TWO BALLETS PRESENTED

Press, Volume XCVII, Issue 28530, 8 March 1958, Page 16

TWO BALLETS PRESENTED

Delightful Contrast

“Les Sylphides” and “Nutcracker” make up the second programme of the Borovansky Ballet. This was presented for the first time at the Theatre 1 Royal last evening. The two ballets form a delightful contrast. “Les Sylphides” is conventional, set to Chopin’s music, and aiming at a classical refinement of technique. “Nutcracker,” on the other hand, is a fanciful, eager vision of childish delights. The one unfolds in restrained blue and grey and silver; in the other the use of colour is extravagant.

Elaine Fifield and Kenneth Melville were the leading dancers in “Les Sylphides.” Here once more the wonderful grace and lightness which mark the ballerina’s performance were perfectly exemplified. Nothing more ethereal and more apparently unpremeditated could be imagined than the dazzling exhibition of technique in the mazurka and the waltz of “Les Sylphides.” Kenneth Melville, too, was at his best; and the brilliance of the principals was echoed in the grace of the corps de ballet. Throughout “Les Sylphides” the dancers, leaving their lines, would drift into groups, beautifully composed, but lasting only for a few seconds and then seeming to melt imperceptibly into another formation. “Les Sylphides” is obviously one of the most artistic of ballets. It can appear cold and remote, but it would not be too much to say that it was presented last evening with a vivacity that was warm and appealing. “Nutcracker” opens with a Christmas party in a wonderfully contrived setting. There is really a story in Act I, but the ballet soon becomes a lavishly mounted spectacle, in which one diversion follows helter skelter after another. The battle with the mice, a flawless piece of miming, led up to the appearance of the prince and to Clara’s journey through the snowstorm, a striking scena in white and ice blue. With her arrival at the court of the Sugar Plum Fairy, new and brilliantly imagined visions rose before Clara at every turn. The fantasy of “Nutcracker,” however unexpected it may be, is always kindly; and the company created an atmosphere of unforced gaiety that will not soon be forgotten.

Pamela Proud made Clara a spontaneous and attractive little girl, and without its being unduly emphasised, she remained the central figure of the spectacle. Miss Proud will be remembered from the last visit of the Borovansky Ballet. She was then obviously a talented artist, and on this occasion she shows herself equal to a leading role. Scintillating Dancing Kathleen Gorham, as the Sugar Plum Fairy, danced with that virtuosity which has made her name. The role abounds in what may be called bravura passages, and Miss Gorham, with evident delight in these florid airs and graces, gave a scintillating performance. Vassilie Trunoff, in the role of the Prince, showed an absolute command of . his art, together with the discretion in exhibiting that command, which makes him so tactful a partner for Miss Gorham. The pas de deuse of the Sugar Plum Fairy and the Prince was received by the audience with acclamation. The divertissements in Candyland come thick and fast, and it is impossible to mention all of them. However, it may be said that the choreographer’s powers of imagination have been considerably exercised in “Coffee,” which was danced in a rather unexpected way by Rosemary Mildner and John Auld. The Marzipan shepherdesses also scored a great success, and the waltz of the candy flowers was charming in a more conventional way. To sum up, this performance of “Nutcracker” can truly be called exquisite. It is one of the most attractive ballets in Mr Borovansky’s extensive repertoire. —C.E.S.