BALLET
New York City Ballet. (Covent Garden.) HAVING been away on holiday I have, unfortunately, missed much of the New York City Ballet season, but in the programmes seen since my return William Dollar's The Duel emerges as the most impelling piece of work. In conception this ballet does not differ greatly from the other versions we have seen, but by comparison it easily holds its own and is a splendid vehicle for Melissa Hayden, who dances the strenuous role of Clorinda with a particularly fine sense of drama and easy execution. Francisco Moncion is rather disappointing as Tancrecl, but gives a beautiful performance as the Dark Angel in Balanchine's Orpheus.
Most dancers seem to enjoy poking fun at themselves and their art, and this nice trait is especially well developed in the American company. Balanchine's A La Francaise shows that even its eminently intellectual choreographer can relax and have a bit of fun ; it also shows that Melissa Hayden is as gifted for comedy as she is for tragedy. Todd Bolender dances this ballet, as well as the Pied Piper, with a delightful sense of humour • in the latter he is wittily partnered by Tanaquil LeClercch who takes the role of Odette in a re-arranged version of the second act of Le Lac des Cygnes. Balanchine has made some nice alterations in the movements and patterns oT the corps-de-ballet, and has contrived an exciting climax leading up to the final flight of the swans and the departure of Odette. Despite her lovely arabesques and classical bearing, Tanaquil LeClercq does not feel her role sufficiently, neither does she attain that flow of movement more than ever necessary to a dancer of her
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