[Reprinted from Deseret News (Salt Lake City, Utah), Thursday, September 1, 1966]
By Robert Riley
Music Critic, Los Angeles Times
HOLLYWOOD — In the 50 years of its history, it is unlikely that Hollywood Bowl has ever been the scene of a more uniquely beautiful spectacle than “Festival Polynesia.”
On Wednesday evening an expectant audience of an estimated 14,000 persons in the enormous outdoor setting witnesses the colorful “Mainland Debut” of 175 dancers, singers, and instrumentalists from the Polynesian Cultural Center at Laie near Honolulu.
There were representatives form Tonga, Hawaii, Samoa, Maoris from New Zealand, Fiji, and Tahiti.
Sol Hurok, famous impresario long responsible for bringing to the United States many musical artists and dance organizations, recently saw a performance at the Cultural Center. He was so impressed that he arranged for the Polynesians to visit Los Angeles and Salt Lake City this year.
Next year there will be a 10-week tour of the United States, and a 12-week tour the following year.
It is easy to understand Hurok’s reaction, as well as the enthusiastic reports of others who have seen the performers in their own parts of the Pacific.
The handsome Islanders have brought to our part of the world a wholesomeness, friendliness and vitality so irresistibly captivating that at least this reviewer felt he had missed something vital in his experiences by not having lived in the Pacific islands.
Each group retains its own unmistakable identity and ethnic temperament. And yet the faces of every member of the troup radiated a happiness that united all into one joyous family. In fact, as I walked around during the intermission, I thought what a bunch of sour apples and sad sacks the rest of us looked like.
How invigorating to watch such unpretentious, straight forward people — particularly in an area like Hollywood where persons and motives are frequently not what they seem.
The purpose of the Polynesian Cultural Center, founded in 1921 by President David O. McKay of The Church of Jesus Christ of Latter-day Saints, who at that time was a member of the Council of the Twelve, is to preserve the native folklore of the inhabitants of the islands.
The enormous success of the venture thus far was vividly demonstrated at Hollywood Bowl last night where the audience responded wholeheartedly to the non-commercial artistry of the company.
It is reported that performances at the Cultural Center do not focus as much attention on youthful performers as does the present touring organization. Apparently, such emphasis is aimed at “Mainland” custom, for it is said that elderly persons in the islands are deeply loved and respected.
In any case, there are only some half-dozen elderly performers on the tour, including an agile and delightful lady of 75 who performs gracefully an ancient Samoan dance.
In their songs and dance the Polynesians depict such everyday happenings as fishing, playing games, preparation for war and competition among the men for the hand of a lovely maid in marriage. Throughout their dances, their movements are eloquent symbols of the realm of nature.
It is virtually impossible to single out for special mention the most memorable moment. Everything is notable inone way or another.
But for sheer excitement there is, for example, the Samoans’ “Dance of Fire,” signifying their courage as they seek to become the chosen husband of the chief’s daughter. They toss flaming torches about with breathtaking abandon, and even sit and roll about on beds of flames.
These are no little torches. One of them went astray in front of the mammoth Hollywood Bowl stage and it took six ushers to put out the flame!
As a singular moment of quiet beauty there is a solo Hawaiian hula performed by a girl in a white gown. She begs a bird, representing love, to return after it has flown away.
An eye-filling scene is the ceremonial dance given by a band of the most beautiful maidens from Tahiti around a Maypole strung with garlands of flowers in exhibition of the many varieties of blossoms from each of the islands.
In everything they do, the Polynesian Festival company demonstrates superb precision, compelling rhythmic impulse, subtle and meaningful hand gesture, and intricate movement of feet.
Their costumes range in myriad variations of deep blues, white, vivid oranges and flaming reds. Many-hued flowers are also a significant aspect of their ethnic language. The play of movement and color is too kaleidoscopic to be described adequately in words. It must be seen to be fully appreciated.
Whatever conventional or sophisticated elements there are lie in most of the arrangements of the songs, at least those which are not chants or primitive outbursts.
Polynesian melodies have been harmonized in the kind ofeveryday choral setting with which we are familiar — but it is tasteful and not syrupy. This one small ”bow” to musical tradition does not spoil matters in the least, however. It seemed onlyto make the singing more acceptable.
From its opening callfor the “Hau Tau” blown on sea shells, the “Chant of Welcome,” and the procession offered by the entire company to the finale which was also sung and finally shouted (and the shout was returned by the audience), “Festival Polynesia!” is bestowing for nights of never-to-be-forgotten gifts on Los Angeles.
There is no question in my mind that it will also bring joy to everyone fortunate enough to see and hear it in subsequent cities. I predict the Hollywood Bowl will be packed for the final performances on Friday and Saturday.
* * * *
[NOTES: Riley’s review contained several errors]:
And finally, from Hollywood, the Polynesian Cultural Center promo team traveled by railroad train to do six additional performances in Salt Lake City, Utah, and meet twice with President David O. McKay.
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