Evening star. [volume] (Washington, D.C.) 1854-1972, 1909-10-12
New National.

Had there been no other attraction at
the National Theater last night than the
symphony orchestra. which. under the
direction of Mr.. Gustav Hinrichs. inter-
preted more than a score of the crea-
tons of the great masters, the audience
would have been we'll repaid for it's at
tendance, but when those creations were
also interpreted with the poetry of mo-
ton by dancers whose beauty and ac-
complishments are of the first order, not
even an occasional blunder of the stage
hand could destroy the charm of unique
performance.
Loie Fuller, years ago, first unfolded to
the dazzled eyes Of the amusement world
her remarka BILE conception of the serpen-
tine dance, followed by others in which
blending colors. startling light effects and
grace of movement combined to form
unique creation. She has gone onward
and upward in her creative art, incorpor-
ating as auxiliaries music. lights and colors
until it would seem she had reached the
climax of possibility in her chosen field.
In her performance last night she was
surrounded with four young women, her
muses." each of whom is an artist.
Orchidee. whom she calls her first
muse; Rita Sacchett@, the daughter of
talented parents-her father painter Of
much ability and her mother a pianist of
not only a premiere danseuse but plan
list of ability, pupil Of the great Busoni,
who will shortly be seen in this country.
and Gertrud Van Axen, who Miss Fuller
says is not a Greek dancer. but one
whose conceptions and creations illumine
famous. In lesser prominence but apt dis
cipies are the Fair sisters Beatrice,
Grace, June and Adrah.
The program last night was lengthy,
but not wearisome. The first number, the
dance of the sylphs, from THE Damna-
ton of Faust" by Berlioz. was inter-
preted by three muses.. Then came Irene
Sander in the Interpretation of the Boo
cherini minuet and Rameau's "Tambou-
rim" Gertrud Van Axen in six valses of
Brahms, opus SO. was a revelation of
grace.
Perhaps the most striking feature was
the Diana number. with hunting chorus,
by Orchdee and the muses.. It's novelty
and charm fairly brought the audience to
its feet.
Miss Sander interpreted Offenbach's
Barcarole and J. Straus Blue Danube
with grace and intelligence: and Miss Van
AXen was a revelation in Chopn's Etude
op. %, No. !, and Etude OBJ. %. No. D.,
followed by Beethoven's Bagatelle op. 49,
No. 3.
In her own creations. after pictures by
Yelasquez, came Miss Sacchetto, in the
royal Spanish dance of two numbers
(a) "Toreador ct Andalouse,' by Rubin
stein, and (b) 'Castagnette Solo, by
stately charm but her dramatic rendi-
ton of "Tarantelle,' by Chopin. was one
of the startling creations Of the evening,
tragic to the last degree.
Lcie Fuller herself appeared for the
first time in Bach-Gounod ave Maria
creation. deeply religious in sentiment and
execution. Though number in pro-
gram commonly supposed to consist of
dance creations. there was not a move
ment of the feet shown, the hands and
q II
traying the sentiment. The program was
brought to a close by spectacular crea-
ton, entitled the Ballet of Light in
three scenes. by Loie Fuller and her
muses., with a bewildering play of colors
scenic transformations, evolutions and en-
sembles. portraying the sea. a snowstorm
the passing of the souls, rolling clouds
passing of the lights. volcanic eruptions,
the wells of fire. falling stars, aurora
borealis. angels, spirit butterflies the un-
folding spirit, reaching climax with
the great white lily. scene of remarka-
BILE beauty.