THE THEATRE
miracle in the Gorbals." Sadler's Wells Belle At the Princes Theatre.
THE new Sadler's Wells ballet is another extension of the art of ballet into the world of mime-drama. The choreography by Robert Helpmann is dear, ingenious and effective, but expressive as it un- doubtedly is, it is doubtful whether for the majority of the audience its meaning and significance would not be assisted by a brief synopsis printed in the programme. It has been contended that it is an advantage not to hear all the words in opera. It is a natural piece of appropriately artistic luck that actually, even if an opera is given in the native language of the audience, most of the words remain unheard, and among serious musicians there is no denying (a) that opera should be performed always in its original tongue and never in a translation, and (b) that the fullest and most free enjoyment of the music is to be had when the language is very vaguely known. One thing is essential always, however, and that is to know the plot, at least in rough outline. It is. no criticism of Mr. Helpmann's choreography to say that the audience would be helped by being told what the theme is of his new ballet, sited in The Gorbals at Glasgow. If Mr. Michael Benthall wrote a scenario, as is stated in the programme, hen a concise version of that scenario ought to be printed. The decor by Edward Burra is vitally impressive and the-drop curtain ingenious and vivid. Pauline Clayden as The Suicide has distinctly added to her reputation, and so did Celia Franca, dancing as The Prostitute. The music by Arthur Bliss is straightforward and dramatic, rather in his earlier style, with skilful use of the drums. Altogether, this is a really interesting new ballet and shows that the Sadler's Wells company is not sitting down idly enjoying its well-deserved laurels.
JAMES REDFERN.
Previous page
