Evening star., 1936-03-31
Miss Enters
Refreshing
In Minlicry
Artistry So Subtle a
Type It Becomes
Realism.
TN THIS day and age, when origi-
nality counts for as much as tech

TN THIS day and age, when origi-
nality counts for as much as tech
nique. the highly specialized art
Enters, celebrated dancer and mime,
offers a great deal that Is interesting
and refreshing. Miss Enters, whose
last visit to Washington was some
seven years ago, was presented again
by the King-Smith Studio at their
Playhouse last evening in program
whose contrast allowed one full
appreciation Of her artistry.
Miss Enters is forceful in projecting
herself in the character she portrays.
She is equally at home in any period.
nationality or emotion she seeks to
create, and her artistry is of so subtle
a type it becomes realism. Into the
clever suggestions which Is her forte
she brings the play of gesture, facial
expression, costuming and sometimes
the powerful effectiveness Of perfect
repose with such extraordinary inter-
mingling that does not overlook the
slightest detail that belongs to what
ever character she essays. She is past
mistress of every emotion from ideal
ism to broad-humored caricature with
the same skill and with an element of
refinement which she never at any
moment abandons. Although most of
her art lies in pantomime, she calls
upon the dance technique for certain
emphasis and uses 1t more as an ac-
compartment to her greater art Of
mimicry.
The angular, as exhibited In the first
number, entitled American Ballet"
was the antithesis of the two tabloids.
Feline" to music by Debussy, which,
as the name suggests, presented a
whimsical portrayal of a woman in
love- In "Pique-nique" and Del
sarte" Miss Enters found opportunity
to display some 26 emotions, the vari-
ETY. ranging from the simple to the
exaggerated, back to the pathetic and
the natural. She was the mistress of
all at the command of her imagination
and intellect. The French Gothic art
as shown in "Tbe Queen of Heaven"
with purity of line emphasized by her
facial makeup, made one conscious
of Miss Enters familiarity with that
very important but often neglected
side of stage art.
The subsequent numbers, Vienna,
Provincial" with the subtitle, In
Homage to Arthur Schnitzel," in three
movements, Return from Prayers"
The Party" Return from the Party"
and Piano Music No. 4. Commence
ment," were delightful little sketches
of a sentimental girl of the COS in
her teens. Miss Enters displayed a
command of the piano in her imita-
tions of young girls playing of that
period. one of her most amusing num-
bers, which especially delighted the
capacity audience. "Aphroditia" or
"Greenhour" was substituted for Auto
da Fe" because of lack of space re-
quired for the presentation of the
latter. The Spanish "Pavane" of the
sixteenth century made one wish that
other obsolete dances such as Sara
bande, Chaconne and others, which
at the present time are only included
in an instrumentalist' repertoire, could
be re-created for the student who
lacks actual knowledge Of them and
by the art of Miss Enters.
The large audience entered into the
spirit of each number with rare pleas
ure and was so enthusiastic in appre-
citation that the artist was recalled
many times and the program not al
lowed to end without encores.
Ell. DE S.