OTAGO SCHOOL OF DANCING

Otago Daily Times, Issue 23057, 7 December 1936, Page 5

OTAGO SCHOOL OF DANCING

SUCCESSFUL ANNUAL RECITAL EXCELLENT SOLOS AND ENSEMBLES

The annual recital of the Otago School of Dancing, which was presented before a very large and, highly appreciative audience in His Majesty's Thealre on Saturday night, revealed excellent organisation on the part of Miss Gweri Webster, under whose skilful direction a lengthy programme was put through with a minimum, of delay, there being an agreeable absence of unnecessary pauses between items. The conception and arrangement of the large number of solo and ensemble dances, which expressed a variety of moods, both grave and gay, disclosed pleasing originality of ideas on the part of the young pertormers tutor, who had obviously given a great deal of thought and painstaking work to the preparation of the items. One of the most attractive features of the recital was the spontaneity and enthusiasm with which the young dancers carried out their work, even the very juvenile performers entering into their presentations with marked, spirit. •It was, on the whole, a concert which reflected the greatest credit on the work of Miss Webster, who was responsible for the production of the entire programme.

It would be impossible to single out any ensemble or solo item for special mention, for they were all equally good a fact to which the audiences unstinted appreciation bore eloquent testimony. Among the larger ensemble numbers were the opening ballet, "Buccaneers of the Sea," in which Frances Bryan, Betlv Black, Betty Kean, Phyllis Spence, and June Hewitt were assisted by a ballet in a roystering depiction of bold, bad seafarers, and " In the Park," in which squads of policemen, bevies of nursemaids, and pramloads of sprightly children indulged in a series of lively manoeuvres. " Les Sylphides." a ballet in the classical style, with solo dances by Pamela Page and Frances Bryan, was a particularly attractive number, an amusing ensemble being "Waitin's at the Gate for Katie," in which Betty Black, Betty Kean. Reta Cook, Heather M'Kay, and Maureen Keenan, together with a ballet enjoyed themselves immensely. "Pot Pourri," an ensemble whwn, as ils title suggests, was a group of various solo snd ballet numbers was presented with considerable skill by Betty Bryan. June Pringle, Daphne Finnerty, Lorna Hewitt, and Maureen Keenan, assisted by several ballets, while " Festival, a colourful and attractive number, with Joyce Meinung as the soloist, and "Playtime," in which Valerie Brown led the ballet, were also deservedly popular items. The grand finale of the concert, "Military Scena, with Trevor Phillips in the role of the leader of the band, and a well-drilled tap ballet, was excellently arranged, the climax being reached when the entire company appeared on the stage in a spectacular march. Prominent among the smaller ensembles were "Popeye the Sailor, with Ron. Child in the solo role; " Les Petite Enfants," an amusing performance by an extremely juvenile ballet; "The Aviators," in which Colin Hewitt, Billy Nicholls, and Jim Orr presented a tap trio; "Columbine's Romance," with June Pringle, Ngaire Moody, and Florence Robinson as columbine, harlequin, and pierrot; "Sleigh Ride," a character number in which Betty Black, Gwen Wilson,, and Irene Hancock were associated in a lively trio, and " Pas de Trois,' a graceful classical number presented byOlga Rowlands, Valerie Brown, and Joan Kean. Rita Cook and Heather M Kay presented the dance duo .Flirtation, with attractive grace, and Betty Bryan and Joyce Meinung were, responsible for some clever and amusing work in "LarkhY." Harold Robinson sang the vocal refrain from Joy Vickery s dance solo "Lady.in Blue" another item of a similar character being presented by Joan Delaney, in the role of the vocalist, and June Goodwin, their number being "How Grandma Danced. Both Harold Robinson and Joan Delaney were also featured in vocal solos. The dance solos, all of which were skilfully performed, were Alice Blue Gown," by June Shore: ba Papillon," a toe dance by Yvonne O'Neill; "Scarf Dance," a graceful classical number by Lorna Hewitt; and "White Eagle," a character dance by Frances Bryan. A pleasing feature of the recital was the colourful and effective frocking, which served to give both the solo and ensemble numbers definite and appropriate character.