‘Tales of Hoffman’

Press, 1 December 1982, Page 6

‘Tales of Hoffman’

“Tales of Hoffman,” presented by the Southern Ballet, choreographed by Russell Kerr, at the Southern Ballet Theatre, November 27 to December 11, 7 p.m. to 9.20 p.m. Reviewed by Philip Norman. The Southern Ballet Theatre’s Christmas season comprises, a double bill of alternating performances of “The Nutcracker” (the Handel’s Messiah” of ballet) and “Tales of Hoffman.”

It is a programme designed* to extend ' the resources of the company, particularly since a minor 1 in? jury to the lead dancer, Julie Gare, has entailed the hasty rehearsal of substitute performers.

. .“Tales of Hoffman” is the collective title for a composite sequence of three ballets. The. first of these is a noriprogrammatic ballet set to music by Dohnyani. Based on unending variations of “Twinkle,. Twinkle Little Star," the riiusic is a

superb example of protracted romantic trivia. But the treatment by the choreographer, Russell Kerr, of the nursery rhyme flavour, is far from trivial. Using projected slides of nursery toys as* an integrating technique, and the reactions of a charming six-year-old (Jennifer Brodie) as a focal point, the ballet romps guilelessly through a succession of childhood fantasies.

"The Magic Spectacles” (music by Bellini) was without a doubt the highlight of the evening. It was a finely drawn study of man’s inhumanity to man in which Hoffman (David Peake) has his hopes cruelly raised by the sadistic Spalanzani (Warwick Shillito), before being dashed by the discovery that his beloved Olympia (Janeve Rohrs) is nothing but a lifelike doll. Hoffman is utterly crushed.

Special mention must be made of Janeve Rdhr’s role. • Although she was one of the

replacement dancers, hers was no second-string performance. Porcelain-faced, and with unblinking gaze, she maintained a"■ wonderful poise in the mechanistic dances as the doll. These were tellingly contrasted ■with her fluid, spacious movements when she appeared in human form. David Peake’s mourning of his loss at the end of the ballet was highly-charged with the strength of underplayed, intensity. The final ballet was "The Stolen Reflection” (music by Verdi).- The treatment of material in this was a trifle overblown for my taste. The sentiments expressed bordered on the maudlin and the emotions were too consistently overwrought to produce any really satisfying moments. Judith Froude as Guieletto sparkled though, as she danced the part of the temptress with sweeping abandon.. Hers was a welltempered vitality.