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"ICARE" WINS 20 I
It was more than novelty that, won the ovation of the season for Lifar's percussion ballet "Icare" at! His Majesty's last night. Plain I Greek severity of dancing, rein-' forced by thuds and crashes of cymbals and drums, resulted in more than 20 curtain calls.
For all its apparent modernity, this ballet is a return to the clear classical idiom with an insistent emphasis on elevation. Even the story is based on flight. Lack of melody is incidental; it merely demonstrates that the dance need not take its lead from music. Having set Its own rhythms, the ballet could take a little melody without harm.
Llfar could hardly realise his own creation more completely than Jaslnsky, whose representation of the flight of birds was perfect dance mime. The miming of Rostoff and the gymnastic dancing of j i Greek youths and malden gave him ad- j ¡mirable support. A few childish touches I of realism in stage mechanics alone I marred the effect. Max Goberman I handles his percussion with masterly con-
centration, but the scoring of rhythms need not be so explosive. Tile Melbourne nrlisl Sidney Nolan has designed a neutral
backcloth and some excellent costumes.
Revival of Fokine's exotic "Thomar" is justified by the Icy intensity of Tener - nicheva's miming ot the sadistic queen Ably partnered by Petroff, she laises this ¡ballet aboce mere sensationalism.
In spite ot Riabouchinska's lively Columbine, "Carnaval" Is a little lame. For all his personality, Lichine has hardly the precision and quicksilver lightness of Harlequin. "Cendrillon" should hold its popularity with the younger generation.