LA MERI.

Waikato Times, Volume 120, Issue 19985, 8 September 1936, Page 5

LA MERI.

A BRILLIANT ARTIST. SOAIE AVONDERFUL COSTUMES. With a brilliant artistry, a wealth of wonderful costumes from all over the world, and a charm and beauty that captivated the large audience from the beginning of the programme, the dance concert presented by La Meri, the international dancer, in the Theatre Royal last evening, was a memorable one for dance lovers. One of the most versatile dancers that has ever visited New Zealand La Aleri was not one person, but many, and the magnificence and artistry of her costumes and the brilliant lighting effects made her characterisations live for the audience. In all she made 1 ■ change's, each frock being perfect to the smallest detail and each having its special pair of shoes. For her dances of all countries Madame La Aleri has collected costumes from East and West, and indeed from all over the world, each one having the necessary ornaments to complete its effectiveness, some of these be'ing particularly beautiful and of great value. Heavy, severely classical drapings of black velvet were the perfect background to add even more brilliance to the' colourful costumes La Aleri wore.

The programme opened with Gavotte in which La Aleri danced with Laura Alolliea. A crinoline in pastel blue sprigged material with touches of pink finished with lovely lace was worn by La Aleri, and her partner, as the gentleman, wore a suit with knee breeches, in rose pink and old rose shades with powder blue waistcoat. Both wore lovely wigs. Perhaps one of the loveliest of her creations, by reason of its absolute simplicity was worn by the dancer in the “ Adoration of the Virgin ” inspired by the famous pain ling uf Ihe same name by Lippi. Purple and gold made' the draped robes and over all flowed a long white “The White Peacock.” The most famous of her dances, “The White Peacock,” was a remarkable and brillianL study of bird movement descriptive of the peacock’s preening movements, its watchfulness and its exquisite conceit, and Anally of its leisurely resting with its legs uiidei its body. For this dance La Aleri wore a closely fitting frock of heavy white crepe, in one with a close fitting cap. The skirt was very short in Hie front and' fell away at Hie back to a long very lull train banded in white velvet. •‘Humoresque” to the well-known music of Anton Dvorak was danced with grotesque masks worn with a closefltting brocade bodice and ifull ninon harem trousers and the unique presentation was warmly appreciated by the audience. Colour, and the glamour of the East were typillcd in llm traditional costumes witli their gorgeous ornaments worn in three Oriental dances, a Geisha fan dance, Javanese Court dance and Hindu dance. A singularly beautiful kimono in almond green patterned with cherry blossom pink was worn for the first dance witu the Oriental coiffure Unished with jewelled ornaments. The other two

costumes were richly embroidered and jewelled and were brilliantly oolourful, the weird music adding greatly to the effectiveness. Dances of Latin Amerloa. The vivacious dances of Latin America commenced with the “Tamborito,” a dance from Panama. For this La Men wore a lovely peasant costume of primrose, banded in cherry embroidery, the bodice in cape effect falling softly in two tiers of frills, the little sleeves also Having double frills. The skirt was very full and she wore the full peasant petticoat which was also embroidered. The most severe costume in white with separate bodice and skirt and a deep sash of scarlet was worn for the “Oxacuena,” a Afexican Indian dance, the most striking note being the headdress which resembled the feathered headdress of an Indian chief. For “Carabali” a mulatto dance from Cuba La Meri wore a deep cream frock with tight bodice, the skirt short in front and trailing at the back to a long frilled train. She wore a pale green bandanna headdress, big pale green beads and a pale green handkerchief scarf about the neck. The Spanish dances introduced more colourful frocks, an interesting history being also attached to the castanets used by Madame La Meri. These were made from the wood of a tree, 500 years old, growing in the grounds of a palace in Florence near Madame La Aleri's villa. In ” Alirando a Espana ” the dancer wore a charming frock of deep pink soft frilled material with the skirt short in front and trailing away behind. She wore a fringed handkerchief in a deeper shade at the neck, and flowers in the two shades in her hair, with a huge beautifully fashioned tortoiseshell comb. Black lace falling in graceful flounces over gold satin composed the frock worn for “Goyesca ” an Andalusian Castanette dance, the frock having a little lace bolero and full black and gold petticoats. She wore a lovely mantilla, of black lace falling from a very high comb worn back on the head. Perhaps one of the most dramatic presentations of the evening was "Bolero” danced to the well-known orchestral work “Bolero” of Ravel. The dancer was seen at the beginning of the dance lying prone on the stage and as the music grew in volume the dance became more intense. She wore a frock in two shades of flame with frilled trained skirt, a single flower in her hair which was worn flowing, and a black ’Shawl. The final frock of a lovely series was worn for the Sevillian shawl dance “'Luciemento del Alan ton” and was of vivid cyclamen with black fringes and black Spanish hat. 'Five shawls were used, each one more beautifully embroidered than the last with deep, swaying fringes and bold patlernings. In keeping with each dance, its character and the country of its origin. La Aleri’s frocks lent even more wonder to her vivid characterisations, and were an integral part of lieV brilliant