PAVLOVA, THE INCOMPARABLE.

Star (Christchurch), Issue 17879, 22 June 1926, Page 12

PAVLOVA, THE INCOMPARABLE.

SWIRLING COLOURS, SWEET MUSIC AND MAGNIFICENT DANCES. An enduring memory of swift swirling colours, of music infinitely sweei wedded to the rhythm of the dance, and of one incomparable figure who can ne\~er fade from mind. This now is the heritage of those who saw Anna Pavlot-a and her ballet in the Theatre Royal last night. Such an aesthetic experience can never pass from mind. Time was annihilated; a sense of unreality was given to reality. That is a service only the greatest artists can do for mankind. Only the great mac divorce people from themselves and make them oblivious of time and place Last night was like a tour of the world. First we were in Poland, then in the doll shop which might have been conceived in its grotesque beautv bv a dreaming child. The classical dancers might have come from ancient Greece, and Novikoff was like a joyous Greek god. Pavlova’s dancing belonged to ««> country’ and to no time; it was an unforgettable expression of the deep and changeless feelings of mankind. She would have been applauded in Babylon as she was applauded last night. The incomparable Pavlova, that is all. Years ago our isolation in New Zealand was immense and desolating, but now with swift travel and a growing population it is possible for the world's greatest to venture out as .far as this. Scarcely would the boldest have thought that Pavlova would have passed this way. but here she is, and a capacity house full of enthusiasm greeted her. To many in the audience, she and her ballet revealed an art that was not know before. The beauty of it could not be imagined, it had to be seen. ITow fortunate were they to have it presented to them for the first time by the greatest dancer of this century . One who immortalises moments of beaut.v as sculpture does. The progamme was opened with the “Polish Wedding,” a ballet in one act arranged by ,M. Rianowski with rmisic by Krupinski. The bride- was Miss Faurheux and the bridegroom was M .Pianowski. Under a castle on a hill the villagers gathered for the celebration, and the story was told in pantomime. A "sire hoary” watched the arrival of the liquor joy ouslv; then came in the youth and beauty of the countryside. The bril hunt peasant dresses with their riot ous colouring made the scene throb with life, and it seemed as if the Flying Carpet of the Magi had taken one up. A breathless hurrying look’was all one had. Then the quiet music burst out in the joyful measure of a folk dance. Partners were taken and heave boots stamped out a festal' dance. The bridegroom, raimented in white and gold, joined the throng and the bride . was then ushered from her house. The marriage took place off the stage, and , while the ceremony was in progress the guests engaged in rustic foolery. Then -came -another dance. Later the bride and bridegroom joined it. and the scene closed in a blaze of colour and a heavy mist of music as the dancers sped on. Memorable was that union of music, dance and colour. The second number was “The Fairy Doll.” a ballet in' one act and two scenes arranged by• Ivan Clustine with music by Bayer and others. The first scene was set in a doll shop boldly de signed in futurist style by George Soudeikine. Crazy masks leered down from the ceiling at the Russian and his wife as they came in to choose, a doll. Following them came an austere caricatured English gentleman, accompanied by his wife and a tripping, crinolined daughter. The shopkeeper produced his wares, and the dolls went through their exquisite mechanical dances. The soft, stilted music and th«* perfection of the Hanging was unforgettable None of the. ciolls were pleasing, so the seller showed the best he had. Pulling aside a curtain, he revealed the Fairy Doll, which was Pavlova. There she stood radiantly beautiful in shimmering white, a g.eat dressing of brilliants on her head*, if. ever Ihe com plete beauty of flesh and spirit were combined in a human being, it was in her. Coming from her pedestal, she danced, waved her. wand. and. night came on. The dolls were animated, and there was a scene of jov for the farewell. The poet., Arlequin, the major drummer, Jack-imthe-box and all their following rejoiced in free dom, and . danced riotously. Pavlov a and Laurent. Novikoff did a short but glorious pas de deux, and the scene closed with their galop finale. The third section of the prograonme was made tip of a set of divertissements. Priraavera. a dance in classical style (Meyer-Ilelmun). was the open ing number. Nine girls in simple classical robes did. their graceful work and then passed on. The glorv of the evening followed. It was “The Swan.” Pavlova, a small white figure in the blue light of the stage, fluttered hope lessly for a few jewelled moments, and then froze into death. The pain and beauty of the thing was indescribable. In those rapturous moments memories that can never be effaced took form In “Gavotte Pavlova” (Lincke). she appeared in a sweet, old-fashioned dres* poke-bonneted. With her partner M Varzinaki. ahe did the daintv dance to delicate music. Her last appearance was made in a Russian dance to the music of Rubinstein - Tchaikowskwhich she danced with M. Algeranoff. and a ballet. This caused the same spiritual delight. NerHkoff, like a fine athletic Greek son of the god* was superb in “Bolero” (Minkusfi A Scene Dansanle < Boccerini). a simple, graceful dance, was done bv MLRogers, a New Zealander, and M. Pia nowski. Colour, music, dancing, mean some thing new to those who felt their subtle and exquisite fusion last night To Pavlova, thanks; to the hall-t. thanks: a parting thanks to M. Lucien Wurmser and his orchestra