Translation of Review by George Zivier
First came only a hand, a hand in the light trembling out of a human bundle. Then the bundle developed into the slim figure of a girl dancing swiftly and - technically - faultlessly: Judy Jarvis. Whoever had thought that with the decease of the great Dore Hoyer expressive dancing in its highest, purest form had gone out of the world, had to correct his opinion. Here it came back to us young and full of life, - as a Renaissance.
"... and death shall have no dominion", the motto of the night by Dylan Thomas, invites reflections on Maurice Béjart's "Euphorias". But with this young dancer, point de vue du monde is not pushing into the foreground, does not become Leitmotiv. The 'last' Wigman student much rather enchants through moving pictures, hardly impeded by the paleness of thought. Her expressive dancing aims - in spite of basically real phenomena - more at dancing than expressing.
Her technical high form, magical fantasy and certainly also Mary Wigman's direct influence enable her to the embodiment of numbers different in character. So once she is an old ascetic, clothed in silvery fog through attire and light effects, whose halting movements evoke deep emotion, or a Little Bird Melancholy, exhaling its life in grotesquely angular leaps - and then radiates again in hearty naïve dances of vitality. Moreover she knows how to make use of skin-tight costume effects, and also she uses stage light effects as if she had been in the "business" for years.
That Judy Jarvis has to develop this and that further still lies in the nature of things. She will dance out her numbers longer, come away from movements close to the floor, striving upwards.
The always critical and quickly impatient audience at the "Schaubühne am Halleschen Ufer" this time spilled over with enthusiastic approval and demanded dacapi, accorded willingly by the radiant young dancer. One should soon give Judy Jarvis another opportunity to show herself to us.