Evening star., 1925-02-19
DEN|SHAWNS GIVE
AMERICAN DANCES.
Classical CaIiber Placed in
Steps Interpretative of
& New World Life.

American dances by American
dancers for an American audience
seems to be the new slogan for the
Denisshawn dancers, who appeared at
Polls Theater before a capacity audi
ence yesterday afternoon under the
leadership of Ruth st. Denis and Ted
Shawn. The artistic dance revues of
classical caliber given by these dancers
nave become Increasingly favored by
the public
A group of five American sketches,
entitled "Crapshooter," Around the
Hall. Gringo Tango" Boston
Fancy, 1854" and Invocation to the
Thunderbird," covered a wide scope of
typical American dance steps and
rhythms. Perhaps the most striking
feature was the genuine spontaneity
and whole hearted understanding of
these dances by the performers
Other numbers were given with care
ful artistic Interpretation, traditional
to other countries than our own This
group was danced to remarkably in
teresting music by Eastwood Lane and
John Philip Sousa. One dance, which
was a composite of steps used in the
days of the polka and quadrille, was
received with such enthusiasm that
a partial repetition was given as
encore Mr.. Shawn's Indian dance
and the comical ''crapshooter dance"
by Charles Weidman, were striking
soIo dances to open and close the
group with
Unity OF Action.
The first group of music visuali-
sations" emphasized the marvellous
unity of action OF the ensemble work
OF the Denishawns. Their surety
of poise, smoothness of change from
one pose to another, and vivacious
spirit OF Interpretation were excellent.
Mr.. Shawn's series OF poses as
statue told dramatic tale with
effective simplicity. Miss St. Denis
waltzes showed her unusual hand and
arm technique, and brought memories
of the Brahms waltz and "Liebes-
traume" number she has done in the
past two years. Doris Humphrey did a
dance with a large hoop that was grace
full and novel The Voices of Spring"
using Botttcellis famous painting as
the inspiration for grouping and
theme, danced to Strauss music, was
delightful.
Dance without Music.
A unique feature OF the divertisse-
ment was "Tragica," an ensemble
work, almost morbidly realistic in its
primitive theme, danced without
music. The effect on the audience,
whose attention seemed held through
out. was to increase the feeling of
tense watching without the distrac-
tion of even beautiful music This
experiment, arranged by Miss Hum
phrey. was remarkable. 1t is doubt
full If an audience could stand the
strain of an entire performance Civ
en- along the same lines. The nom
use of one entire sense, that of hear
ing. has an odd effect on an audience.
Miss st. Denis Black and Gold
Sari' dance, a Balinese fantasy by
her and Mr.. Shawn, and a vivid whir.-
ing dance by Miss Humphrey COM
pleted a distinctive group.
Algerian Dance Drama
An Algerian dance drama in two
scenes. entitled The Vision of the
Aissoua-" was the final number 1t
was created and produced by Miss ST.
Denis with dance steps by her. as
sisted by Mr.. Shawn. The story is
simple one, telling Of the love of a
poor young native for a girl in his
tribe, who must be sold as is the
custom, to dance in the cafes of AL
xiers, and their final happy reunion.
The music, especially composed by
r. S. Stoughton, is excellent melodic
Background.
In all their numbers the Deni-
Bhawns had the beautiful and authen-
tic costumes and fine scenic effects
that they have led their audiences to
expect. They were given excellent
instrumental support by a quartet
composed of Louis Horst, pianist-con-
ductor; George Palotay, violinist:
Ugo Bergamasco, flute player, and
Gino Allesandri, 'cellist.
In little informal talk last night
at Miss Nella Binckley's studio, Miss