LA MERI’S ART

Dominion, Volume 29, Issue 255, 24 July 1936, Page 6

LA MERI’S ART

Brilliant Programme of National Dances

SKILLED INTERPRETATIONS Oldest of all arts, and probably the least known in this part of the world, is dancing. One only has to dip a page or two into the history of the dance to know that such everyday words as chorus, orchestra, chorale, choir, carol and anthem all had their origin in the dance, as known to the ancient Greeks. It was mankind’s first expression of that indefinable sense we call rhythm, that something which pulsates throughout the universe, and becomes, more or less, a part of life itself. Moreover, it is the expression of religious, fervour, of ecstatic happiness, of beauty, of merriment, and even of grief. It is, perhaps, only when one is brought into contact with an inspired exponent that the profundity of the art of dancing is made radiantly apparent. In New Zealand we have had some delightful exponents of the dance in its many forms in the visits of Pavlova, Adalina Genee, Halina Schmoltz, and Maud Allen. To this illustrious company must now be added La Meri, whq made a triumphant debut in New Zealand at the Wellington Grand Opera House last evening, being presented by the impressario, Signor Guido Carreras (who has handled so many world stars). Not that for one instance does La Meri resemble any one of these artists, each of whom specialised and excelled in a certain form of dancing. The newcomer is individualistic and creative. Her speciality is the traditional dances of the nations, not only performed with a rigid respect to traditional movement of body, hands, arms, head and feet, but in each case she wears strangely beautiful costumes of the countries, and adds more than a soUpcon of the protean art to give buoyancy and verisimilitude to the dance of the moment. Then each dance is given a complete and very beautiful lighting scheme of its own. When it is the spring-time dance of Japan, there is a flood of golden light to gild the scene. “Nocturne” (to Chopin’s imagery) is flooded with synthetic moonlight which would deceive any pair of lovers, and there are vivid green, purple and amethyst glows to trick the eye and embellish the dancer. La Meri is an example of perfect poise. Slight, exquisitely proportioned, with facile arms, and marvellous hands, she gives one the impression that everything she does is exactly right In other words she is the personification of balance and rhythm, and all her work is intrinsically artistic. ‘ • La Meri elected to introduce herself in a bracket of Spanish dances. The first was an Andalusian folk dance, rhythmical strutting and posing to the bewitching clack of the castanets. This instrument of the Spanish dance has been . heard many times in Wellington, but never as played .by an exponent like La- Meri. id her .hands they become an intrinsic part of de Falla’s music (from: his opera, “La. Vida Breve”)., In,livelier and.more sophisticated' mood was the “Antique Bolero,” which a lively measure (danced in a short skirt and,, a roguish toreador hat) iu which the 4 sur la pointe” came into dainty and vivacious P But thrills were to follow. A “Bolero” danced to the recorded music of Ravel, which vibrates to the rhythm of ceaseless drums, discovered La Meri recumbent on an outspread Spanish shawl, aflame with peacock tints. As the music beats on the ear of the sleeping girl, a hand appears, twitching and twirling to the beat of the music; the arm catches the fire and convolutes a tempo. Then the body begins to jerk and vibrate, staccato, until the figure, now erect, appears to be electrified by .that ceaseless beat of' the drums. Then follows a hectic dance, convulsive and merry, until finally the dancer,, exhausted, sinks recumbent on the waiting shawL It'was a little drama in rhythm—extraordinarily effective. “Asturiana, which followed, was a Spanish hoyden on a holiday spree—awkward, uncertain, and comic. . . Oriental dances are as fascinating in their subtlety as they are different from anything Occidental. The trad.itional spring dance of Japan, danced in a lovely kimono, displayed in a very charming way the coquettish charms of the Japanese maidens, and exhibited hand movements or positions which were laden with feminine witchery. Another dance which displayed the “language, of the hands was the “Nacni Nrrta, a Hindu dance (from the north) with the movements almost wholly above the waist. These two dances and the legendary “Empress of Pagodas” dance (Chinese) were danced to mus'.c supplied by records of native orchestras, which were hideously fascinating. , As a creative artist La Men made a deep impression in her stately “White Peacock” fantasy, in which her lightning head movements and darting glances exactly simulated the action of the proudest of bird®. “Nocturne,” a maiden in diaphanous blue, yearning in the moonlight, was not so wonderful, but the dainty “Caprice Viennoise” (Kreisler’s music) was a gem of acting, and “Humorcske (Dvorak) was at last made really humorous by the dancer, who appears in a wccession of masks with highly pictorial byplay. Finally, there was the “rnmborita, a simple dance from Panama, the polska (from Sweden), a rollicking country dance (in which La Meri was assisted by Laura Mollica); “Caribali,” a Cuban dance, in which,a mulatto simulnte® Carmen in an effort to allure; and “El Jarabe Taplato,” a Mexican dance. At the conclusion of the recital La Meri received an ovation, and Signor Guido Carreras and Averardo JBerloccbi deserved one for the glamour their lighting scheme cast over the black-curtained, white-floored stage.

Excellent music was supplied between the dances by a trio consisting of Mario Salerno (piano), Tom Challen (violin), and Joan Howley (’cellist). All arc.skilfull, artistic solo players, and delightful in ensemble. Signor Salerno is a highly accomplished pianist. His playing of tbo Liszt transcription of “Rigoletto” (Verdi) was marked by a new order of nuance and unhurried brilliance.