THIS week two new ballets have been presented, one by
Ballet Workshop at the Mercury Theatre, the other by the Rambert Ballet at Sadler's Wells. The first, Conflict, is by Ivor Meggidor, whose choreography 1 have never before seen. It is naturally the more modest and less mature of the two, for Mme. Rambert had commissioned John Cranko, whose great responsibility it is to supply the majority of fresh ballets for our national repertoire. With these obvious discrep- ancies in experience and opportunity, it may seem hardly fair 'to discuss together the works of these two composers. On the other hand there is much reason for doing so, for both have chosen a theme which seems to haunt the ballet world—life's eternal problems, with its conflicts, tempta- tions and triumphs; and far more important, each endorses, through the imperfections of his individual creation, the restless and' transitional condition of the art of choreo- graphy today. For some years the strongest and most recognisable influence on style and composition has come from Balanchine, designed to have the same salutary effect that Cubism had on painting. Since Martha Graham's visit in the winter it seemed certain that the terrific impact of her artistry and outlook could not pass un- noticed, and already, in Cranko's Variations on a Theme, one is reminded of her inven- tions. Yet, if ballet is to continue, our choreographers have to find a language of their own, and that they are deeply aware of this is proved with every new production. Conflict, Variations on a Theme, and their kind, all bear evidence of this searching; and if they lack cohesion, clarity and certainty of purpose, it is because of a disease of the time, one which befalls every art form at intermittent stages of its development.
In Ballet Workshop's programme, Michael Holmes's Common Ground is much improved now that it has been 'pulled together'; ■ Margaret Kaye's backcloth for Conflict is distinguished, and Rikki Septimus's dancing
makes a good, strong impression. At Sadler's Wells, Rambert's dancers are sadly lacking in cqntrol and have very untidy feet. Alexander Bennett has the 'noble' manly air, Ann Horn is consistently appealing, and all work with the right spirit.
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