Chch Ballet Society

Press, 26 October 1984, Page 6

Chch Ballet Society

“The Enchanted Shoes” and “The Emperor and the Nightingale,” by the Christchurch Ballet Society, Theatre Royal, October 25 to 27, 8 p.m., 6 pan., and 2 p.m. Running time: Two hours. Reviewed by Heather Campbell.

In presenting its 1984 season the Christchurch Ballet Society has in this well balanced programme met the challenge of attaining an even higher standard than before, and the result is legitimate entertainment. About 120 children, aged between eight and 16, from Christchurch ballet schools bring the stage alive with an energy and dedication which surely must be rewarding to the three teachers. The use of local talent to choreograph and teach these ballets has been a fruitful one, serving to show that expertise can be there on our doorstep, awaiting our acceptance. Credit must go to Sharon Howells, Maureen Perry, and Greer Robertson for their ability to bring the varying standards of this large number of children into a cohesive and artistic whole. “The Enchanted Shoes” tells the story of a poor shoemaker ana his crippled daughter, Anna. A miracle is bestowed upon her and her ensuing happiness gives chuse for much celebration. As Anna, Julianne Stephenson gives a strong and pleasing characterisa-

tion allied by more than adequate dancing. In her pas de deux she dances with aplomb and technical control, showing well held arabesques and controlled turns. She is ably partnered by her prince, Nigel Kee, and together they create a romantic image. Anna’s fairy-tale tutu is beautiful. Responsible for the gaiety and good will is the Good Fairy. As a balletic role it is relatively short but Joanna Batt leaves a lasting impression with her elegant stage presence and stylish appearance. In the ballroom scene there is colour and grace, complemented by the exuberant whirling of the Tarantella dancers as they leap and turn with abandon. The many village children and reapers add charm with their neat and happy dancing.

In the court dance, the intentions of the choreographer are seemingly lost in the repeated use of arms in fifth en haut, which should make for a pleasing port de bras. The dancers appear ill at ease and unable to show this with the artistry that it requires. The effect is a discordant note in an otherwise successful sequence.

Catherine Smith manages as Queen to convey an eccentric wit, the King, Winton Harker, does not allow her to upstage him. Cartwheeling across the stage are scene stealers, Anna Sheard and Rachael

Arps, well cast as the Jesters.

Stage sets by Mark White are visually strong and contribute to the success of the production. John Jefferies as the Royal Scribe narrates both ballets with his usual panache. “The Emperor and The Nightingale” opens as it continues, beautifully sparse with an economy of movement and gesture that is appealingly seductive. Maureen Perry, the choreographer, has given to this work an ebb and flow that emphasise the dimensions of dance. As in good sculpture there is a harmony and continuity. That she has achieved this with a cast including many young children is remarkable. With dogmatic attention to detail, a necessity in the training of dancers, the corps work achieves an admirable standard.

The principals — Sally Hundleby, Sonya Barr, Victoria Southgate, and Melanie Sepp — give to their roles some very good dancing. They show a strongly developed technique with well placed linear poses. Happily, the choreographer has exploited their natural strengths most successfully. Costumes designed by Mrs Perry are appropriate and aesthetic. This production, co-produced by Maureen Batt and Elie Stephenson must enhance the reputation of the society.