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A CELTIC COUNTER-BLAST.

The continued domination of the Russians in the domain of the ballet has already excited a certain amount of not unfriendly criticism.  But our Muscovite visitors are not to be allowed to have it all their own way, and we understand that negotiations are already on foot with a view to enabling the Irish Ballet to give a season at a leading London theatre in the near future.

The Irish Ballet, which is organised on a strictly self-determining basis, is one of the outcomes of the Irish Theatre, but derives in its essentials directly from the school established by Cormac, son of Art.  That is to say it is in its aims, ideals and methods permeated by the Dalecarlian, Fomorian, Brythonic and Firbolgian impulse.  Mr. Fergal Dindsenchus O’Corkery, the Director, is a direct descendant of Cuchulinn and only uses the Ulidian, dialect.  Mr. Tordelbach O’Lochlainn, who has composed most of the ballets in the repertoire, is a chieftain of mingled Dalcassian and Gallgoidel descent.  The scenery has been painted by Mr. Cathal Eochaid.  MacCathamhoil, and the dresses designed by Mr. Domnall Fothud O’Conchobar.

The artists who compose the troupe have all been trained during the War at the Ballybunnion School in North Kerry, and combine in a wonderful way the sobriety of the Delsartean method with the feline agility of that of Kilkenny.  Headed by the bewitching Gormflaith Rathbressil, and including such brilliant artists as Maeve Errigal, Coomhoola Grits, Ethne O’Conarchy, Brigit Brandub, Corcu and Mocu, Diarmid Hy Brasil, Murtagh MacMurchada, Aillil Molt, Mag Mell and Donnchad Bodb, they form a galaxy of talent which, alike for the euphony of its nomenclature and the elasticity of its technique, has never been equalled since the days of ST. VITUS.

We have spoken of the work of Mr. O’Lochlainn, who is responsible for the three-act ballet, Brian Boruma; a fantasy on the Brehon laws, entitled The Gardens of Goll; Poulaphuca, and the Roaring of O’Rafferty; but the repertory also includes notable and impassioned compositions by Ossian MacGillycuddy, Aghla Malachy, Carolan MacFirbis and Emer Sidh.  The orchestra employed differs in many respects from that to which we are accustomed, the wood-wind being strengthened by a quartet of Firbolg flutes and two Fodlaphones, while the brass is reinforced by a bass bosthoon, an instrument of extraordinary depth and sonority, and the percussion by a group of Dingle drums.

But enough has been said to show that the Irish ballet is assured in advance of a cordial reception from all admirers of the neo-Celtic genius.

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“A Bill has been introduced in Florida providing that ’from and after equal suffrage has been established in Florida it shall be lawful for females to don and wear the wearing apparel of man as now worn publicly by him.’”—­Western Morning News.

Happily they cannot take the breeks off a Highlander.