Published: Tammy 16 April 1977 – 4 June 1977
Artist: Douglas Perry
Writer: Anne Digby
Translations/reprints: Girl annual 1982; Tina in 1980 as ‘Dans, Diana, Dans!’ and in 1984 reprinted in Tina Dubbeldik Superalbum 14.
In 1938, orphan Diana Watts dreams of becoming a ballerina and she idolises famous ballerina Diana Oberon. She has moved to London to get close to Oberon and whenever she sees Oberon it always seems like Oberon has always known her, though the two have never met. Oberon just seems to act like some spiritual guide and mentor to Watts, offering encouragement and help, no matter how hard things get. It certainly is hard: no money to pay for lessons or proper ballet gear; cribbing all she can from books; no space to practise except in the attic room she rents; no music; and scrimping to buy a gramophone.
Oberon lends her mysterious hand to help Watts get the gramophone, and some music to go with it. (Once the music is introduced the story keeps making a glaring error: it repeatedly says The Dance of the Dying Swan is in Swan Lake; it isn’t.) However, practising to music gets Watts evicted for being too noisy. Watts manages to find other accommodation, but it’s not very nice (basement room, rats). It’s more expensive – so less money for ballet lessons – and less room to practise. But after meeting Oberon, who says good things are going to happen to her, Watts feels encouraged again.
Soon after, Watts’ dingy new room looks better and she realises the basement area outside makes a ready stage for her to practise on once cleaned up. This gets her noticed by Mr and Mrs Hartley who own a ballet school. Upon seeing her talent they offer her private lessons, and don’t worry about fees. After this, Watts is convinced Oberon has strange powers and she arranged all this.
Watts strikes another problem at dance class: no ballet gear of her own and her ballet shoes are too tatty. But not for long: Oberon turns up in her mysterious manner with a bag full of everything Watts needs. Soon Watts’ ballet lessons are going so brilliantly that she is accepted by the London Company.
Suddenly Watts is shocked to find Oberon not appearing because she is indisposed. Then she has a horrible vision of horrible black hands reaching out for Oberon and realises it is a premonition. While rushing to Oberon’s house to warn her, Watts gets knocked down by a car.
Watts regains consciousness at a Swiss clinic and seems to hear her gramophone playing. Her legs are paralysed. Oberon appears, and tells Watts she has a destiny to fulfil, but is not specific on what that destiny is. Oberon puts Watts through a series of tests to get her to walk and eventually to dance again. Watts’ final test is to dance before an audience while every muscle in her body still gives pain. Oberon tells Watts to forget the pain and just dance for her audience. She does so, finding the music just seems to drive the pain away. The applause is thunderous and Watts tells Oberon she is cured.
Oberon tells Watts her destiny is to take her place as “Britain’s foremost ballerina”. She then says goodbye to Watts forever.
Watts regains consciousness in the hospital. She has been in a coma all the time and the Hartleys were playing the gramophone music in the hope it would wake her. The doctors are baffled as to how Watts, who was completely paralysed, has recovered, and is now dancing even better than before. It turns out that Oberon, who was taken ill, died at the precise moment Watts woke up from her coma. Watts vows to fulfil her destiny to carry on from Oberon as Britain’s leading ballerina, starting with the London Company.
This is quite a charming story. It is likeable and enjoyable to read. Nobody would call it average or boring. The writer remembers it fondly. We like the period setting, the hot chestnut job, the supernatural elements, struggling to dance in lousy accommodation, and Watts’ ultimate battle to overcome her paralysis and learn to dance again. We even like the touch of the mean landlady who offers Watts the basement area, which we suspect the landlady is overcharging for.
However, we feel that Watts does have it a bit too easy compared with other dancers in girls’ serials. Her story is not given enough episodes to really flesh things out or put more tribulations in her path. For example, we never see how Watts gets on at the London Company. And the obstacles Watts faces do not feel all that much of a threat. We get the impression they are only superficial and fleeting because they will be overcome the moment Oberon appears, which she always does.
Oberon acts too much like a deus ex machina who is always bailing Watts out of every fix she gets into. Yet it’s never in person. It’s always in a vision or appearing with dark glasses and a hood, like some fairy godmother. This also creates a bit of overdependence on Oberon. We are left wondering how Watts is going to cope now Oberon is dead and said her goodbyes. Is it here that her real tests of character will begin?
There is a real mystery as to how the power of Oberon over Watts actually works and it’s one of the most baffling in girls’ comics. Unlike the “Spirit of the Lake” she is not a ghost and is not dead (until the end of the story). There is no evidence of Oberon having actual powers. The two women are not related, nor are they twins. The only things they have in common are their love of ballet and having the same Christian name. Yet both women sense there is some sort of link between them and one is destined to follow on from the other. Perhaps everything can only be left to the readers’ imagination.