Southern Ballet

Press, 21 August 1989, Page 6

Southern Ballet

“Winter Season,” at the Southern Ballet Theatre, Art Centre of Christchurch, August 18, 8 p.m. for a season. Reviewed by Sherril Cooper.

inis boumern aanei winter season contains two vintage excerpts which have immediate popular appeal. “Pas de Quatre” is a set of nealtystructured variations allowing four soloists to display their skills and prove their on-stage allure. Four great Romantic ballerinas are alluded to in this affectionate piece and there is ample opportunity to colour the dances with the personal vanities and hallmarks of the original performers. Presented with studious attention to detail, the over-all effect was rather tentative. Emma Bond, Sarah March, Akemi Morisaki and Mandy Weeks, although exquisitely groomed and pretty, succeeded only partially in this test piece for soloists. Emma Bond seemed a little uncomfortable, missing the sense of restrained flight essential to the flow of the choreography. Mandy Weeks achieved with subtlety an air of the great dancer’s infatuation with her audience and observed some lovely period lines of head and arms. Weeks has refined and extended her stage interpretation, which was evident throughout the evening. It was Akemi Morisaki who captured best the style and technqiue' required with an impeccably poised solo and a series of well sustained steps on pointe. Russell Kerr is a master of adaptation. He has devised well tailored versions of every major classic ballet, without losing the essential flavour of the original and often passing on with faithfulness and good taste the great traditions of the past. He manages an admirable choreographic balancing act and demands of his lucky dancers reponsiveness and

application which truly expands and develops their abilities. Although the Act II version of Giselle is limited by a student corps, it has at its centre principal performances which create an atmosphere of innocence and heartbreak.

Geordan Wilcox portrayed an earnest and agile masculinity in acting and dancing. Emma Bond’s chill fury made her an excellent Queen Myrtha, although lack of strength robbed her early variations of effectiveness. Her dancing of these austere sequences was sound, but lacked the relentless, ritualistic energy which is the basis of this act.

Sean James is a polished dancer of fine dramatic response and intelligent musicality. His Albrecht was distinguished by a combination of passion and princely diffidence, enhanced by an expansive quality of movement. As the wraith Giselle, the talented Sarah March gave one of her most beautiful performances. Her increasing emotional depth and general strength of technique sustained her in this demanding role, with elegant extensions and a sense of fated young love. Together, March and James were utterly convincing, creating the famous floating effects in their pas de deux and rekindling in no small way the magic of this haunting ballet. “Ballesque” is a 19605-flavoured romp, poking fun at a range of dance fashions and forms and featuring some delightful choreographic jokes, such as the classical pas de deux where all goes amiss. Mary Ferigo’s crimson bodysuits were appropriately Picasso-on-Carnaby Street and the bright personalities glowed through quirky clown make-up. The loopy carefree style suited the company well and their obvious enjoyment of its convolutions topped off a creditable evening of dance.