Evening star., 1937-04-26

interpreting one of the oldest of the
arts.
Dominating the evening despite the
fact it competed with the enduringly
enchanting "Giselle," was Mordkins
own ballet, The Goldfish" Built
upon the Alexander Pushkin poem of
the same name, The Goldfish" is as
pleasant a bit OF fantasy as ever found
its gay and sparkling way into panto-
mimic drama. The theme is classical,
q bit of folklore, but as related in the
choreography of Mordkin and the
music of Tcherepnine, the interpreta-
ton is modern. If you liked fairy
tales as a child, as Anderson or
Grimm wrote them, you vii like THE
Goldfish as the Mordkln ballet
dances it. It makes no difference
whether you are child or adult in the
latter case.
Mikhail Mordkin, who 26 years ago
made his first American appearance
n joint debut with PavloWa, danced
lat night in the premiere perform
ance of his own ballet. The role of
the fisherman makes more demand
upon the actor than the dancer, but
Mordkin made of it a personal tri-
umph. The spirited thing which comes
to so wild climax needed him as
definitely as it did any OF the very
young and talented persons who
danced the more robust and active
parts.
Contributing greatly to the brilliance
of The Goldfish" were the settings
and costumes by Sergi Soudeikine.
The palace scene must be rated a
triumph even in career so rich as
Soudeikine's.
Il X X
THE delicately conceived part Of the
goldfish received superb interpre-
tation by the baby of the Mordkin
ballet, Viola Essen. Both in her solo
work and her dance with Leon Varkas
(who must be twice her age in spite
of his YOUTH, she lived up to all the
superlative things one has heard and
read of her.
Varkas, a Nebraska boy who went
to Russia to learn to dance and re-
mained to inspire others, was the out
standing figure in both The Gold
fish" and "Giselle." Lucia Chase
enthusiasts who want to dispute that
point probably can make out a very
good case for themselves. We refuse,
however, to listen. Miss Chase is splen-
did and so is Dimitri Romanoff (San
Francisco boy for all that name).
In sharp contrast to the elfln gayety
of Mordkin's dance translation of THE
Goldfish" is the quietly tragic quality
of "Giselle"
A program note says this ballet has
not been performed since 1911. II
this is true, and 1t undoubtedly Is, the
ballet people have been cheating the
public. It was exquistely staged and
well danced last night and it is incon-
ceivable that anything could be more
lovely than the dance of the spirits in
the second scene.
The story of "Giselle," a tale Of mans
deception in love, has been pretty thor
oughly told by this time, but as Varkas,
Romanoff, Miss Chase and Miss Essen
(aided by talented ensemble) told it
last night, the whole thing took on q
new freshness.
The ballet was given a merciles rib
bing on the same stage a few weeks
ago. Ray Bolger, Louella Gear,
Tamara Geva and lot of other people
did it in "On Your Toes"
The Mordkin ballet, young, very
ornamental and extremely skillfull,
answered effectively last night.
A SHAREHOLDERS, which has be-
come more or less hyphenated
name in the last few years, is going
to be Astaire and Rogers for while.
The team which danced its way almost
to the top in box-office pull will break
up now that Shall We Dance" is
ready for Keith's Friday. Of some one
will just send Hardie Meakin a print
Miss Rogers leaves to be the vivacious
lady of film called, of all things,
'Vivacious Lady" Opposite her will
be James Stewart, who, when there's