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The Crimson Playgoer

Claudette Colbert Colorless in a New Type of Role but Three Too Many Plots Complicate Picture

By S. C. S.

Enthusiastic dance-addicts crowded Symphony Hall 'Tuesday evening, to see the first Boston appearance of Harald Kreutzberg and Yvonne Georgi, (pronounced, incidentally, Yorghi). Small wonder at the enthusiasm, because this German couple came heralded with more superlatives than usual,--the leading exponents of the Modern Dance, the world's greatest dancers, and so on.

The first three numbers led one to believe that the whole program would be the effeminate, pretty sort of thing that expresses nothing and gives those who are in the know an intellectual kick. The audience bore with them, however, and was amply rewarded by some of the most thrilling works of art that it had ever seen. Kreutzberg and Georgi were on the crest of the wave from the moment he did his masterly "Revolte". And they stayed there for the rest of the program, rising to their greatest heights in a Debussy interpretation, "Romantic Scene", "Three Mad Figures", "Persian Song" and "Russian Dance."

Mr. Kreutzberg is the better technician--there were few who denied that. His gestures have a definiteness, a clarity, that Miss Georgi's lacked. But inspired as they are in much the same way by the same sort of thing, they make an ideal pair, and Miss Georgi makes up in a fiery temperament what she lacks in technique.

They have a return engagement in January--one of the events of the New Year that should not be missed.

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