Page Two THE MICHIGAN DAILY Wednesday, October 22, 1969 Poge Two THE MICHIGAN DAILY Wednesday, October 22, 1969 theatre- Turnover in Ne w York: The -A IOWAL O6£NERAL CORtPORATION _ =OX EASTERN THEATR FOXVILLB6E 375 No. MAPLE PD,. 7694300 HURRY-ENDS SOON Mion. -Fri.-7 :20-9:30 Sat. & Sun.-1 :00-3:05-5:10-7:20-9:30 new season By DEBORAH LINDERMAN The beginning of the theater season in New York is turnover time. Most of the big new pro- ductions are in preview at this time, which means no critics al- lowed. Thus making opportun- ity of necessity, I visited t w o plays soon to close. Just about last chance were Jules Feiffer's Little Murders, and The Con- cept, originally an improvised psychodrama by ex-heroine ad- dicts about themselves and now become a set piece. I also went to two plays about blacks (black theater is way in), one an off- Broadway opening called The Ofay Watcher, and another that was done last winter by the Negro Ensemble Company and now has a new cast, Ceremonies in Dark Old Men. The most interesting of these was The Concept, mainly be- cause none of its cast are actors and what happens on stage has really happened to them in life. Although it starts out stiltedly with a montage of little scenes in which each performer cries out, does something approach- ing mime and then freezes, it quickly becomes remarkably honest and stays that way. It is notable for authenticity rather than talent. In line with this honesty, the stage is bare. There are no props or set - the cast sit on painted crates and change these around to indicate time and scene changes. Most of the play consists of encounter sessions in which each member of the group-cast "acts out" himself for the others. What comes out of this is what you would ex- pect: lives of loneliness, despar- ation and confusion; talk of prisons, the streets, old wounds: but also a lot of joking and comraderie. Such as there is a plot, it is "about" a newcomer to Daytop Village (a live-in work con- mune on Staten Island for the "cure and rehabilitation" of drug addicts) and his initiation into the life of the place. This initiation includes learning to take it and dish it out, and chiefly to drop the mask. The philosophy at Daytop is that each finds himself by find- ing a mirror in others. T h u s "coming out sideways" (evas- iveness) or "throwing out a bone" (superficiality) don't go over. Nobody gets away with anything for they all assume the obligation to label each other's maneuvers. There are dramatic comings-together of separate members of the group and also an excellent team spirit. The play ends with a scene in which three of the cast, including the initiate, are goaded by the oth- ers to make their anguish known so it can be felt. T h i s takes the form of each one screaming out with all stops pulled the universal secret ques- tion, Will you love me? The result on stage is the sound of slicer human need. It may sound corny but it isn't. These people have been ex- treme in their lives, and ex- treme with each other. They don't go for phony honesty, and thus social honesty becomes automatic. At the end of the play, they all come down ask- ing members of the audience the same question that they have been shrieking at e a c h other. And such is the mood they have established, audience participation seems natural and inevitable, not an avant garde trick. The performers then climb back on stage, line up their crates and sit and talk with the audience. When they have fin- ished and the final applause comes, they quite neatly stand up and return it. The move is courteous, but anyone who h a s studied his Genet, his Marat- Sade, or his play within the play knows what it may mean. Little Murders is a satire of the middle class (the applaud- ing people in the audience) and its latent visciousness. There is a mother, a father, a daughter and her financee, and a son. The little murders are the things that they do to each other while the big murders are going on outside. The little mur- ders are covert and psycholo- gical, the big murdens are plain as monoliths. All the action of the