The Record from Hackensack, New Jersey • 39

-THE RECORD. TRIDAY, OCTOBER 17; 1986 (Dm Stafie 'Raggedy Ann': child's garden of bad dreams By Robert Feldberg Drama Critic i Cf 11 Jife "Jl A teL ft it i ji Mr. Gibson, meet Mr. Raposo. The introduction would seem to be necessary, since, from the evidence of the show, the two creators of "Raggedy Ann" aren't acquainted.

Joe Raposo, composer and lyricist, has provided an agreeable score dominated by perky, sentimental tunes that would not be out of place on "Sesame Street," whose musical director he was. They are apt for a story which, in outline, is aimed at the up-to-age-10 market A little girl named Marcella is very sick. When a heart is sewn on her Raggedy Ann, the doll comes to life, and takes Marcella on a journey to visit a doll doctor. Their companions are Raggedy Andy, a baby doll, a panda, and a blue camel. Raposo has been involved with the children's story since 1977, when he composed the score for the "Raggedy Ann and Andy" animated film.

At least one of the songs from the movie, the camel's sweetly affecting "Blue," is also in the show. William Gibson's book for the musical-, which opened last night on Broadway, is not cute or endearing. It can, in fact, supply an impressionable youngster with enough nightmares to last through puberty. Marcella's mother has deserted her husband and child, running off with another man because her family is a "rope around my neck." The father becomes an alcoholic. The doctors who treat Marcella are dressed as clowns, and agree she's going to die.

(Her pets, a canary and a dog, have predeceased her.) As Marcella and her companions journey across the country to see the doll doctor, they are pursued by General (for doom), the leader of the army of the dead. The hideous-looking general, who resembles one of the grotesques who rise from the grave in the movie "The Night of the Living Dead," at one point grabs the screaming Marcella by the arm to pull her toward death, where she will be his eternal consort. He also confronts her on the roof of a slaughterhouse, and there is an encounter in a forest whose trees are human skeletons. (The forest is where Marcella finds her now-deranged mother.) General D's associates are a bat and a wolf, the deathly incarnations of Marcella's canary and dog. Even when Marcella makes it to the doll doctor there's no relief, since for her to live, Raggedy Ann is sacrificed to General D.

Gibson makes "Macbeth" look like "Rebecca of Sunnybrook Farm." The fact that this is all revealed to be a dream does little to blot out the harrowing images. Gibson, author of "The Miracle Worker," is saying that it is healthier to confront the bogymen within us than to live in fear and ignorance. But not many kids are going to come away with that message, and few adults would appreciate its being delivered in a heavyhanded children's show. Director-choreographer Patricia Birch has supplied several brief, cheery dance numbers, and graceful stage movement. But she can't induce dramatic movement in the static, graceless story.

A few visual effects by designers Gerry Hariton and Vicki Baral such as a bed turned into a ship, which then bounces along the waves offer welcome distraction. Raposo's score, which provides the show's few charms, includes two lilting ragtime songs, "Gingham and Yarn" and "Rag Dolly," which should please adults as well as children. The actors, none of them well known, do BROADWAY Clockwise from top: Richard Ryder, Dick Decareau, Joe Barrett, Lisa Rieffel, and Ivy Austin in the Broadway musical "Raggedy Ann." RAGGEDY ANN: A musical, with book by William Gibson, music and Ivies by Joe Raposo. With Ivy Austin, Leo Burmester, Elizabeth Austin, Scott Schafer, Gall Benedict, Bob Morrisey, Lisa Rieffel, Gordon Weiss, Joel Aroeste, Mlchelan Sisli, Carolyn Marble, and others. Directed and choreographed by Patricia Birch.

Scenery by Gerry Hariton and vlckl Baral. Costumes by Carrie Robbins. Lighting by Marc B. Weiss. At the Nederlander Theater, 201 W.

41st (212) 921-1000. January, as part of a U.S.-Soviet cultural exchange. The Russians reportedly liked it, which may be scarier news than the failure of the Summit Conference. their jobs well, with Ivy Austin making a nicely pugnacious Raggedy Ann and Lisa Rieffel an attractive Marcella. This production was seen in Moscow in One for the uninitiated and the sophisticated By Joseph H.

Mazo Special to The Record Genius resides in precise details a red umbrella, yards of pink ribbon, a defile of chickens, simple classroom steps that can be elaborated into elegant chains of action. Frederick Ashton's "La Fille Mai Gardee" is a work of genius. It is a ballet that nobody, not the most naive school-child or the most sophisticated dance fan, can fail to enjoy. The child will delight in the antics of the eager Alain and of the Widow Simone, the romantic will luxuriate in the warmth of the final pas de deux, and the balletomane will marvel at Ashton's invention. that gives Ashton's "Fille" its inimitable charm and unique flavor.

The ballet's parallels with Beethoven's Sixth Symphony including the thunderstorm are, like so many other aspects of it, obvious only when they have been pointed out. One might also think of "La Fille" as the sunny obverse of a great work suggests a variety of metaphors. The Joffrey treats "La Fille" as it deserves to be treated, dancing with a full understanding of the ballet's charm. The appearance of Stanley Holden in his original role of the Widow Simone has doubtless been an inspiration to the dancers, and it certainly is a great treat for the audience. In the other major character role, Alain, Edward Stierle turns in a funny and touching performance.

Tina LeBlanc displays the strength of technique and the speed and precision of footwork required for the role of Lise, and she ices that technical cake with considerable mischievous charm. Last night, however, her dancing was not musical enough nor sufficiently clear in its phrasing to show the full dimensions of the choreography. David Palmer, as her suitor, Colas, developed his character strongly, but technically he did not have an outstanding night. His line was seldom sufficiently taut, for one thing. Partly because of its peasant dances and partly because of its story, "La Fille" remained popular and was rechoreo-graphed by Marius Petipa and Lev Ivanov (those wonderful folks who brought you "Swan in 1885.

In 1960, with the Royal Ballet enjoying one of its great periods, Ashton researched the original libretto and the original scores, borrowed a bit from this version and a smidgeon from that, and created an original, bucolic masterpiece, which he literally tied together with pink ribbon. The lovers, Lise and Colas, use the ribbon as a recognitions signal: They weave a cat's cradle with it, and, aided by the corps, they employ it in a wonderfully complex dance, sort of a living maypole. Even Alain, Lise's simple-minded suitor, is tied in, becoming a horse with a ribbon bridle pulling a carriage driven by Lise's friends. The ribbon dances are not the only set pieces in "La Fille." The Widow Simone, played by a man in the grand tradition of English pantomime, performs a brisk clog dance; Alain carries on a love affair with his red umbrella; the ensemble winds its way through harvest dances and cavorts in a stick dance; a rooster and his harem strut their stuff. Under literally under all these pleasures is a foundation of beautiful, elegant, brilliantly designed classical steps.

Ashton, being a gentleman, does not call attention to these inventions: One may notice them or not depending on one's knowledge of ballet Yet it is the blending of precise classical steps and a comedic, rustic convention DAKCE REVIEW "La Fille" was created for the Royal Ballet in 1960. Robert Joffrey, who knows a great thing when he sees it, has managed to acquire the work for his company, which gave its first New York performance of the ballet last night at City Center. The Joffrey Ballet is celebrating its 30th birthday, and "La Fille" is a wonderful present from the company to its audience. The original version of "La Fille Mai Gardee" was choreographed by Jean Dauberval and presented at Bordeaux in 1789. It was one of the first ballets to deal with everyday life: Its farmers are true country folk, not royalty in disguise.

Joseph H. Mazo Is the dance critic of Women's Wear Dally..