PAVLOVA’S ART.
(From Oub Own Correspondent.) SYDNEY, April 29. Sydney just now is divided roughly into two classes —those who have been able to afford to see Pavlova and those who have not been able to afford to do so. Pavlova, it seems, is all that has been claimed for her. Every favourable superlative in the dictionary has been worked overtime by the critics in describing the queen of the terpsichorean art, her superb dancing, a youthful, slim figure, “ the very incarnation of grace, lightness, and exquisite charm,” the exquisite movements of her arms and hands, and all the other qualities of a supreme artist. Sydney got its first glimpse of Pavlova on the stage at the end of the first scene of the “ Fairy Doll,” when the shopkeeper draws back the curtains, revealing the doll standing in a strikingly beautiful position, with a wand in her hand. The doll remained stationary for some time, when the shopkeeper touched her, and she became a living thing, the embodiment of grace, and light as air. It was Pavlova, of course.
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Otago Witness, Issue 3765, 11 May 1926, Page 18
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179PAVLOVA’S ART. Otago Witness, Issue 3765, 11 May 1926, Page 18
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