play is punctuated by threats: gun shots, the sound of sirens, pow- er failures, and anonymous phone calls from someone who just breaths across the wire. The family, however, are too at- tentive to their own idiocies to notice much of this and t h e y simply move on down their own groove. Alan Arkin, who has directed it, has managed to find a style for his actors that is as eccentric as Feiffet's best car- toons. They all become carica- tures simply in the way that they stand, walk and talk. The father roars about every- thing, the mother never stops smiling - as things get more and more crazy she keeps say- ing how much she likes having her family together. The ram- bunctious daughter Patsy has found herself a man who's tough enough for her ("the first man I ever went to bed with that I wasn't afraid of getting pregnant"). The man, Alfred, speaks in a monotone, can't feel anything, and wears bandaids on his face because he keeps get- ting into street fights. They are married by an ethical culture minister who equivocates t h e conventions of the ceremony and the middle class to pieces: "Do you promise to love (what- ever that means), honor (dis- honor can be honor) . . ." etc. The son, Kenneth hardly speaks, but cracks up laughing every ten minutes, and his face going in all directions has on it the pure distilled essence of hys- ter.ia. Near the end the daughter is killed by a sniper shooting into her living room. This the family notices, and a scene later they all begin taking pot shots onto the street, cheering in unison at a hit. The point is that b i g murders out of little ones do grow. I have never thought that Feif- fer's satire cuts as deep as it is purported to do. This play shows his unique ear for banal talk, and has an amusing 1-D flat- ness. But though it has some very funny aspects, it still seems to run on and on without de- veloping any tension or ur- gency. This plus the fact that the caricatures are there fully before you in the 3-D flesh - which, if they are to work as caricatures ,they cannot be - makes me think that the piece will come off better as the film that is soon to be made of it. It is too bad that a thing so pure and urgent as black re- cognition has to find its way as an issue into mediocre dramas, but this seems the situation now. Probably the first p 1 a y about blacks that was for our time was Jean Genet's, right at the beginning of the sixties. There have been some g o o d ones since then, of course, and there is a very good one in New York now called No Place to be Somebody, which I liked very much for being trenchant. There are people of all colors in it, and nll color psychologies, and they -e interesting both as people ar as color psychologies. But color consciousness af- fects us profoundly, and it is unfortunate that the idea of it has become chic among play- wrights. I think this chicness is all that carries The Ofay Watcher. People are receiving the production well, however, which goes to show how topical- ity can pass for art. The story is about a white man, Terry Kiser, who has de- vised a chemical that will turn blacks white (also mice and goldfish, therefore to be heavily used as symbols) if it is taken every day. It is also about the two blacks, one his girl friend, Daisy, and one a street bum, Ru- fus, whom he seduces in appro- priate ways to serve as his guinea pigs. Whitening is his solution to the color problem, and he is well-meaning if etho- centric. Rufus says, why not turn everyone black. Anyway some rather obvious color symbolisms and color psy- chology develop around t h i s fantastic new possibility: Terry Kiser is "pure" white, his g i r 1 friend, who can hardly wait for him to perfect his stuff so she can use it, and whose Afro hair- do is only a wig, is a black whitey. Rufus, who goes along with it until he can get revenge for being denied as himself, is all black. Turns out that Rufus, whom Terry the ofay watcher bribes off a park bench, is the friend of another guinea pig that had gotten out before going white. He is only posing as a bum so he can retaliate for