THE WEIRDEST THREE DANCES NEW YORK HAS EVER SEEN.

Otago Witness, Issue 2325, 22 September 1898, Page 55

THE WEIRDEST THREE DANCES NEW YORK HAS EVER SEEN.

Papinta is the summer's sensation. ' She has caught New York in the meshes of some startling new dances, and set the town a-whirl. With all the dash and spirit and grace we so well know her to possess, she is almost literally setting the stage of Keith's afire., Her dances are just the sort New Yorkers delight in. They are beautiful and dazzling, fantastic and weird. There are three of these wonderful dances, and they come one after the other with a bewildering rush. In the first dance, the " Dance dv Diable," Papinta is a Saftanic being glittering in black and silver. When the heavy black curtains are drawn apart, she stands swaying in a bright light that breaks from beneath her feet and shines down from above' her head. Everything about? her is black as night, except the scries of big- mirrors in the background that catch and reflect the light she" stands in. Suddenly the 1 lights change. Papinta throws out her flowing serpentine skirt and becomes a - dancing rainbow of colour. When she dances away from the centre of the stage the lights from below disappear, but those from overhead follow her about and play fantastically in changing hues upon the folds of the waving silk. Papinta springs and glides and whirls about the stage in a dazzling glitter and sparkle. She rests for a moment where she first stood, and the lights flash up from below again and make her radiant with a glaring, intense lustre. The effect is truly fiendish and supernatural. Then the lights above go out, and after a quick, white flash from below that makes tue black and silver gown translucent there is darkness again, and Papinta seems to have sunk into some yawning black pit. In the "Volcano" dance Papinta is a living, leaping human flame. She is crouched beneath the folds of her great flimsy skirt, when the curtains open, in a glaring amber light that comes from below. She writhes there as the light grows brighter and brighter. She is a seething, molten mass, ready to break into flame. The brightness grows more intense, and the sklirt fairly glows with hear. Then Papinta springs up and the flame seems to burst out. The lights that are thiown up from below are a fiery red, and those from above are blue and fervid. As she waves the yards of delicate silk about her in the serpentine movements the effect is most realistic. Against the dark background the skirt seems to break into leaping tongues of flame. From the floor clouds of smoke begin to rise and mingle with the flame. Papinta throws the draperies about her wildly. The flames dance furiously. Then from the spot where the flame and smoke are densest swift sparks fly into the air and are carried away on the wind. It all seems to be a fierce, angry furnace, in the midst of which Papinta is some creature of flame, glorying in the fiery element tluit envelopes her. She seems in a frenzy of delight. Then, in the very height of its raging th.} fire begins to die out. Papinta moves her draperies more slowly, the sparks die dc wn, the intense glow from below softens. The creature of flame ceases to dance and tl'iow the tongue:? of fire about madly. She sinks slowly at first, and then falls, as the fire bursts up aeain momentarily, in a last dying gasp. Papinta lies prostrate in the smoke that seems to come from smouldering coals, and then everything is swallowed up in darkness. ■ In the " Dance Jardiniere " Papinta is a growing flower. This time her great flowing skirt is of pure while silk. She crouches beneath the gener-

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ous folds as the delicate* white light from be- ' low permeates through them. .; She sways gently, and then presently J comes to her full height. The silk Sows out slowly and gracefully. The lights from be-low and above make it opalescent. Papinta begins to dance softly about the stage ; she seems almost to float. The lights thru follow her are the most delicate tints. , Site is a dainty flower, nodding gaily in the j sunshine. Then she returns to the centre of the stage and waves her skirt with such a motion that it whirls upward, spreading out from an apex at the feet, and forms into a great Easter lily. At the same time a. cloud of delicate white -flowers bursts from the gri und and falls about her. I j is a pretty and effective finale to one of the most astonishing series of dances New York has ever seen. — New York Journal.