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Critic Praises Innovation of Ballet Night : Four Works Presented at Opera House
Critic Praises Innovation of Ballet Night : Four Works Presented at Opera House
TitleCritic Praises Innovation of Ballet Night : Four Works Presented at Opera House
CreatorMoore, Edward
DescriptionReview of performance of La Guiablesse
CollectionSCRC Text (Southern Illinois University Carbondale)
SubcollectionKatherine Dunham Papers
Place WrittenChicago, IL
Date(s)ca. 1934
Subjects -titlesLa Guiablesse
Subjects -peopleDunham, Katherine ; Page, Ruth
Collection ID/Box#FP20_7_F1DUNHAM_B102_F01_03
Rights StatementFor permission to reproduce, distribute, or otherwise use this image, please contact the Special Collections Research Center, Morris Library, Southern Illinois University Carbondale. Phone: + 1 (618) 453-2516. Email: http://reftrack.lib.siu.edu/reft100.aspx?key=SCRCEmail&cllcid=SCRR
TranscriptCritic Praises
Innovation of Ballet Night
i
Four Works Presented at Opera House.
¦ 1
BY EDWARD MOORE. j
(Picture on back page.)
For the first time since Chicago has j had an opera company h, fall pro¬ gram was devoted last night to the cause of the ballet. It was a highly j commendable experiment which one ( hopes will be repeated soon. For one thing, it shows that those In charge of the company are willing to test Uew attractions that will brtng opera Efsasons down to date. For another, it was hig^hly interestijig in itself.
Ttulh Page is the ballet director of the Chicago opera this year, and she and Nicholas Remisoff would seem-to be TEBponsible for a great part of the \ program. She ivas the author of the
f fccenario of two of the four numbers
and coauthor with him of the other two. She was the principal dancer in three, and he prepared the scenery, costumes, and lighting tor all four.
The bill was exhilarating and at times highly amusing. The first num¬ ber was William Grant Still's "La
Guiablesse, " which Miss Page pre¬ sented at the Auditorium in the sum¬ mer of 1933 with a cast of Negro as¬ sistants. This time the principal part was danced by Katherine Bunham. It was an astonishing performance, both last year and last night. The ease and grace that this Negro gi'onp put, Into their evolutions, the eloquence of their swaying bronze bodieSt ma^je a perfect performance of this tale of the Martinique siren, or Lorelei, or what you will,
Kext came two world premieres, both comedies. "Hear Ye! Hear Ye!" by Aaron Copland, tellis the story of a shooting done in a night ctub as re¬ lated in a criminal court. It is a mat¬ ter of everything from tables to offjee buildings being away off angle, of jui^, judge, and spectators all in masks, of three witnesses being sworn and three different accounts of the shooting being acted on the stage, everything being about three-quarters insane. At the end the jury finds every one guilty. Miss Page, Bentley Stone, Mark Turbyfill, and Paul du Pont were the principal actors.
"Gold Standard, " by Jacq.ues Ibert, is a far^e of two young lovers, an elderly suitor, a forthwith marriage with parson, ring, what not, sum¬ moned out of the bushes in a park. It was mid-Victor Ian in setting, un- commonly gay, and peihaps even more amusing Ihan its predecessor. The same cast had charge of the pro¬ ceedings.
'At the end Miss Page, Blake ScOtt, and a group of girls revived Ravel's Bolero, now known as " Iberian Mono tone." Leo Kopp conducted the firs and last Items of the bill, and Hu dolph Gana the two novelties. It was a first rate performance throughout principals, lesser dancers, and or eatra.
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Original Formatreview
Original dimensions (cm.)29 x 7
Digital Object TypeImage
Digital File Format.tif
Digital File PublisherSpecial Collections Research Center, Morris Library, Southern Illinois University Carbondale.
LanguageEnglish
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