POETRY IN MOTION

Evening Star, Issue 22413, 10 August 1936, Page 3

POETRY IN MOTION

LA MEN'S SUPERB ARTISTRY ENCHANTING EXPOSITION OF DANCING Modern facilities of travel have been simplified to such an extent that this country, so long starved by virtue of its comparative isolation, has been brought into increasingly close contact with the art centres of the world. Famous exponents of music ami the drama have come to us and enriched our critical knowledge and artistic appreciation. Hut that cultural progression has not- embraced to any extent the sister art—-the dance. A simple explanation of this lies in the fact that the really great dancers of the world can bo numbered on the Ungers of one hand. We sec much dancing by children in New Zealand, but, while it is certainly valuable, it is also elementary and seldom advances beyond that stage. The point of this preliminary analysis is this —that no one (unless he had tbo privilege of seeing Genee or

Pavlova) could have an adequate appreciation of what great dancing constitutes until he has seen La Meri. This American-born international dancer appeared at His Majesty’s on Saturday evening in the first of a series of dance recitals, and gave a superb and enchanting exposition of her art. Reviewers are chary of using the word “ magnificent,” but. in all justification, it cannot be withheld here. Paramount among the many remarkable features of this performance was La, Men’s equal facility of expression in sharply-contrasted schools of dancing both primitive and modern. Of each she gave an interpretation both authoritative and captivating, and in each she revealed a new and most arresting individuality. La Meri has a purity of style that makes her dancing a sheer "delight. Every mood was exquisitely judged, and in movement, gesture, and pose a lovely line was unerringly sustained. It is quite obvious that she takes a particular joy iu her art. Each study was dominated by a vibrant personality and a remarkably high intelligence that assessed the values of the dance to the finest degree. Such was her technique that everv dance seemed to be effortless. La Meri had the audience at her feet. The programme was ushered iu with a group of four Spanish dances. The first was an adaptation of Andalusian folk dance steps to the music of the first dance of do Falla’s ‘ Vida Breve,’ and was followed by an antique bolero to the music of Boghen. These were full-blooded dances, [heir bold rhythms sustained with castanets, and in them the superb artistry of La Meri was at once made manifest. The third dance —to Maurice Ravel’s celebrated ‘ Bolero ’-—produced the most exciting experience' of the evening. A great amplifier reproduced recorded music lor this and several other dances, and as the music was worked up so was the fire and intensity of the developed until it rose to a magnificent emotional crescendo. The tremendous power of this dance made one catch one’s breath. The Austrian peasant dance that followed was in complete contrast, and of this La Meri gave a saucy and most engaging interpretation. It was a pert little study that entranced the whole audience.

La Meri danced all through the evening against a very simple background and setting of black velvet, but her own great artistry (and an expert and very tasteful manipulation of lights) contrived to effect many brilliant changes of scene. In her second group she turned to the Orient, representing first the coy geisha iu the traditional spring dance of Japan. La Mcri simpered most delightfully here, and gave the Japanese gestures and postures a curious grace. Then came the ‘ Nacm Nrrta ’ of Northern India, a much

more impassioned affair. This dance held a sensuous colour and rhythm, and was interpreted with an intensity that was irresistible. In the Chinese school, the descent of the Sacred Dragon to earth was represented in Ravel’s 1 .Empress of t lie Pagodas. The steps and gestures of this dance were of peculiar interest, and achieved a weird but compelling effect. » ‘ The White Peacock,’ a dance that La Mcri has made famous, opened the third group, it was a brilliant study in staccato movement. La Meri was a striking figure in a white costume that finely suggested the proud bearing of the peacock, and, to the impressionistic music of Grilles, depicted its arrogance with uncanny realism. A Chopin nocturne provided the setting of a charmingly fanciful little study in the classical stylo, and then came a very sprightly and attractive interpretation of Krcisler’s ‘ Caprice Viennois. A startingly unorthodox reading of Dvorak’s ‘ Humoresque ’ took the house by storm. It was a frankly frivolous affair, dominated by the dancer’s effervescing sense of humour. La Meri employed exaggerated masks of comedy and tragedy here, and obviously enjoyed herself immensely. The racial dances with which the recital concluded included the vivid ‘ Tamborita of Panama,’' with its quaint accompaniment, and a rollicking peasant dance from Sweden. In the latter Maura Mollica was associated with La Meri, and together they revelled in its broad humour. The ‘ Garibaldi ’ was a fascinating scarf dance from Cuba in the rumba style, and the concluding presentation was ‘ El Jarabe Tapatio,’ a lively Mexican hat dance. La Meri was accorded a tumultuous reception from an enthusiastic audience, as was only her due. Associated with La Meri is an instrumental trio composed of Mario Salerno (piano), Joan Howley (’cello), and Tom Challen (violin). Their incidental music was finely attuned to the atmospere of the dances that were to follow’, and was keenly enjoyed. Each of the trio is an exceptional soloist. Mr Salerno’s performance on Saturday evening was outstanding. He is an intense and dynamic young pianist, and plays with great vitality and clarity. On this occasion lie was not unnaturally sensitive to the sound of revelry from an adjacent hall, an intrusion which also irritated the audience. The lighting effects, devised by Averardo Bertocchi and Guido Carreras clearly indicated their critical appreciation of the art of their principal. The season is to end on Wednesday night. By then it will be widely established as onei of the most important artistic events in the theatrical history of this city.

