LA MERI SEASON

New Zealand Herald, Volume LXXIII, Issue 22509, 28 August 1936, Page 14

LA MERI SEASON

TALENTED DANCING OUTSTANDING PROGRAMME From Spain, Mexico, China and Hawaii, anrl from the music of such modern composers as Delibes, Ravel, Manuel de Falla, and George Gershwin, came the inspiration of the dances in the new programme presented by La Meri at His Majesty's Theatre last night. Once again the famous international dancer captured the hearts 01" her audience her grace of bearing, the beauty and rhythm of her movements, and the charm of her personality. La Mori opened her programme with a bracket of four Spanish dances. The rhythmic clicking of the castanets was the motif of "Sevillanas," an Andalusian folk dance, all the fire and passion of the Spanish gypsies was embodied in the ritual fire dance from Manuel de Falla's ballet, "El Amor Brujo," and there was a masculine strength and vigour about "Farruca," the dance of the gypsy men from another ballet by the same composer. Most applause was given, however, to "Luciemcnto del Manton," in which La Meri showed her own grace and the beauty of some magnificently embroidered Spanish shawls, whirling them in the same manner as a toreador handles his cape in the bullring. Three dances from the Orient followed. "Chetal al Maharma" was a lesson in pantomime with handkerchiefs by a Moroccan cafe dancer, "Tandava" told an old legend of the god Krishna in the severely stylised movements of the Indian dance, and Ravel's music with its suggestion of tinkling pagoda bells formed a perfect accompaniment to La Mori's mincing steps and graceful movements with hands and fans as she told in mime a Chinese legend, " Empress of Pagodas." La Meri scored her greatest triumph, however, when she presented four interpretative dances. To the first part of Gershwin's famous "Rhapsody in Blue," and with rapidly moving hands and expressive face, she satirised the gestures of charlatans at village fairs, and then in "Passepied" showed the beauty or simple movements of hands and feet perfectly synchronised with the music of Delibes. The rapture of a young faun meeting a nymph in the woods, was aptly conveyed by the combination of La Meri's dancing and Gabriel Pierne's composition, "Entrance of the Little Fauns," while Scriabin's preludes formed the background for three bodily dance expressions. The programme was concluded with a group of colourful racial dances. Tn two presentations La Meri was assisted bv Laura Mollica. * Incidental music throughout, and a number of trios, were rendered by Mario Salerno, pianist, Ihomas Challen, violinist, and Joan Howley, 'cellist. Each of these artists also presented solo items. The programme was directed by Guido Carrerras.