'Swan Lake’

Press, 6 December 1985, Page 4

'Swan Lake’

“Swan Lake,” presented by the Royal New Zealand Ballet, and the New Zealand Symphony Orchestra at the Theatre Royal. December 5 to 7. 8 p.m. Running time 2 hours, 45 minutes. Reviewed by the Heather Campbell. Any deviation from what is supposedly the norm in the 1985 production of “Swan Lake,” as presented by the Royal New Zealand Ballet is of no consequence viewing the artistic whole. That essential ingredient, beauty, remains intact. In this country, it is a rare privilege to witness an alliance between artists of both our national ballet company and national symPh TMovSqS miKic, as played by the New Zealand Symphony Orchestra emphasises, the for ™ a structure of the W °F~. It truly is an audio-visual eX^Ws e baHet affords one the opportunity to see s°.® e artists in performance, both in the corps work, ’ larly in the male dancer, and in that of the The import of the « artists, Sherilyn Kennedy and Patricia Rianne, both or whip began their caree

with the New Zealand Ballet and a fellow artist, Carl Myers, of the Sadlers Wells Royal Ballet, gives an added elan and impetus to the work. Act one introduces many of the characters and from that point, this four act ballet moves with a pace and dazzling display of dance that is wholly pleasurable. Jon Trimmer, gifted in the subtleties of mime, conveys an almost maniacal quality to his Baron von Rothbart. His dancing is expansive, buoyant, and well placed. Sherilyn Kennedy, as Odette, gives a clarity to the role which is convincing, demonstrating a sensitivity in dramatisation. Her dancing is exquisite, showing a soft ballon, easy extension, precision in turns, plus a fluid port de bras. She epitomises the baller- ' ina. ■V She comes to grips with •'the potray al of the young el, whoiin turn is reluct, and * desirous in her acceptance of Siegfried’s love. Kennedy succeeds in achieving this with a pleasing delicacy. Her Prince Siegfried is jj? Carl Myers who gives of

some good dancing — however one is left with the impression that the passages of dancing are all too brief, merely a glimpse of what he is capable of. Their partnering shows a refined perfection. Patricia Rianne more often adequately conveys a gracious elegance to the role of The Dowager Princess, mother of Siegfried. Harold Robinson plays his General Wolfgang von Stein with an appealing laid-back humour.

Costuming is a strong point in this ballet; meticulous attention to detail and lavish use of fine fabrics provide some stunning images. As the relationship between choreographer, dancer, and musician is a harmonious one, so too is that between Kristian Fredrikson, responsible for design and Jeremy Collins for lighting. Lee Patrice, Karin Wakefield, Sophia Radaic, and Helen Booth as the princesses from Poland, Hungary, Spain, and Italy danced with a finesse and vibrancy which were delightful. The ballet was a superb •theatrical event.