The most impressive thing about International Ballet Caravan is that for four years it has been active and toured widely with no subsidy at all. The company began a fortnight’s season, its first in central London, at the Jeannetta Cochrane Theatre last night. Modest in size, in aspiration, and in the length of its opening programme (well under two hours), it deserves a modest welcome.
All the ballets are by Alexander Roy. They all give the impression of recording a message, but exactly what the meaning might be is often unclear. The best is The Gentleman Caller, rather freely adapted from a Tennessee Williams play. This, at least is clear, and gives Christina Galles, as neurotic Rose, and Bob Smith as her incestuously inclined brother scope to emote lavishly. They do so with relish and some effect, the latter sometimes less serious than intended.
Cesar Franck’s quintet, although sadly reduced for three players, made an interesting accompaniment. Bach, Hugo, Wolf, and the Procol Harum, provided music for the rest of the evening. I would admire Roy’s choreography more if it did not look quite so much alike all the time, despite such varied voices and moods ranging from solemnity to facetiousness. The dancers appear reasonably capable; presentation is simple but tasteful. With more inspired ballets, the company could look twice as good.
Thanks to John Lock for locating this article, Jill McMahon for typing it up
Anyone got any idea what Procol Harum music was played in this balletic context?
More mentions of Procol Harum in The Times