THE THEATRE The Sadler's Wells Ballet." At the Princes Theatre.
THE Return of the Sadler's Wells Ballet Company to London was marked bi a superb performance on the first night of Cop pelia, entire in its three acts. This famous old ballet has been extremely popular with the public sinze it was first revived by the Sadler's Wells Company but it has never been more enthusiastically received or better danced. Margot Fonteyn as Swanilda was a model of grace and lightness ; in the precision and verve of her feather-weight performance she reminded me of Riabouchinska, although she does not at all resemble her otherwise, having qualities of romantic ex- pression which that fine technician does not possess. The Corps de ballet goes from strength to strength. They have never danced the Mazurka and the Czardas as in the first act with such polish and spirit. Alexis Rassine is another member o& the company of un- failing and developing technical accomplishment, but indeed all the solo dancers in Act III have even improved on their past perform- ances, good as they were. This is a ballet in which precision and verve have such rewarding material in the music and the choreo- graphy to work upon that it must be as enjoyable to the dancers as to the spectators, especially when the work is under the baton of such a conductor as Mr. Constant Lambert, who gives to the whole ballet life and character by his unfailing musicianship and gusto. About Mr. Robert Helpmann's brilliant miming as the toy-maker of Coppelins there may be differences of opinion. Some may think that he is now over-doing his comic touches, and I think he would do well to refrain from some of his slapping, but in general there is no doubt that he adds variety and humour to this ballet with his amazing cleverness. The only weak part of this production of Cappelli, is, in my opinion, the decor. Some of Mr. William Chappell's costumes are excellent, but the scenery of the first and last acts is lacking in distinction and insipid in colour.
JAMES REDFERN.
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