DANCE RECITAL

Gisborne Herald, Volume LXVII, Issue 20414, 26 November 1940, Page 5

DANCE RECITAL

CLEVER JUVENILES MISS SHARPLES’ PUPILS UNFAILING INTEREST When juvenile talent and stage technique are so well combined as in the dance recital given last night in the Opera House by the pupils of Miss Isabel Sharpies, success in entertainment is assured. A crowded house witnessed the recital, and found enjoyment in every item of an unusually long programme of 5S items. Both Miss Sharpies and her assistant. Miss Lorna Sheen, arc members ot the Royal Academy of Dancing. London/and in the preparation of the young performers for the recital they showed an unusual degree of initiative and originality. With so long a list 01 items, it was inevitable that in one or two cases individual performers should duplicate seme of the movements demonstrated by others, but there was surprisingly little of this duplication, and the programme was notable for it: variety and scope. During the evening, opportunity was taken to present to the audience those pupils who had passed the Royai Academy examinations during thjJ current season, these being.—Grade I: Marie Cooper, honours, Joyce Hindruo, Marcia Nicol, Patricia Barker. Annette Gilchrist, Una Kelly, Ann White, Hazel Callaghan. Joan Dunstan and Merle Nicholas. Grade II: Joyce Hindrup and Lois Michie. Grade III: Audrey Illingworth, honours. Patricia Haycock, and Vilma Climo. Grade IV: Marjorie Croskery, honours. Janet Molony and Margaret Goodyear. Higher Division: Marjorie Croskery and Janet Moicny. The presentation of these pupils, and also a presentation from parents of the pupils to Miss Sharpies, was carried out by the stage manager, Mr. F. McBreen. Miss Sheen also received a presentation in recognition of her work for the class, and at the end of the performance a large number of favours were showered upon the dancers. Mr. F. Caters orchestra provided an overture and entracte, and Mrs. I. Esquilant furnished accompaniments for the items. Varied Items Early contributions to the pregramme comprised "Tapping Feet," a dance routine by Janet Molony, Margaret Goodyear. Marjorie Croskery and Rae Mclntosh: a pas seul by Marie Cooper; a hornpipe by Elva Mahoney; a' tap duo by Marie Stenner and Judith Jones; "Little Angeline,” song sccna by Marjorie Fo'fshaw. soloist, Rosemary Aislabie. dancing soloists. Neil Moss, Noelinc Hindruo, Muriel Croskery. Margaret Hookham, Maureen Ball. Joan Leslie. Valda Coleman, Valeric Mcßrecn. Gretna Mahoney. Lorraine McDonald. Dorothy Watt, Marie Cooper, Dolores Mahoney, Ann White, Margaret Stewart, Barbara Molony, Norma Gordon, Patricia Barker, Annette Gilchrist, Lois Michie, Colleen PIUls, Joan Dunstan, Colleen Anderson, Sally Mills. Merle Nicholas and Margaret Hands. Then came an Irish Jig by Hazel Coleman; a nns dc deux by Janet Molony and Margaret Goodyear: “Run Rabbit, Run,”, a. song and dance hv Shirley Illingworth: a classic dance by Joan Leslie; a sword dance by Patric e Haycock: a “Sunrise” group dance bv Marjorie Croskery, Eac, Mclntosh. Janet Molony, Margaret Goodyear. Pamela Clark, Lorna Sheen, Elva Mahoney, and Nola Illingworth: “Bunny Capers,” bv Noelinc Hindruo: “My Lady. Dainty,” by Lorraine McDonald: “Petit Tap,” by Colleen Hills; “Cupid.” by Valda Coleman; “Sweet Dreams.” by Dolores and Barbara Molony: “Little Miss Mullet.” by Gretna Mahoney; "One Wedding Morn." by Patricia Barker: a Sean Truibhnis ensemble by Rae Mclntosh, Patricia Haycock. Marjorie Croskery, Elva Mahoney and Thomas Marlin; “I’m Reeling Like a Million," by Marie Stenner: an operatic dance by Lorna Sheen: “Tapping Time,” by Pamela Clark and Joyce Cianachan; “Apple Blossoms," by Norma Gordon. “Go Fly a Kite,” an ensemble with Marie Stenner as soloist, and Una Kelly, Shirley Illingworth, Hazel Callaghan. Joyce Hindrup. Audrey Illingworth, Marcia Nicol, Margaret Goodyear and Judith. Jones as ballet, was followed by “Little 80-Peep.” by Maureen Ball; “Wish Me Luck,” by Neil Moss; "Pipes .of Pan." by Rosemary Aislabie; “Treasure of the Deep,” by Lois Michie; Highland Fling, by Joyce Hindrup: skipping dance, by Joan Dunstan; “Pastorelle,” by Valerie Mcßrecn; and “I Have Eyes," a- song and dance group with the more advanced girls as a ballet. Second Half Numbers In the second half of the programme were included “I Want to Go to the Zoo,” a song and dance by Colleen Anderson; “Golden Hoops,” by Marjorie and Betty Forshaw: “Valsantc,” by Margaret Flands; “Tapping Time,” by Beth Lincoln: “Bubbles,” by Annette Gilchrist: “My Lady's Modiste,” by Dorothy Watt; “Siegfried Line,” by Judith Jones; and a “Nocturne,” a group dance by Pamela Clark,. Vilma Climo, Patricia Haycock, Betty Forshaw, Janet Molony, Marjorie Croskery, Margaret Goodyear, Lorna Sheen and Thomas Martin? “Little Boy Blue,” with Ann White and Valerie Mcßrecn, followed this number, and then came a tap dance by Jean Tressadern, an operatic dance by Una Kelly. “Ariel'.s Dance” by Audrey Illingworth, “Tap-a-Tap-Tap” by Merle Nicholas, “The Gardener’s Boy and the Rose” by Patricia Haycock and Marjorie Croskery, “Operatique” by Vilma Climo, and a “Rhythmic Section,” a display of tap routines by Marcia Nicol, Joyce Cianachan, Marjorie Forshaw, Thomas Martin, Lorna Sheen and Elva Mahoney. “Karen and the Bewitched Shoes,” a fanciful number by Margaret Goodyear, introduced another group of items, including "Sur le Pointe” by Janet Molony. “Jack Frost” by Marjorie .Croskery, “The Bride's Dance” by Pamela Clark, “Serenade" by Betty Forshaw, a skipping dance by Rae McIntosh, “Tapping Hot” by Eric Lee, and a finale. "School's In.” with Thomas Martin qs the teacher, .and Judith Jones, Marie Stenner, Hazel Callaghan, Vilma Climo, Pamela Clark. Joan Tressadern, Marjorie Forshaw, Patricia Haycock. Elva Mahoney, Betty Forshaw, Nola Illingworth and Lorna Sheen as pupils, The success of the presentation was enhanced by the bright Rocking of the performers, and by intriguing stage settings for the operatic dances in particular.