The gamecock. (Columbia, S.C.) 1908-2006, February 11, 1980, Page Page 8, Image 8
Winnipe
in Tnuu
?*! ? M. ?
By Ronda Templeton
A touch of class came to
Columbia Thursday night as the
Columbia Music Festival
Association presented the Hoyal
Winnipeg Ballet.
The Royal Winnipeg Ballet,,
under the direction of Arnold
Spohr, presented a magnificent
performance of various ballets at
ine lownsmp ttuuuonum.
THE FIRST BALLET of the
evening was the "Pas de Six" and
"Tarantella" from Act III was
August Bournonville's "Napoli."
The dancers brought life to the
story of Gennaro, a young Italian
fisherman, and Teresina, his
fiancee, who wakes up in the Blue
Grotto below the Isle of Capri after
drowning. Teresina is transformed
into a water nymph, but is later
saved from this witchcraft. In the
third act of "Napoli," the couple is
at the center in celebration of her
return.
The ballet is basically a series of
dancers from the soloist's
repertory. The "Pas de Six" is a
purely classical composition, and
the "Tarantella" shows Bournonville's
ability to be inspired by
folk dances.
TIIE HIGHLIGHT of the "Pas de
Six" was the outstanding performances
by Michael Bjerknes,
Kathleen Duffy and Bonnie
Wyckoff. The "Tarantella" was
exciting with its use of color and
flowing movement. The dancers
seemed to enjoy their roles, and
this made the performance more
believable for the audience at the
Township. The "Tarantella's"
vibrancy was enhanced through
the use of props such as tambourines
and scarves.
Some credit for the success of
the "Tarantella" and "Pas de Six"
is due the costume supervision of
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Doreen McDonald. The women's
costumes were pure white peasant
dresses with bodices and'trim of
pink, blue or yellow. The men wore
simple costumes accentuating
those of the company's female
members.
Following the first intermission.
Evelyn Hart and David Peregrine
danced Marius Petipa's "Don
Quixote Pas de Deux." Once again,
the costumes added to the talent of
the dancers. Red and black outfits
complemented the Spanish
courting dance.
Of the performers, Hart was by
far the more polished. She flirted
with her audience, smiling and
coquettish. In contrast.
Peregrine's facial expressions
Were somewhat frozen and
frightened-looking.
THK DANC'FKS did justice to
the choreography of Petipa, one of
the most admired men in the dance
world. Long after his death.
Petipa's talent lives on through his
many choreographical works.
"Don Quixote" is one of Petipa's
most famous efforts, and the "Pas de
Deux'' emphasized the talent of!
Hart and Peregrine. Hart's wellexecuted
fouettes and Peregrine's
magnificent entrechats
highlighted their performance, as
did Hart's flirtatious use of a fan in
her solo performance.
"Family Scenes" was the final
dance of the second act. With
choreography by Oscar Araiz, the
dance grew out of situations and
relationships within a family I
group, not as a story, but as a|
sequence ot emotions. I ne modern
work was appreciated by the
audience, and brilliant dancing by
Margaret Slota, Baxter Branstetter,
David Herriott, Susan
Bennet and Kathleen Duffy
brought the ballet to life.
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ONCE AGAIN, the dancer's
costumes highlighted their performances.
The costuming for
"Family Scenes" was in various
shades of brown and beige, accented
by dim, yellowed lighting.
The final presentation of the (
evening was Agnes de Mille's
vibrant "Rodeo." The dance
brought to the stage the aura of life
in the American Southwest with
excitement, movement and color.
Perhaps "Rodeo" can best be
described in deMille's own words:
"It was a custom on the ranches of
the American Southwest on
Saturday afternoons to hold a
rodeo or competition of ropin',
ridin', throwin' and brandin', in
which the cowhands could show off
their skills to the womenfolk or the
neighbors who had driven the 40 or
so miles from the nearest ranch.
The afternon performance was
usually followed by a dance at the
ranch house." The Royal Winnipeg
Ballet successfully brought
deMille's summary of her ballet to
life at the Township Auditorium.
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