them both -no, all. To sneak around his true'identity, which is n e v e r revealed, he continually does a put-on and jovially but malic- iously acts the stereotype by rolling his eyes, chomping on his food, and moving as if his body had no joints. When Daisy challenges him with a "who are you", he pulls a knife. He scorns her, of course, for selling out on her race. T h e playwright has tried to devel- op something tricky and subtle between them in the way of sexual inuendo and color dupli- city, but it all seems quite shallow. At the end, what h a s started out as a preposterous satiric fantasy turns into melo- drama when Rufus wreaks his very real retaliation. Some crit- ics have found this sea change hard to take, as did I. But I am bothered less by it for itself, than as the giveaway symptom of a play faultily put together to exploit issues. The actors are all quite good, especially Cleav- on Little as Rufus. Another piece of modishness is the title itself of Ceremonies in Dark Old Men, which is at- tractive but irrelevant to t h e play. There is only one dark old man in question, and even tak- en as a metaphor the word ceremony doesn't much apply to the rather violent divestment of the dark old man's youth. The play, however, is at least not built on issues alone for it runs a little deeper, and has a cur- ious old-fashionedness to it that comes partly from the character of the dark old man. He is Mr. Russell B. Parker (played old-fashionedly by Richard Ward), and he main- tains the pretense of a barber shop in the front room of his Harlem flat. In truth, he and his two sons, Theopolis and Baby, are maintained by h i s daughter Adele, the only one in the family who has a job and can face the white world. Park- er is a has-been vaudeville dancer, Theo a drop out who paints, and Babby does some light shoplifting. Crisis is pre- cipitated when Adele refuses to "support three grown men" and die, as her mother had, doing it. Theo is persuaded by a rack- eteer named Blue Haven to brew corn liquor and start a home distillery. Since this means the family joining Blue's network of illegal enterprises, called t h e Harlem Decolonization Associa- tion and formed to drive out "you-know-who," Theo has to persuade his father. His father has been bred up tap-dancing and Bible reading, and doesn't know who "you-know-who" means. He is persuaded, h o w - ever, and the whole family em- barks on a crooked adventure that takes them through pros- perity to disaster. The rationale for this em- barkation is that from many angles - social, economic, per- sonal,,racial - they couldn't do otherwise, and this necessity is dramatized with fullness a n d poignancy. However, I thought the play too sprawling. It is almost novelistic in its coverage of society and of life stories- too many life stories, too much of what society does to too many people. The freshest and strong- est thing about the play is the generation gap among blacks, but the motiff is well-dissipat- ed by everything else (some kissing talent ought to zero in on it). Carl Lee as Blue is a formidable figure, taut with con- strained anger, and Antonio Fargas as Theopolus is lbng, jaunty and sad. Robert Clark, University of Michigan associate professor of music, will play a program of works from Johann Sebastian Bach's "Kavierubung," Part III, at 8 p.m. Sunday, Oct. 26, on the Hill Auditorium ,organ. The concert will be open to the public free of charge. CINEMA Thurs.-Fri., Oct. 23 & 24 L'ATLANTE dir. JEAN VIGO (1934) * Vigo made a film in 1933 called "Zero for Conduct" about kids tok- ing over their school and if "L'ATLANTE" is as good, then we've got 'a hot one. "Don't believe everything you read."'- Ernie Banks 7 & 9 ARCHITECTURE 662-8871 AUDITORIUM . . .._ , .% '"}'.} ti r}: r .vv "5i: {; '":. , .... .. xi:..... }... .. } v:- . ,:f r :rr}:" r: r : v.}?}:: :x? -m m * y f "}. }}". :. : i: ..r ...; ; .. v:..,} :".^:: r.".v^::: r:::. :: ".........., rr. : sr: r.".v{...v.:".^. rvrv.vr....v. a tiv::::"}:: }}:"}:{": ...:.". s.".v ...v .. x .v.v....{4. x.+ rs. }}}: r}.t} :v: ...m ''} 0{4?"}}'.