Thrilling Ballet Presentation

Press, Volume CVI, Issue 31339, 8 April 1967, Page 14

Thrilling Ballet Presentation

Seldom can a Christchurch audience have had such a thrilling evening as at the presentation last night of “Faymonda” by the Australian Ballet. Every aspect of the performance was dazzling in its excitement

Glazonov’s music is dynamic and driving in its rich orchestration. The settings are brilliant with colour and imaginative use is made of modern techniques to evoke a period atmosphere; the costuming is one visual delight after another, stylish, rich, and consistently flattering to the dancers. And the dancing is of the highset standard throughout the company. This is a vivacious and captivating company, dancing with an enthusiasm that does not have to disguise technical lapses. The system of a ballet school which turns away hundreds of applicants has paid dividends in building a company of first-class dancers, with soloists and principals completely in harmony with a most competent corps de ballet

“Raymonda” is a full length ballet with a slight story line,' but magnificent opportunities for stirring and poignant lyric and impulsive dancing. The original choreography by Petipa has been reworked by Rudoif Nureyev who has left the imprint of his fiery personality on many of the scenes.

The most memorable feature of the choreography is the manner in which routine classical movements are developed and given an unusual ending. No one section of the work can be said to stand above another, but particularly Worthy of mention is the Pavane from act I which uses the lovely black and gold medieval costumes to enhance the beauty of the patterns made by the dancers. The waltzes of act I, and the Moorish and Spanish divertissements in act H were also quite delightful. Marilyn Jones was an entrancing Raymonda. Her danc-

ing showed the mastery of classicism for which she is becoming renowned. She has purity of line, dignified bearing, some exquisite arm movements, marvellous control, and through it all a winsome warmth which built Raymonda from a stereotype in a fairy tale into a real person. Bryan Lawrence danced as Jean de Briewne, the hero who kills his rival in a most convincing duel, and wins Raymonda as his bride. His dancing was highlighted by great, magnificently controlled leaps, and clarity in all his movements. His partnering of Marilyn Jones was graceful, apparently effortless, confident and completely self-effac-ing. Abderachman, the Saracen chief, was danced by Robert Okell. He brought out all the sinister qualities of the villain, dancing with fire and impetuosity. As in the choreography for the other soloists, his dances had a slight hint of novelty in the treatment of stock movements.

In all, it was a wonderfully exciting production, one which will be long remembered, which showed why the Australian Ballet has achieved international renown, and which deserves to have a most successful season. The long and loud acclaim of last night’s audience, which eventually drew Miss Peggy van Praagh, the director of the company, to the stage, should continue throughout the season.