Comic ballet trio

Press, 13 March 1985, Page 21

Comic ballet trio

For its first season in its tenth anniversary year, the Southern Ballet Theatre will present a trio of comedies.

Each is danced in a different style. The season from March 18 to 30 at the Arts Centre will include “The Three-Cornered Hat,” set in old Spain; “Facade,” a send-up of the 19205; and “Ye Gods,” with characters from Greek mythology. The comic ballet, “The Three-Cornered Hat” (“Le Tricone”), is an irresistible blend of colour, dance and acting set in a Spanish village to the stirring music of Manuel de Falla.

Originally choreographed by Leonide Massine, it was first performed by Diaghilev’s Ballets Russes in London in 1919.

The story is that of the Miller and his younger wife, who are each tempted by the admiration of someone else. Each reacts jealously.

The wife’s admirer is the Corregidor, who wears a three-cornered hat, which becomes a symbol of authority. The couple are reconciled and the Corregidor swears vengeance. The villagers rise against him, however, shattering the rule of the three-cornered hat A highlight of the ballet is the farruca, danced by the Miller. The Southern Ballet Theatre’s production, is choreographed by the artistic director, Russell Kerr. Like Russell Kerr, David Peake (who dances the role of the Miller) studied Spanish dancing with the worldrenowned teacher, Elsa Brunelleschi, in London.

Russell kerr made his European debut in 1951 with the famous Jose Greco Spanish Company. He also had the opportunity to observed the dancers of Spain

during frequent visits to their country with the London Festival Ballet

The Southern Ballet’s new concept of “Facade,” a witty satire on life in the 19205, includes some movements which retain the spoken poems of Edith Sitwell. William Walton composed the fascinating music of the period.

“Ye Gods!” is a madcap spoof on the “residents” of Mount Olympus on their way for a night of debauchery in Paris. During the revelries the ultimate crime is committed, Terpsichore’s pirouette is stolen. When this party of unlikely gods and goddesses returns home, somewhat deflated, a less than democratic court trial is held and the ballet ends on a peak of hilarity. Russell Kerr choreographed this frolic to the music of Offenbach.