The gamecock. (Columbia, S.C.) 1908-2006, March 10, 1980, Page Page 11, Image 11
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By Nancy Young
Gamecock Staff Writer
In the small Dravton Hall
Theatre on Thursday night, the
USC Dance Company demon
strated what Margot Fonteyr
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called "The Magic of Dance." The
Taming of the Shrew proved to be a
delightful and quaint ballet
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Complimentary wine served
wilh dinner
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f the Shrew'
ill to ballet
Despite a few inconsistencies, the
overall production was enjoyable
1 to watch.
> While the corps de ballet
provided a strong backbone for the
i performance, the pas de deux
mm variations gave the show added 1
I radiance. Patricia Higgins-Clancy
wore the role of Katharina, the
tempestuous heroine, like a glove.
Her every feature, from the fiery
eyes to the steely strong legs
suggested defiance. Joel Hawkins
portrayed Petruchio as a man who
likes a challenge, who enjoys life.
Together they created a spark
which every good partnership
must have. They complemented
each other very well.
THE PARTNERSHIP of Ann
Weibel and Steohen Lansom was
equally pleasing to watch.
Separately, they danced their roles
as Bianca and Lucentio
proficiently, but together, they
danced much better, which is
surprising because good partnerships
are hard to achieve. Yet
Weibel and Lansom blended
I together to dance with gentleness
1^.1 and lyricism. It was moving
HI poetry.
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l was emphasized and there was
plenty of it. The dancers in the
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corps did as much to keep the
feeling of gaeity and fun alive as
the principles.
It is rare to find a corps de ballet
that invnlvps itself as on
. thusiastically as this one did.
Perhaps it was because they
danced a great deal in the
production and their dances were
full of vivacity.
Happily, the ballet was not just
Shakespeare without words. Indeed,
the ballet did not look
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Elizabethan at all. In spite of the
various musical selections ranging
from Mozart to Debussy, it
resembled, in costumes and sets,
the romantic ballets Coppelia and
La Fille mal Gardee, which were
nh Ar?*nrfro in
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nineteenth century. In the first act,
the musical selections worked well
perhaps because even though the
composers were diverse they all
composed in a relatively similar
style.
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information will
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IN THK SECOND act, the
variety was a bit disconcerting. In
going from Mozart, a .-classical
composer in the strictest^eiille of
the word, to Debussy, ^ impressionistic
composer, I felt lost
as to what time period the ballet
took place. It lacked the concictnnnir
art/I f Irvnt f f L/\ f I
oioiciiLjr anu iiuw ui iuc in ot ati.
Nevertheless, the ballet was fun
to watch ? the more so because it
was a homemade production.
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