Page Two

THE MICHIGAN DAILY

Thursday, November 13, 1969

PageEwoTHEMICHGANDAIY Thrsdy, ovemer 3,196

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music


Lord Chamberlain
to meet 'Macbeth'
in Angell Hall foyer

On Thursday, Friday, and
Saturday, December 4, 5, and 6,
The Lord Chamberlain's Play-
ers will present a collage ver-
sion of Macbeth and A Game of
Chess, a new play written by a
member of the company. The
production is scheduled again
for the Ueker Theatre, in the
foyer of Angell H a 11. Curtain
time Is 8:00 p.m. Admission is
$1.00. Tickets will be on sale in
the Fish Bowl beginning Mon-
day, December 1.
The collage of Macbeth is an
adaptation by Charles Marow-
itz, done last spring for t h e
Open Space Theatre in London's
West E n d. In 1959 Marowitz
staged Lionel Abell's A Little
Something for the Maid, t h e
first exercise in theatrical dis-
continuity presented in England.
Later, after work on what is
called "the gear-changing exer-
cise" or "t h e transformation-
scene," Marowitz created a
Hamlet collage, which premier-
ed at t h e Theatre of Cruelty
Season at Lamda, directed by
Marowitz and Peter Brook. The
Hamlet collage later toured Ger-
many and Italy, and was var-
iously performed in the United
States. In 1966, Marowitz creat-
ed a collage of Marlowe's Doc-
tor Faustus which was present-
ed at t h e Glasgow, Scotland,
Citizens' Theatre, and at the
Folk-Theatre in Goteberg, Swe-
den.
The Macbeth is scheduled for
an off-Broadway production in
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New York next year. The Lord
Chamberlain's Players present
the American premier of this
exciting play for the Ann Arbor-
University o f Michigan audi-
ence. Betsey Smith directs this
production, assisted by Larry
Glover. Glover plays Macbeth,
Winnie Beasley plays Lady Mac-
beth, and Lin Kaatz, Cassandra
Medley, and Michael Jones ap-
pear as the witches.
The company will also pre-
sent, as a curtain-raiser, a short
play by Bert Hornback, called
A Game of Chess.
In the past three years The
L o r d Chamberlain's Players
h a v e presented Oscar Wilde's
Salome, Lord Byron's Manfred,
Henry Fielding's Tom Thumb,
and (as The Wierd Sisters) Bar-
bara Garson's MacBird. The
company plans a ninteenth cen-
tury melodrama for next Feb-
ruary, in conjunction with the
University of Michigan Creative
Arts Festival.
The LordChamberlain's Play-
ers is a company of University
students and faculty. The cen-
sor of the group is Hornback;
Thomas Garbaty is censor dep-
utatus.

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Prague Chamber Orchestra:

If it's Monday it must

be...

By R. A. PERRY
When the Osipov Balalaika
Orchestra, which will be per-
forming in Hill Aud. tonight,
finish their North American
tour, they will have given fifty-
one concerts in a time span of
only two months. An elderly
oboeist of the Santa Cecilia Or-
chestra of Rome, which per-
formed here last month, con-
fessed to not knowing w h a t
town he was in. Indeed, the life
of a touring troupe is hectic
and tiring, and one can hardly
expect every performance to
be vital and to capture the
players' imagination. Perhaps
the long hours and the past re-
petitious performances were at
fault in the Prague Chamber
Orchestra's tedious concert on
Monday night at Rackham Aud.
The Prague Chamber Orches-
tra is one of the few ensembles
in the world which plays a con-
ductor, although such famed
maestros as Vaclav Talich once
had a hand in coaching t h e
group. The Socialist inspiration
of the vacant podium - where
no one commands but each mu-
sician shares in the decision-
making processes - creates two
problems,
The second in a series of four
Composers Forum concerts pre-
sented by the University of
Michigan composition depart-
ment will be given at 8 pm.
Nov. 17 ' in Recital Hall of the
School of Music on North Cam-
pus.
The concert will be open to
the public free of charge.
On the program will be works
by Richard Manderville, William
Hamilton, Thomas Clark, Rus-
sell Peck, Burton Beerman, Joan
Harkness, Stefan Ehrenkreutz,
and Kurt Carpenter.

The first, the problem of dis-
cipline and ensemble cohesion,
the Prague group solve fairly
well. They evinced unity of
phrasing and timing, though
not as remarkably so as their
reputation suggests. If, how-
ever, they achieve a regimen of
discipline -- where members
must be super-alert, having no
metronomic baton to fall back
upon - they do so at the ex-
pense of a certain plastic flex-
ibility, the responsibility f o r
which a conductor normally as-
sumes.
This flaw produces the se-
cond problem, that of style.
Ideally, members confer on
stylistic questions, but it would
appear that in practice the ma-
jority of mental effort goes to-
ward maintaining ensemble co-
hesion alone. Consequently, the
Prague Chamber Orchestra,
having no one to impose stylistic
decisions, made non, and they
rendered works by J. C. Bach,
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Haydn, Beethoven, and Vorisek
in a manner that can only be
called unimaginative and insip-
id.
In Haydn's Symphony No.
96 ("Miracle"), for instance, no
real dynamic tension, no drive,
no momentum, no spine was
evident. No emphasis within
phrases was given -- just loud
or soft, fast or slow. Although a
beautifully sweet oboe solo perk-
ed up the Finale, the symphony
lacked any real glimmer of
style; the performance can aas
close to resembling a v i t a 1
Beecham or Leslie Jones per-
formances as a Madame Tus-

saud wax figure resembles the
living model.
Briefly put, then, the con-
cart was mildly pleasant in a
solemn, soporific way. G. B.
Shaw once described his exper-
ience at a no doubt similar con-
cert: "I though over my past
life exhaustively, and elaborated
several plans for the future.
Finally, I had a long and delic-
ious sleep."

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November 21, 22, 24, and 25
8:00 P.M.

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