one, and the whole cast radiates a charm that is very appealing. “Caribbean Rhapsody” is unusual, and, even though it begins at 8.15 p.m., it should on no account be missed. —C.E.S.