Night Of Firsts At Ballet

Press, Volume CIV, Issue 30681, 22 February 1965, Page 2

Night Of Firsts At Ballet

There was a festival air at the Theatre Royal on Saturday night when the New Zealand Ballet performed “The Nutcracker” to a full house. This is the first South Island season of this ballet, and the reception on Saturday indicated that it will be most successful.

; It was a night of firsts: the first appearance of the first ballerina the company has had, Leonie Leahy; the first time the New Zealand Theatre Ensemble has performed in Christchurch; and, significant in terms of the future of the i company, the first time all performances have been completely sold out before the season opened. The last feat is attributable primarily to the 'choice of “The Nutcracker” ‘for a “family season;” but it |is also a clear indication of the solid foundation of public i support which the New Zealland Ballet has been building [Since its earliest days. Earlier in the day one member of the company added her own first to the list — Gillian Francis danced the Sugar Plum Fairy for an enthusiastic matinee audience. This was the first time she has danced a solo in her home town since she joined the company.

As family entertainment 'The Nutcracker” is an excellent choice. It offers unlimited scope for colourful designs, most of the music is familiar to even the youngest in the audience, and the plot is simpler than many of the well-known fairy tales. The delighted reaction of the

younger members of Saturday’s audience proved the suitability of the choice. Leonie Leahy, in her first appearance in Christchurch, justified with every movement the decision to import this dancer as the company’s ; first ballerina. Her dancing of I the Sugar Plum Fairy enchanted the audience. There was a sureness and [lightness about everything she did and her footwork in particular was most polished. Her solo variations in the [Grand Pas de Deux was a (highlight of the production. J In this role no demands are' [made for characterisation: (for this reason it is to be hoped that Christchurch audiences will have an opportunity to see Miss Leahy’s Giselle and judge her abilities jin a character role. ! Kenneth Tillson’s Nutcrack- i er Prince was virile and ex-' [citing to watch, particularly: !in Act I: the sparkle was less! !apparent in Act 11. His easvj land confident lifts added their: share to the success of the pas[ de deux with both the Snowi Queen and the Sugar Plum! Fairy. As Clara, Annabel Murray seemed to typify all the starry-eyed children in the audience. Her dancing embodied the excitement of any child at a Christmas party, and the miming of her amazed delight in the Kingdom of j jSweets and the Land of Snow [was especially charming. I Patricia Rianne (the Snow Queen) has some unattractive and angular arm movements, but otherwise she danced with grace and precision. The divertissements in Act II were all performed with

charm, if not always with precision. Georgene Walker’s Arab, and the Mirlitons (Christine Smith, Jacqui Oswald, Loma Rogers, and Bridget Taylor) were the most successful. Better Russian dancing has been seen than Robin Rickey’s, but his effort drew warm applause for its verve.

Raymond Boyce has handled the setting of this ballet with the delicacy and feeling for fantasy which characterise his work. The transformation in Act I was breathtaking. and his costumes for the i Prince, the Snowflakes, the Spanish, Arab, and Chinese dancers, and the Mirlitons were particularly felicitous. On the other hand, the Flowers, while gay, lacked a unifying theme colour which would enhance the beauty of the final waltz. The orchestra, a most sueicessful combination of the i New Zealand Theatre Ensemble with the Christchurch i Civic Orchestra, made a most impressive contribution. The : cohesion achieved was quite iremarkable in view of the( 'short time the musicians have! played as one body. Tribute! must be paid to John Ritchie, i who has prepared the Civic! Orchestra for this and much; other work for the Arts Fes-! tival. and who conducted with imagination and sympathy. !

As artistic director for the company Russell Kerr, who produced “The Nutcracker.” has already done some wholly admirable work. In this production audiences are seeing the most ambitious work the New Zealand Ballet has undertaken. This is a youthful company, but one capable of most sophisticated work—P.S.