Southern Ballet

Press, 5 December 1988, Page 9

Southern Ballet

“Cinderella,” choreographed by Russell Kerr for Southern Ballet and Dance Theatre. Arts Centre of Christchurch, December 3—17, 7 p.m. to 9 p.m. Reviewed by Sherril Cooper. From curtain-rise to final tableau, this youthful company’s performance of Perrault’s beloved fairytale is as faithful and charming a rendition as you could wish to see.

Russell Kerr has retained a lovely classicism in his choreography and used a light touch in the interaction between Cinderella and her oppressors, allowing the junior students who supplement Southern Ballet’s professional core to take their part with an unforced grace. Peter Lees-Jeffries has provided yet another visual treat with his exquisite costume designs and David Thornley an effective and ingenious set, both creating mood and magic within the modest confines of Southern Ballet’s theatre.

In this opening performance, Liza Brereton danced the role of Cinders with a demure simplicity, sustaining a nice sense of innocence and dancing with an even, clean-lined grace. Her Prince, guest dancer Sean James, displays a sure technique in some stylish beats, turns and leaps, but is not fully shown off on this small stage. His quiet dignity mellows beautifully on the arrival of Cinders at the ball and their moment of meeting is made touching by both dancers. The stepsisters had, in spite of their pantomimic antics, a good touch of cold reality. Emma Bond played hers tall and lean, with a mean gleam in the eye, and brought off a delightfully tipsy solo at

the ball. Mandy Weeks favoured the short and stumpy, both in dance and temperament, effecting some awful social embarrassments.

But it was the Fairy Godmother and her little assistant who added a special sparkle to the evening. These two Japanese dancers, with their beautiful training and gentle style, have contributed so much during their time with Southern Ballet. Miki Norrii, with her elegance and warmth, was a radiant Fairy Godmother and Yasuyo Fukui, with her delicate, strong footwork and delightful comic ability, made an endearing friend to Cinderella.

The first act visit to the Magic Garden lacked coherence and left one wishing for fewer dancers and more dancing, in spite of nicely placed port de bras and some good mass effects. There were many individual dances performed with verve and style: the foppish dancing master of Geordan Wilcox and in particular Martin Boswell with Fukui and Wilcox in the Mazurka, but all the third act divertissements were delightful. The happy ending avoided predictability with the help of a wonderful chase involving stepsisters and courtiers, thoroughly enjoyed, it seemed, by audience and dancers alike.

It has been a year of achievement for Southern Ballet, and apart from the unfailing creative energies of its director, credit must go to these dedicated dancers, from primary to professionals, who have worked so long and hard to make their audience happy.