Brisbane Ballet Theatre: Swan Lake Act 2, Coppelia Act 3, Valse de Fleurs, Pas de Trois
A WATERSHED YEAR
1955 was a watershed year of progress and change: the Queensland branch of The Australasian Society of Operatic Dancing became the Queensland Ballet Society in late March; Edouard Borovansky was appointed Patron; and membership was now open to all, no longer restricted to those who had passed a major RAD exam. From this year on membership grew, more ballets were presented, and more students were accepted into recognised ballet companies.
In this year, the organisation gave its first ever complete production at the Brisbane City Hall, drawing its demanding repertoire from classical ballet favourites. Here is who Arts critic Roger Covell received this full program of ballet.
AMBITIOUS WORK - Ballet takes a step forward
Review by Roger Covell
Brisbane Ballet Theatre took a definite step forward with its ambitious programme in the City Hall last night.
Much hard work had gone, no doubt, into the presentation of Swan Lake Act 2, Coppelia Act 3, and shorter excerpts from Swan Lake and The Sleeping Beauty.
Much more work was needed, of course, to present these works in a really satisfactory manner; but that is something possible only to a professional company.
Last night there was enthusiasm, conscientious performance, and careful attention to such important details as exits, entrances and curtain calls.
Caught the eye
Audrey Brotherton was a reasonably confident, if rather mechanical Swan Queen. She was well partnered by Cyril Johns, who was also responsible for reproducing the evening’s ballets.
Others to take the eye included Peter Pertnikovs, the four Cygnets, Lynley Lewis, Shirley McMahon and Glen Ole.
The excellent costumes, designed by Greg Hannas and Phyllis Danaher, were responsible for much of the effectiveness of the productions.
Above all, the company was blessed in having a small but efficient orchestra to accompany it, under the direction of Tony Sorgato and led by George White.
Happily, this combined endeavour was rewarded with a near capacity audience.
The Courier-Mail, 16 March 1955
Researcher and writer: Dr Christine Comans