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Wednesday, February 5, 1969 THE CINCINNATI ENQUIRER 11 tyle And Ices Up Hit patterns in movement with principals and choruses. And he has one ensemble exiting while another ;omes on. Specialists are iccorded time for well- earned bows and among he experts are Paul Andree [nd Jerry Leech with a reakaway car and a Bonnie and Clyde bit; Alfred tendoza and John La Due ft a wildly cheered Houn' |og travesty; Werner Mul- [r and his three chimpan- |es; Andre, Kris Cook, sech, Jerry Wallis, Fred apier in a knockout com- iy romp. THE SECOND ACT climax oout Hollywood ices up ollywood history in a ibloid musical comedy. Chaplin, De Mille, Garland, and the Marx Brothers are Big Names not taken in vain in vignettes on flashing blades. The Chaplin Ballet and a colossal (indeed) production number finale stand out along with skating of Robertson. This Hollywood : show alone is worth the price of admission and is a masterpiece of showmanship in creation and performance. THE PERFORMANCE is staged with the north end of the arena occupied by a stage about 20-feet-deep and a proscenium opening of rink width. By extending the stage wider than the rink, and giving it depth, the rink it self becomes a well-proportioned forestage ?╟÷ like a ramp extending into a theater auditorium. The exterior of the stage is lit up like a garish Las Vegas club exterior. It's got flash and dash. And the show lighting has new ideas in overhead and front parallel illumination, as well as the colored rink border lights and eight lofty traveling spots. "Holiday On Ice" is perfect, million-dollar theatrical cotton candy, and good clean fun and thrills come with every fond look you give it. Wednesday, Feb. 12, 1969 mtM\mfa%awct?½l ] 5?╟?g FUN EVENT - LIGHTS, COMEDY, SKILL 24th Holiday on Ice Swirls With Color By TERRY KAY Atlanta Journal Amusements Editor Holiday on Ice has been touring to Atlanta for almost a quarter of a century. (Twenty-four years, as of Tuesday, is close enough to put it in comfortable f i g- ures.) It has become a happy habit for thousands of people to underline the spec- t a c u 1 a r ice show as a Terry Kay must, meaning, of course, that the budget will stand enough tickets for the family. I don't suppose there is a finer way to beat the blahs of television and other such hum-drum- ism than to bundle the clan and attend Holiday on Ice. Though the expression has been a cliche since the county fair became popular, Holiday does have something for everyone. Think of it in these terms: First, it is an ice show. Ice, if not in cube form, is a rare sight for Southerners. When it accommodates the ill temper of weather, it is despised and dangerous. When it melts away at the height of a party, it is impossible to beg, borrow or buy. THE POINT IS, an ice show is a wondrous way to catch our attention. Forget the fact we have ice rinks in Atlanta. (How many people do you know with a pair of skates?) The ice show is a splendid new experience, and, in fact, 98 per cent of the Atlanta audience wouldn't know if the production is good, bad or indifferent?╟÷from a technical point of view, that is. This introduces the second consideration. If we are not versed in the qualities of ice skating, we must turn our attention to what is done and how well it is done. This, for laymen, is called production, a three-syllable word meaning the act or process of producing. As a word in use, it includes concept, set and costume design, lighting, sound and, with Holiday on Ice, it also means a bed of ice, which is?╟÷as it has always been?╟÷too small in the old Atlanta Municipal Auditorium. THESE VARIOUS elements are blended in a swirl of color, movement and music to make Holiday an incredible experience. Production is the body of Holiday; the soul oozes out in something of an emotional triumph when the skaters, themselves, put that production in motion. I like this 24th edition of the show in Atlanta. Donn Arden's inventive staging is active, beautifully timed and fairly arranged to include comedy, beauty, skill and exhibition. There have been other editions of Holiday that I enjoyed more in certain areas?╟÷use of overhead lighting design, more playful comedy, etc. But there has never been a season as extravagant and colorful as this production. What makes Holiday a fun event, as mentioned, is the versatility of selections. Costumed and real animals are a joy to children, the grace and ballet precision of skates cutting ice in specialty numbers thrill older people, and, as always, there is enough nonsense for everyone to enjoy. I will quibble with one thing. Holiday on Ice makes a point of Ronnie Robertson being its star. As a skater, he is unbelievable, but he is not the star. He is a featured performer who might be unable to make an appearance one day and the audience will still be as thoroughly entertained. There are too many exciting people in this company to have a star. Robertson performs two major numbers and both are handsomely preset for him by his companions. TO APPLAUD the company would require a listing of each performer. But there are those who command attention, including the Cook family, Grete Borgen, Alfredo Mendoza, John Ladue, Paul Andre, Johnny Leech, Helga Valle, Jorge Valle, Anna Galmarini and Darolyn Prior. And there are two other people who certainly deserve credit, costume designer Freddy Wittop and scenic designer Glenn Holse. Their work is overwhelming. Tuesday evening's opening performance was a benefit sponsored by the Rabun Gap-Nacoo- chee Club and Guild and was considered a sellout. The advance sale on Holiday tickets reached record figures before Tuesday's opening. The show continues through Sunday.