PAVLOVA

Dominion, Volume 19, Issue 155, 27 March 1926, Page 24

PAVLOVA

GREAT SUCCESS IN MELBOURNE

ACCLAmiED BY AUDIENCE OF 3000

Australians do not profess to be exceptionally classic in their tastes, and While they enjoy the performance of a good toe dancer in the general rush and bustle of musical comedy, many on Saturday night came thinking that before the night was out they would possibly give way to boredom in spite of the “incomparable” Pavlova. But these doubters were soon to be put to shame. From the moment the curtain rose on the first act, and until it feil on the last, there was (says the “Morning Post”) not a dull moment, and the time passed faster than during the most successful musical comedy. However, Melbourne was given something quite different from anything it had ever imagined. There is nothing majestic or grandly magnificent about the first dancer in the world. She depends on an exquisite grace and daintiness coupled with a refreshing simplicity which words are incapable of describing. But it would be a libel to describe her. She is Pavlova. ,

The Fairy Doll, a ballet in one act and two scenes, which takes up the first portion of the programme, is the best effort of the supporting company, which is one of the most accomplished collections of dancers the world has probably ever brought together. But in this act we do not see Pavlova at her very best. The supporting artists, however, are splendid, notably M. Pianowski, as the Poet doll. Australia has probably never seen a more elegant and artistic male dancer than M. Pianowski, w.bo, besides showing the most delightful ease and grace in all his movements, is a dancer-actor of exceptional ability. In his various pieces he not only won the greatest appreciation of the audience, but proved himself the star of the supporting artists. Mlle. Nichols as the Baby Doll and Mlle. Stuart as the Tyroiese doll also gave excellent exhibitions. Pavlova, the fairy’ doll, was indeed the fairy doll, not' only in her dancing, but also in appearance, but, although the act itself provided a pretty and interesting story, there was not sufficient theme in her dance to make it anything but a delightfully dainty and fairylike exposition of toe dancing after the character of. the old school of which Pavlova is probablythe last and greatest exponent in the world. Chopiniana, the second part of the programme, proved a magnificent tribute to the ballet, which was exquisite in every particular, and showed Melbourne something which it had never seen before. But again Pavlova depended on herself entirely for success, and was seen too little of. The lack of theme in her part of the act was again very manifest, and failed to provide her with sufficient scope. Her costume, as in tlje Fairy Doll, was remarkable for its simplicity, and was again made after the ordinary stvle of the ballet dancer. In both Chopiniana and the Fairy Doll, Pavlova was partnered by Laurent Novikoff, the principal male dancer of the company. It was in the third and last part of the performance that Pavlova won her real success—“ The Swan.” In this delightful piece she had theme, which was lacking in the others. To appreciate the beauty of this dance one must see it, and then see it again. It is exquisite. Also among the Diveutisements, which comprise the last part of the programme, is a Russian dance, in which Pavlova is partnered by M. Algeran<»ff. This proved a huge success, for M. Algeranoff, who gave a splendid exhibition of the well-known Russian steps. Pavlova and her partner were recalled repeatedly after this per formance, and the enthusiasm was nearly as great as that which followed Pavlova’s “Swan Dance.” . . What was probably the most, artistic act in an extraordinary artistic performance was the Scene . Dansante (XVIIIth Century), featuring Mlle. Rogers and M. Pianowski. This eccentric and picturesque Jove story was executed with perfect artistry and accomplished dancing, and it should certainly be classed as one of the big acts of a wonderful performance. .