In its first Boston performance the Hollywood Ballet proved itself an organization to be encouraged. The young body of dancers, labouring under a severe economic handicap that forbade the assistance of an orchestra, presented a program of mixed value, with admirable determination. Although the musical worth and choreography of their first three offerings, "Danse", "Le Maitre A Danser", and "Le Bonheur, Feerie", may be strongly questioned, the company more than redeemed itself with the continued brilliance of its costumes and the excellence of "Hollywood".

Aida Barona, prima ballerina, was the outstanding member of the cast. Dancing lead roles in both "Prometheus" and "Hollywood", she showed an excellence that can be favorably compared with many of the dancers of the Ballet Russe. When it is considered that the group had been dancing for only a little more than three years, its faults in technique may be easily forgiven.

In a company of this sort, with economic considerations always in the foreground, necessarily there must be the problem of what precisely it wants to accomplish. Whether grace is their goal, or technique, or a compromise, still the goal must be decide upon. One has the feeling that the Hollywood Ballet has not yet settled this question. That is until their final number, "Hollywood", is given. Then one sees that what they really aim for is such a goal as this. With Ferde Grofe's solidly written music as a background, this dance, a satire on motion pictures, is something that no other group could do as well.

The Ballet's lighting and staging method, coupled with its magnificent costumes may very well bring about some changes in the present colorless state of scenic affairs. Thus, the sense of two-dimensionality and the effectiveness of composition and costume that was present in the Egyptian Dance in "Prometheus" seemed to me to be one of the high sports of the evening's performance.