MOVING PRODUCTION OF GISELLE

Press, Volume CIV, Issue 30900, 5 November 1965, Page 18

MOVING PRODUCTION OF GISELLE

The New Zealand Ballet Company’s “Giselle” opened last night to a tremendously enthusiastic audience. Svetlana Beriosova added spectacularly to her reputation as a star of great brilliance. Her Giselle was first delightfully lighthearted then utterly distraught as she realised her lover had deceived her, finally so ethereal that it was only with difficulty one remembered she was in fact flesh and blood. Her dancing has a clarity and precision that extends to her very fingertips but at the

same time' it is intensely dramatic.

Karl Musil last night was revealed as a star in his own right. His ability as a partner for Beriosova has already been noted, but his dancing of Albrecht was both technically and dramatically powerful.

Both these dancers project thoroughly delightful personalities and make their audiences willing captives in enchantment. Other soloists in “Giselle” are Lorna Rogers and Georgene Walker, both of whom revealed considerable ability and potential. Terry Westmoreland further displayed his admirable versatility. A third star took the stage last night. Raymond Boyce’s designs were magnificent, Act I was a glory of warm autumn colour in set and costumes and Act II was eerily beautiful. The construction, particularly of the well-designed huts of the first Act, had the appearance of solidity but at the same time was light and graceful.

The programme opened with “Facade” which is not a happy choice for pairing with “Giselle” as the mood is entirely different. “Giselle” is what will be remembered. It was so deeply moving that applause seemed an intrusion which would break the spell—a spell which will continue to bind for a long time to come.—P.S.