The same programme will be presented for the last time to-night, •which will be the last occasion on which Alma La Meri will dance ‘ The White Peacock,’ Ravel’s ‘Bolero,’and other dances on this programme iu Dunedin. The new programme to-mor-row night will be repeated ou Wednesday at both the matinee and evening performances. The third programme will be presented on Thursday night, which will be the last appearance of Alme. La Aleri in Dunedin, WONDERFUL COSTUMES WORN [By Diana.] Transported during one evening fropi sunny Spain to the Orient, to Central America, and through all the varying scenes created for the setting of her interpretative dances, the large audience on Saturday was fascinated by La Aleri’s lightning changes.

The beautiful costumes worn were correct in every detail, and those for the Spanish dances, the exquisite dances of the Orient, and the four racial dances which concluded the programme wore collected by the artist from the countries she has visited.

The stage setting, too, was perfect for the many changes, a snow white carpet backed by heavy_ velvet curtains, and with richly embroidered blue curtains- in front, it seemed always part of the varying pictures presented. La Aleri’s first appearance was made iu a voluminous-skirted frock of ivory Spanish lace befrilled to the waist-line. The tight-fitting bodice was spangled, and there was a trail of scarlet roses down the ’ skirt matching that wjiich adorned her lovely lace mantilla. In the second number a hooped ballet skirt of palest pink satin edged with lace was worn with the jauntiest of red velvet boleros and red velvet hats. As a coy peasant girl she amused the audience, wearing a wide skirt which whirled around to display the quaintest oldfashioned pantalettes. In the dances of the Orient her costumes were magnificent, and with each change La Aleri became for the time being the character she portrayed. In the ‘ Geisha’s Welcome to Spring ’ she wore the daintiest of printed kimonos, with the cherry blossom tucked in her hair.

A superb Hindu costume of wide flouting draperies and the -loveliest of gold ornaments was enhanced by most unusual ligliting effects. A Chinese dance, ‘ The Empress of the Pagoda,’ was danced in ceremonial dress. Three lovely feathers in her hair and exquisite jewelled fans played a very important part in the presentation. These feathers are of great value, and each has its own 4ft long bamboo case in which it is carefully packed and guarded. La Meri’s dresser has no light task. The second half of the programme opened with a very famous number, ‘ The White Peacock,’ the tight-fitting velvet bodice and long circular train of shimmering while silk edged with a deep hand of velvet, and the close-fitting velvet cap changed the dancer to one of the stately birds that she had so often watched in an Eastern garden. A “ comic ” with the most unheard-of masks and the story of Bluebeard suggested was one that delighted all and was among the encores. in different mood again was the white linen frock with long frilled train, worn with jade green bandana tied round her sleek dark hair, and green neck-v chief and bangles, for the Mulatto dance.' The Mexican ‘ Tapatio ’ was danced in typical Mexican costume—green once more—and the danter flung down a huge sombrero hat and danced on its brim. The costume for the ‘ Tamhorito ’ was reminiscent of Panama, with a special significance in the Chinese slippers and hair ornaments, which the sailors brought from the Orient to their sweethearts in America. There were many other beautiful costumes worn during the programme, all lovely and each descriptiye of the particular dance that it was worn_ to illustrate. These are indeed an artistic revelation of colour and grace in line, and will remain a charming memory when La Mcri has gone on her way.