ENTHUSIASTIC HOUSE FOR “JOY OF SPAIN”

Press, Volume C, Issue 29444, 21 February 1961, Page 16

ENTHUSIASTIC HOUSE FOR “JOY OF SPAIN”

The new theatrical year in Christchurch began in a sensational way at the Majestic Theatre last evening, when “Joy of Spain” opened before a packed house. From the rising of the curtain the players made a vivid impression; and the • enthusiasm of the audience increased as the show progressed. This is a young, eager company, determined to please and anxious to win the regard of the public.

There can be no doubt about the talent, particularly of the leading members of the cast of “Joy of Spain.” They should all be very popular with theatre-goers in the city. Their programme is varied and wellchosen, and the applause they earned last evening was fully deserved.

Perhaps the most characteristic feature of the entertainment offered is the dancing Nothing like it has been seen in Christchurch for some time; and the performances of Pilar de Oro and Alfredo Gil are outstanding. The range of their interpretations is remarkable in itself. There is, on the one hand, the turbid scene of jealousy in the gypsy tavern, in which Diana Marquez also appeared; and, on the other, the charming gaiety and freshness of “Castilla.” where comedy flourishes to the clicking of the castanets. The dancers express most of the emotions that lie between these two extremes, performing with unflagging spirit and obvious enjoyment Their presentation of the "Farruca” from "The Three-Cornered

Hat” of da Falla is particularly engaging; and in the first half of the programme they are the life and soul of the “Fantasia ConfobesaAmong the more appealing of the descriptive scenas is “Aragon;” and here Diana Marquez has sdme ot her most attractive moments. She is the leading

dancer in the colourful “Valencia” sequence, and she also pleased the audience in ‘■Jai Alai” and “Taberna Gittana.”

One of the leading personalities in "Joy of Spain” is, no doubt, the singer Maria-Car-men Raminez. She makes an immediate appeal with "El Vito,” a melody of Falla, already familiar to everyone in its English version. She adds piquancy to each scene in which she appears, and the impression she makes is strengthened and confirmed by her concluding performance of “Granada ” Luis Rueda is a fine singer in the typical Spanish style. As his “Maria Dolores” shows, he is a serious artist; but he has a fine sense of comedy, and together with Diana Marquez and Reyes Millan, works up much of the fun and liveliness that give light and shade to scenes like "Aragon" and “Jai Alai.” Reyes Millan too has a delightful voice, as his numbers in “Aragon” and “Castilla” amply prove. The Spanish Ballet danced in all the bigger numbers with the fire and temperament that would be expected of those who have such inspiring principals to lead them. Their final number, "Andalucia,” is perhaps their triumph. Last evening the audience was reluctant to let them go when the curtain came down, and the final section of "The Seville Fair” was accordingly repeated. The music is, of course, strongly accented. The orch-

estra is ably directed by Alberto Arias. “Joy of Spain," however, would . have lacked something essential, had it been without the guitar music of Samuel Martin and Anastasio Duque. If anyone is looking for flamencos, fandangos and castanets, "Joy of Spain” is a show that should not be missed on any account —CJES.