{{k::i"}}' rrik ", ,' {:"}.?{4{.:C""v:.rv: }: r:: ":..:"::"::. DAlI Y OFFICIAL RII I FTIN I For Information: 8-6416 w r- Lr -m w& U U r* Vw%/ m bw u * * ' TODAY AT 1,3,5,7.9P.M. "The best picture about vouno people I have seen."-ABC TV The Daily Official Bulletin is an official publication of The Univer- sity of Michigan. Notices should be sent in TYPEWRITTEN form to 38 .5LSA before ? p.m. of the day preceding publication and by ? p.m. Friday for Saturday and Sun- lay. Items may appear only once. Student organization notices a r e not accepted for publication. For information, phone 764-9270. WEIDNEFS DAY, O CTOBER '?2 n Day Calendar Anatomy Seminar: James McElhanV Highway Safety Res. Inst., "Piezo Elec- rcity and Bone Growth"; 4804 Med. ('fence TI, 1:00 pa.. Statistics Seminar: Prof. Michael Woodroofe, "On the First Time Sn- C, n"; 435 Mason Hall, 4:00 pm. Botany Seminar: Dr. Daniel o kin, Yale. "Computer Simulation of Tree Growth in the Hubbard Brook Forest, New Hampshire"; Botanical Gardens, 4:10 p.m. Department of Speech (Student Lab Theater) - What Happened by Ger- trucle Stein: Arena Theater, Frieze, 4:10 p.m. Zoology Seminar: Prof. Robert K. Josephson, Dept. of Biol., Case Western Reserve, "High Frequency Muscles Used in .Singing by a Katydid"; 1400 Chem.. 4:10 p.m. School of Music Lecture on B l a c k Composers: Natalie Hinderas, Lecturer, Temple University: Rackham Amphi- theater, 6:00 p.m. Computer Lecture: Brice Carnahan. Professor of Chemical Engineering and Biostatistics. "Running Time --- Shar- ed Jobs in MTS": Natural Science Aud- ito~ritin, 7:30 Il). (on emporary Festi val:Will amAl- ORGA'NIZATION NOTICES 1969-1970 Festival of Contemporary Music, Oct. 22, 8:00 pm, Rackham Lee- ture Hall; Works by Berg, Castiglioni, Kurtz, and Stravinsky. * v * * CM College Repubiicans meeting, 'rhurs., Oct. 23, 7:30 p.m., 3KLMN. Un- ion. Black Graduates and Professional Students Mass Meeting, Oct. 22, 1969 at 7:30 p.m., Union Assembly Hall. lVednesday Luncheon sponsored by the International Students Association.1 Every week, at 12:00 Noon at the M. Pound House (corner E. Univ. & Hill, across from East Quad). bright, piano: Joseph Banowetz, piano : and Angel Reyes, violin: Rackham Lec- . ture Hall, 8:00 p.m.4 (;Yeneral Notices Regents' Meeting: November 20 and 21. Communications for considerationE, at this meeting must be in the Presi- dent's hands no later than November 6. Student Relations Committee: Thurs- day, October 23, 1969, 10-12 noon. SAB Bldg., Council Room. 1. Consideration1 of the minutes of September 22 andI October 13, 1969. 2. Use of Student Fees for Funding. 3. Report of the COOP Cpmnit tee. A representative from the Indiana University School of Law will be in the Jr-Sr Counseling office, 1223 Angell Hall to talk with interested students. Please call 40312 for appointments. Placement Service GENERAl. DIVISION 3200 SAIl Announcement: Foreign Service offi- cer careers test application is due Oct. 24. Test on Dec. 6, only one given this academic year. As a graduation date approaches only a few positions will be listed in this column, some current openings for new graduates and jobs in S.E. Mich. Come in to browse through books of all openings: Branch of The University of Michi- gan: New Careers Coordinator: r e - quires bckrnd in community organi- zation. supervision in research, d ev, psych, soc etc, social organization skills, nin. BA. Exper min. 3 years 'In admin. with schools or human organizations, exper with university level staffs, com- Smunications skills, exper working with low socio-economic levels of society. Emonrtt.,,t1,Wolf presents AN AtlIE D ARTISTS FILM A Fhonk Perry Alsid Prod,,c'ionEA T U N O "Go see 'Putney Swope.' A pacesetter with outrageous wit, courageous creativity, guts and intelligence. Tells it like its never been told before." -Judith Crist, N.B.C. "It is funny, sophomoric, brilliant, obscene, disjointed, marvelous, unin- tellible and relevant. If anybody tries to improve it, he should be sen- BACH CLUB presents WAYNE LINDER speaking on "PROBLEMS IN PERFORMANCE PRACTICE IN BACH'S CANTATA 