Carlu Carter - Clippings

Added 19th Mar 2022 by Beth Dobson (Archives and Programming Assistant, DCD) / Last update 19th Mar 2022

Carlu Carter 129a 042 2008-0-1.jpg
Carlu Carter 129a 042 2008-0-1.jpg
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Carlu Carter - Clippings

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Carlu Carter Portfolio
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042.2008-0-1
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-THE LEADER - POST , REGINA , Carlo Spirited performance by western dancers A beautiful and finished per . pecially clever with the traditional Young who carries her height formance by the Royal Winnipeg tutus and tights of the classic bal . | serenely and beautifully through Ballet in Darke hall Thursday let dyed in vivid tropical colors all her dance sequences .. evening deserved a far bigger and with the girls wearing Car- As is always evident with pro audience than it got . Regina's all- man - Miranda styled turbans . ductions by this particular ballet too - few balletomaines got the treat CLASSIC ART company , the corps de ballet is of their lives in the three - ballet remarkable for team work and program with the best dancing The second ballet , " Don Quixote " , perfect support to the major roles . seen in Regina to date by this was for the lovers of the classic The audience invariably gets the spirited western company against ballet in all its beauty and cen- feeling that here is a company a backdrop of original chore- tury - old tradition . Paddy McIntyre which subjugates personal ambi ography and eye - filling costumes , and Marina Katronis danced a tions ard desires to the perfection Bill McGrath , a member of the beautiful pas de deux in costumes of performing as a company rather company since 1951 , was inspired that were a delight to the eye . than a number of assorted talented in his lead role of a seven - scene Miss Katronis , whose pure zest dancers all eager to impress and ballet " The Devil in the Village " . and joy in her art is contagious , be stand - outs . In it he played the part of " Mirko " was beautiful in a scarlet tutu The elevation of the individual a Yugoslav peasant whose soul is with a black lace bodice , fan and dancers and the lifts of the male enslaved by the devil and whose huge rose in her swept - back hair , dancers was particularly skilful . nimble feet danced a thorny path Her dancing in this ballet and in This company has gone a long way back to the good graces of his the finale , as the devil's mistress , since its humble beginning in 1938 . sweetheart . showed her for the clever mime That it is still growing and that Mr. McGrath , in private life and pelished ballerina that she is . it ricnly deserves its popularity married to the company's lead Her partner in the classic ballet , was apparent from its Thursday ballerina , Carlu Carter , also ap . Mr. McIntyre , has been with the performance in Regina . peared in the opening ballet of the company for many seasons . His TOO LOUD program partnered by his thistle . interpretation of the classic steps down wife who is a Winnipeg - bom of Don Quixote left nothing to be Only jarring note , apart from the dancer and whose features and desired but he was at his best in poor crowd , was that the pianists , ballet technique are the traditional the vivid characterization of the Henrietta Pelta and Richard El classic conception of a true bal- devil in the final ballet . lis , seemed to be playing for a lerina . Other notable performances much larger hall . Their volume the mood of the The opening were given by Jill Alis as “ Yela ” intruded into ballet “ Clasico " the heartbroken sweetheart in the dance too much , rather than being featured clever choreography by last ballet and by leggy Marilyn the unobtrusive background that Paddy Stone , a former company they were supposed to be . member now appearing in lead Ballet master Nenad Lhotka re ballet roles on Broadway . This arranged the music for " The Devil ballet wové South American in the Village " with dramatic ef rhythms still utilizing the tradi fect . The original music was writ tional ballet steps . The familiar This story was told over an ten by his father Frank Lhotka . sultry tempo of the Tango , the American radio network re Mr. Lhotka's wif ewas “ Yela " in Fandango , Rhumba and Samba cently of a little boy's first the ballet . Lighting effects in this interpreted by the skilled visit to the ballet with his company with the boys cleverly father . He watched the femi ballet were particularly dramatic reproducing the staccato heel ac nine members of the corps de never more so than the orgy cents of the Spanish - originating ballet dancing en pointe for scene in hell complete with glow ing coals , black devils and the dances . The girls conveyed by the some time . Then he asked , abandoned dancing of the devil flick of a lace fan , or the toss of “ Why don't they just get tall and his mistress . a head all the coquetry of a Span er girls , Daddy ? ” Lighting was again used to per ish senorita . Costumes were fect effect when the two village sweethearts were reunited and went hund in hand towards | brig'iter day and marriage , culm inating in a spirited display of Yugoslav folk dancing . Highlight of the current tour of the company is the presentation of this ballet for the first time on the North American coninent . Other dancers in the production were Gloria Contreras , Lawrence Haider , Ted Patterson , Charlotte Wright , Beverley Barkley , Terry Johnson Alex Yenko , Marsha Wardall , Freddie Meyer , Margaret Grant , Bella Sholom , Barbara Lee Spinner and Ruth Ellyn . Artistic director Betty Farrally and Mr. Lhotka took a curtain call with the company at the close of the program . By D.L.P. Juvenile logic were es ALAM a