BALLET SEASON

Otago Daily Times, Issue 26626, 24 November 1947, Page 6

BALLET SEASON

THE BOROVANSKY COMPANY ATTRACTIVE OPENING TRIO Since its last appearance in Dunedin the Borovansky Ballet has acquired polish, precision and a fair degree of maturity. The large and enthusiastic audience at His Majesty’s on Saturday evening obviously welcomed the initial programme of the Borovansky season—the fragile romanticism of “ Les Sylphides,” the mischievous miming of “ Coppelia,” and the sentimental gaiety of “Le Beau Danube.” The Covent Garden and Continental tradition was followed in presenting Fokine’s “ Les Sylphides,” the best known and most frequently danced of all ballets, as the opening ballet of the season. Although based on a suite of disconnected dances —it was originally entitled “ Chopiniana,” which suggests at least a musical patchwork —it is given unity of atmosphere by the use of the corps de ballet as expressive artists rather than as a formal and mechanical background. The atmosphere of stylised enchantment of this romantic reverie set in a moonlit forest glade was adequately created by the Borovansky company, but it was in the solos that the delicate pattern of Fokine’s choreography really emerged. Martin Rubinsteins work was impeccable in execution and full of vitality, although perhaps too precise at times. Mr Kubenstein s slight stature possibly gives a subconscious impression of neatness and precision whijch detracts from the genuine ability of his work. Kathleen Gorham’s pas de deux waltz With Rubenstein was smooth and sensitive. “ Coppelia ” —with its quaint subtitle, “The Girl with the Enamel Eyes ” —is a two-act ballet with a lively charm which makes its perenriial popularity a matter of little surprise. Plot, music, decor and choreography combine in a spectacular and comic variation on the favourite old ballet theme of toys coming to life “Coppelia” was the most popular, of the ballets included in the opening programme, and the merriment of Delibes’s • score was matched by the vivacity of the dancers. Edna Busse’s scintillating dancing captivated the audience, but with her authoritative dancing Miss Busse offered perfect pantomime. Her Swanhilda was undoubtedly a nigh point in the whole evening. Another role rich in character and pantomime opportunities, that of Dr Coppelius, was taken with distinction by Edouard Borovansky. The mazurka and czardas of Tamara Tchinarova and Martin Rubinstein in the Ruritanian first act were full of life and the costuming was particularly effective. Serge Bousloff (Franz) was restrained and polished, and Leon Kellaway made a jovial burgomaster. The mechanical illusion of the second act “toys” was well maintained and nicely integrated with the music. The somewhat insipid decor for Le Beau Danube ” made its opening moments seem a little anti-climatic after “ Coppelia,” but the joyous dance patterns with which this ballet abounds soon dispelled this impression. Borovansky’s choreography tended to underline the sentimental story rather than to outline the nostalgic feeling for the atmosphere of old Vienna as it is normally created in ballet or operetta. The contrast in the story between the brazen dancer of the streets and the timid young girl who vie for the attentions of the handsome Hussar affords an excellent opportunity for a parallel contrast in the dancing. _ , . As the street dancer, Tamara Tchmarova’s suggestion of vulgarity was kept within the bounds of classicism, and her dancing was intense and vital. Her rich, wine-coloured costume made a particularly effective contrast with the pearl grey of the hussar’s uniform. Joan Potter was always appealing as the young girl, but the restraint which characterised Serge Bousloff’s work tended to obscure his role. Edouard Borovansky again demonstrated his capacity for warm comedy with his minor role as the Athlete, while Martin Rubinstein made a flambuoyant King of the Dandies. A major innovation for the Borovansky company was the provision of an orchestra under the direction of Kurt Herweg. As an equal partner in the entity that is ballet, an orchestra is undoubtedly an asset to the company, but it could not be said that the orchestral polish on Saturday matched the polish of the dancing. It was, in fact, more the music of a Bavarian beer-hall band than of a ballet orchestral The lustier passages of Delibes were certainly susceptible to such treatment, and it might not have been regarded as out of place in much of Strauss. But it was certainly not Chopin for the critical spectator. The Borovansky Ballet will be in Dunedin for two weeks, and there will be four changes of programme covering a comprehensive variety of the classical and the modern in ballet.

The South Dunedin Brigade extinguished two gorse fires on Saturday, one at 11.25 a.m. at Ravenswood road,. St. Clair, and the other at 12.08 p.m. at Milburn street, Cofstorphine. At 12.58 p.m. the Central Brigade extinguished a fire in a flat in Manor place, minor damage being done to a wall and furniture.