152" Refreshments and FUN! Everyone Welcome No musical knowledge needed. For further information call 761-8356; 663-2827; 665-6806 ANN ARBOR FESTIVAL OF MOVEMENT FILMS From October 21st thru 23rd, Ann Arbor Resistance is sponsoring the Ann Arbor Festival of Movement Films . . . the largest collection of revolutionary films ever shown in Michigan. Nearly all of the more than 35 films produced by NEWSREEL in the last two years, and more than a score of foreign films im- ported from fraternal organizations are being shown. These films are being screened in thematic groups and each group is being accompanied by a workshop. TONIGHT ANGELL-AUDITORIUM B-C 8-12 ADMISSION $1.50 AUDITORIUM B DOMESTIC IMPERIALISM and WOMEN'S LIBERATION--Every- body seems to agree that there are a lot of things about America that have to be changed. But how? Is peaceful reform "within the system" possible and desirable, or will the American people have to seize political and economic power to make ,it serve our needs? The first group of films toys the documentary foundation for the argument that liberal, institutional reform-peaceful, piece-meal approaches to complexly inter-related SYSTEMIC contradictions -is not merely ineffectual, but actually counter-productive to chance in the interests of the people. The second group of films covers national actions by women and their increasina under- standina of their oppression as a sex, and offers the socialist alternative of full and eual participation in society. FILMS TROUBLEMAKER--Film of Newark Community Union Project- year before riots. 6th STREET MEAT CLUB- Domestic Pacification programs fails in meat coop. COMMUNITY CONTROL-struggle in Black and Puerto Rican communities in N.Y. HOSPITAL--corporate medicine vs. the people. WILMINGTON-Analysis of a company town-Dupont Cor- porate control. LINCOLN CENTER-Urban renewal destroys a neighborhood. JEANETTE RANKIN BRIGADE-10,000 women lead anti-war demonstration. UP AGAINST THE WALL, MISS AMERICA--Atlantic City won't forget this contest!. DAY OF PLANE HUNTERS--men care for children while women form and shoot guns. -SIMULTANEOUSLY- AUDITORIUM C STRATEGIES OF THE STUDENT MOVEMENT-The largest mass base of the movement is on the campuses, our greatest strength and limitation. Narrowness of student demands and isolation of student strugales prejudices the chances for winning even "stu- dent-power" demands, and effectively precludes maior chances like ending the draft and America's pivotal student strugales and strategies, and provides a documentary basis for discussion of the issues. INTERNATIONAL STUDENT MOVEMENT-This group of films covers maior revolutionary actions by students in alliance with working people, and examines the relation between student acti- vists from an advanced industrial country and the struale to build socialism in the Third World. CUBAN TEACHERS, CUBAN STUDENTS-This group of films sets forth the socialist alternative to education in an imperialist society, in a Third World context. FILMS tenced." -N.Y. Times J "EXQUISITE DELICIOUS COMEDY!" Detroit News "LIKE CHAMPAGNE BUBBLES!" Ann Arbor News "'Putnel Swope' is a string, zinging, swinging sock-it-to-them doozey. It is going to take off and be one of the most talked about flicks in recent times. By all means I suggest, hell, I damn well insist you see 'Putney Swope' and be prepared for the nuttiest, wildest, grooviest shock treat- TONIGHT AT 8:00 ment. Will leave you helpless with laughter." -Westinghouse Radio OCTOBER 14-26 , a: > r , ' "'Putney Swope' is attracting crowds day and night in New York that are exceeded only by the fans of 'l Am Curious (Yellow).' But Downey's trump card isn't sex, it's his refusal to honor the taboos that Hollywood fastidiously obeys." -Newsweek "It's all, as 'Mad Comics' would have it, 'humor in the jugular vein.' It has the raucous truth of a cry from the balcony or the bleachers. There's vigor in this vulgarity. 'Putney Swope' is a kind of 'Laugh-in' for adults." -Richard Schnickel, Life Magazine TAMMY GRIMES BRIAN BEDFORD NOEL COWARD 'S Up Macisrn Ave on p cue GVW4 I- t "