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'Holiday' Tries Vegas Show Si THE BEST place to enjoy a holiday on ice is in Show biz. Holiday On Ice's 1969 production proved that Tuesday night to more than 10,00 Girl Scouts, Boy Scouts, and adults who jammed Cincinnati Garden to capacity. In 14 numbers covering two acts, the show drenches - _^_Z1?╟÷ "=*?√ß! The Peit & Tinus-Star?╟÷\$ .ifeicmoa*", Wed., Feb. 5, 19S* Where Beauty Is Found , _-i +i,rt ?╜mii?╜ increases as thej BY JERRY STEIN The beauty of "Holiday on Ice" now at the Cincinnati' Gardens through Sunday, is more than costume deep. The 24th e d i t i o n of the ice show also has beauty in its staging and choreography Lighting director and publicist for the show Don Watson told me that Hobday on Ice" signed Donn Arden, who has staged night club extravaganzas ?√ßTUB Vegas and Pans, to direct this frozen treat. His skill and taste is evi- d e n t throughout the production. Production numbers are banquets of colorful costumes that exhibit great creativity. A visit to Granada features ladies of the Spanish court in their black and gold hooped- g0Wns. Fluorescent native costumes add a touch of the exotic to a voodoo ritual in deep Africa. " not only found under ^colored spotlights but m the skaters themselves. I speak specifically of Miss Roxanne Maxcy, a member of the corps de ballet. Roxanne began a lovely activity while living m Lubbock, Tex. She began teaching blind and other handicapped children how to "I was teaching the children of the director of Lubbock's school for the blind, how to skate, saici Roxanne, "when the director asked me if it would be practical to teach blind students how to skate. I told her I was willing to try. DIRECTOR Arden uses steps in the stage area in ?he tradition of Ziegfeld. The stairways take on a special elegance as the girls descend them in pink lowns and feathers to leet their gentlemen m top hats .for a salute* .the musicals of Fred Astaire. The show offers some of the best speciality acts and soloists. The shows ?╟≤star Ronnie Robertson continues to thrill with his twirls and leaps. Alice ' Quessy exhibits grace on tie ice and puts much personality into her perform- ance. . i I would be remiss in not giving a very special salute to the girls and boys of the chorus who skate with attention to precision. BEAUTY IN iee shows is ROXANNE went to the school to talk to the children. "I wanted to understand the world in which they lived before I began to teach them," explained Roxanne. "I became aware that these children have a highly developed sense of touch. I decided to base my teaching on this factor. "First, I permitted the children to feel the skate?╟÷ the leather, laces, eyelets and finally the blade I had to convince them that the skate blade is not like a butcher knife.'' . Once on the ice the technique of teaching blind students is similar io methods used to instruct those who have sight. "Everyone must learn to?╟? balance his weight on the skates himself," explained Roxanne. "The blind children I taught had little difficulty with this." The blind students skate around or up and down the rink. "We play music while the children are skating for an important reason," said Roxanne. The children are very sensitive to sound ana can tell when they are near a wall because the intensity of the sound bouncing_on the walls increases as they approach them." SPILLS DO NOT discourage the children 'When this happens," said Roxanne, "I laugh with them, not at them and explain that they should not fight the fall. Relax and just sit down on the nee, I tell them." Roxanne does not limit the blind skaters to tours around the arena. "If they feel confident enough to attempt more difficult steps, I encourage them she said. "I had one little blind girl who could do a footspin (twirling in a circle) and a bunny hop (a step in which the skater hops off one foot into the air and lands on the ?? Roxanne has enthusiastically agreed to contact the Cincinnati Assn. for the Blind to do what she can to help that organization with a skating program. "SKATING IS a wonderful recreation for handicapped children," said Roxanne. "It is something that enables them to feel a sense of achievement." Roxanne had to rush oft to don a glittering costume for the opening number. Inside, she was already dressed with a quality that would easily dim diamonds. its audience in sensory delights of sock - it - to - 'em theather ?╟÷ from the Gay Nineties to prime Fred Astaire?╟÷to a five-part spectacular capsule of Hollywood from Keystone Kops to its Rinseloramic peak in the late '30s. YOU'VE SEEN Gay Nineties numbers worked to death. Show Director Donn Arden works his Gay Nineties number into scintillant life. The period was noted for a plushy warmth of gaslight splendor. A marble- staired, globe-clustered inner stage interior keynotes the period precisely on curtain rise. A dozen beauties in form-fitting, flaring, ostrich-trimmed purple gowns, with long trains, do a routine of broad, flowing, movements befitting the elegance of their elaborate wardrobe ?╟÷ complete to velvet neck bands (with jeweled throat pieces); long diamond-cut earrings, and'^ clasps for wispy feathered hair decorations. The gentlemen wear velour-looking purple tailcoats; the rich texture of the cloth providing thrillful recollection of the outward opulence of by gone days. But stay. Hold. Not enough, Mac Duff! On come the Gayety Girls, eight, tall, luscious Las Vegas show girls. They are as smooth and cool of movement as the ice they work on. The Gayety Girls wear Lillian Russell type, hourglass-snap, ice-length scarlet gowns ?╟÷ with circular trains six feet across. The gowns are embroidered and jeweled. So are above-elbow- length gloves. And the headpieces have enough dyed ostrich plumage to defeather a county in Australia. The wardrobe is provided by Freddy Wittop. His eye- sockers bedazzle you one number right after another through the show. But director Arden sees to it that Holiday On Ice isn't all fuss and feathers. In the Gay Nineties open- Theater^ E. B Radcliffe er, choruses work in counterpoint against starring principals Helga and Gorge Valle and Aloce Quesy, Linda Adams, Linda Sowell, and Tommy Allen and Jaunita Percelly. Stage action in chocography is as exciting as the costumes and decor. AFTER the big show girl number on come the Kelly- green clad Cook Family in a show stopping turn done without Mama (Dori Cook) Tuesday. Kris and Kelly, four-foot-high brothers, and sister Kim are amazing little skaters. And Papa Cal worked a fine act with them. HOLLYWOOD musical topnotchers of the Astaire heyday come to life in the first act finale. It's a perfect show business program topper. It brings on Ronnie Robertson. His split jumps, turns, and spins (too fast for eye to f o 11 o w) top everything that has gone before. And Marei Lagnenheim's strong and handsome skating also is superb. She's as sure of herself on ice as an Income Tax collector on a house call. THE SHOW is almost like a circus in sustained briskness of pacing, but without let-up but with no hur rying. Arden works wonderful