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October 28, 1979 - Image 12

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Text
Publication:
The Michigan Daily, 1979-10-28
Note:
This is a tabloid page

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e.

Page 2-Sunday, October 28, 1979-The Michigan Daily

The Michigan Daily-Sunday

theater

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(Continued from Page 6?
production for the huge Power Center
stage. The recently built Student
Theater Arts Center (STAC), a squat,
institutional-looking building that stan-
ds in the shadow of Crisler Arena,
houses one large rehearsal room,
another about as big as Mendelssohn
Theatre's stage, shops for sets and
costumes, two piano rooms, an office, a,
lounge, and another room that, for
some reason, is currently being used as
sanctuary for some of the papers of
former President Ford.
Despite its bland white brick walls,
STAC has a pleasantly bustling at-
mosphere a few weeks before opening,
with actors in the lounge area engaged
in energetic chit-chat, Holab and-
Eyerly's sprightly chords rolling off the
piano in the large rehearsal room, and
the Soph Show choreographer shouting
instructions one room over. The dif-
ferences between preparation for In
The Dark and the usual tried and true
Musket musical are not vast, but some
are evident from both conversation
with the actors and the work of director
Kay Long. Long, a doctoral candidate'
in theater whose most recent produc-
tions were Summer Rep's Hay Fever
and last year's Showcase, People Are
Living There, seems to take the script
quite seriously - no Carousel, this.
While Louise Nowicki, an actress
connected with the show since June,
notes that the director is "never dic-
tatorial," Long has very definite
opinions concerning motivations,
delivery, and the like. She presses ac-
tors for their underlying thoughts line
after line. When Peter Slutsker, who
stars as the bumbling romantic lead,
reads a line with an ellipsis in the
script, Long insists on hearing the un-
spoken tail end of the thought.
Also typical of a director's treatment
of straight plays is the way Long han-
dles a scene concluding with the lead
couple in an embrace. She tells each of
the actors to decide for him/herself if
the offstage conclusion to the scene is a
consummation of the affair, but in-
structs each not to tell the other.
Jon Zimmerman plays the sinning
sibling to Nowicki's "loving sister."
The third-year voice major has some
solid experience in more established
shows, having played Tony in West Side
Story two years ago and the title role in

last season's Pippin. Zimmerman says
the most discomfiting thing about this
project is working with a script that's
always in limbo. Whereas a director
might be remiss to tamper with the
ungainliest lines in a Bernstein
musical, Zimmerman says that In The
Dark contains "a lot of things you want
to change because they're not set... .
There is no set script to fall back on."
But Zimmerman is happy with his
role. "The incest stuff is very good,"; he
says, "and very funny." The joke of the
sub-plot, he adds, is that the brother
and sister are at once incestuous and
"extremely chic:"
f eltrin: (/tots children spent their
tinter quilinig.
Laureate": hhut o'euwere w-ll-
Ibl'haretd and did toot fight-
Edw-in: Thi#er ne rer was morn loir'
Ihe'11""fi two siblinigs,
Both: W tlrin trer in this twcin
Ii'd ireirv night.
Edw'in: Its illegaL. sistor dar. and
fraught with danger, and discretion
is the piperic ti must pay -
Laur'tta: Wl1, it's nicr wtih a
brother than soi stranger, though
I touldgget in a rory f amily ruav.
If Kurtzman, Eyerly, and Holab have
pulled through their many-moon ordeal
with something approaching a measure
of sanity, it may be because of the wise-
cracking wit that seems to be the trio's
basic means of communication. When
it's pointed out that only Holab has con-
tributed none of the lyrics, Kurtzman
deadpans, "Well, Bill is only semi-
literate." Commenting on a low-budget,
experimental staging of the show last
July, several scenes of which audiences
sat through stone-facedly, Eyerly says,
"People do not laugh when they are
confused." The authors have since
made the more complicated sections of
the show a bit less obscure.
The main objective of the summer
try-out, in fact, was to gather direct
feedback from the professors, perfor-
mers and public who attended. The
playwrights made use of comments
from spectators such as Music School
Prof. William Bolcom. The response,
says Kurtzman, was "a breath of fresh
air" - what In The Dark really needed.
Eyerly calls the show "traditional" in
some respects, "but only if you call
Stephen Sondheim's ideas traditional."

Sundag

A CR OSTIC PUZZLE

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I I

. o - I admmbI

BY
S TEPHEN J
POZSGA I
Copyright 1977
INSTRUCTIONS
Guess the words defined at the
left and write them in over
their numbered dashes. Then,
transfer each letter to the cor-
responding numbered square
in the grid above. The letters
printed in the upper-right-hand
corners of the squares indi-
cate from what clue-word a
particular square's letter
comes from. The grid, when
filled in, should read as a
quotation from a published
work. The darkened squares
are the .spaces between words.
Some words may carry over
to the next line. Meanwhile,
the first letter of each guessed
word at the left, reading down,
forms an acrostic, giving the:
author's name an the title of
the work from which the quote
is extracted. As words and
phrases begin to form in the
grid, you can work back and
forth from clues to grid until
the puzzle is complete.
Answer to Last Week's
Puzzle
". the uniqueness
of scien'e deserves to he
defended. No other way
of knowing is based on a
set of rules explicitly de-
signed to transcend the
prior belief systems of
mutually antagonistic
... communities in Order.
to arrive at knowledge
that is equally probable
forany rational human
mind. "

In fact, Sondheim has broken a lot of
new ground, and the local trio of
authors are trying to follow in his foot-
steps. They point to the fact that none of
their songs could be cleanly lifted from
the script and performed in isolation
from the rest of the show.
If all goes well, Kurtaman, Holab, and
Eyerly will get a chance to find out first
hand what their idol thinks of their ef-
forts. They have submitted In The Dark
to a national competition, the winners

D
Scott Eyerly, William Holab, and Andy Kurtzman
dents who co-authored the musical "In the Hark."

nailer

of which v
with Sond
as well a
musical t
For the
will be ha
Nov. 16-1
Power Ce
chestra-i
and the a
to the I
Chicagoa

A. Titter; giggle (Var.)
8. Kind of stand (2 words)
C. Edward Abbey's Gong
(2 words)
D. Gravity-free condition
E. Rapacious; gaping
F. N.Y. city on Lake Erie
G. Marked by the presence
of agriculture
H. Mistaken: wrong
1. Flourish; prosper
J. See; wasp; ant

3 68 144 98 150 165
11 140 26 160 181 114 87 119
10 50 37 76 84 100 126 143 153 180 188 164
42 19 60 90 62 73 74 82 41 92 15 118
136 176
36 65 77 85 115 125 127 148 120 169 104
53 32 138 156 63 152 132 145 170 189
94 80 117 184 151
5 30 35 105 113 142 158 7159
9 111 172 187 22 179

K. Airplane emergency escape
escape means (2 words)
1. Carrying switch or stick
M. At full length (2 words)
N. TV razor blode cut
exclamation (Slang)
0. Thomas Tryon novel (2 words)
P. Domestic cat
Q. First U.S. astronaut in space
- A Story of All Time -Aleister
Crowley work
S. Undamaged; unwounded
T. Name of John Glenn's craft
(2 words)
U. Soneset

7 70 21 28 40 75' 93

106 137 14? 161 177

12 102 48 61 121 108
14 46,58 8 81 66 122 33 116
16 57 86 146 101 183
4 38 44 83 99 166 110 124 130 178 175-
17 52 1 171 31
20 91 155 128 173 186 69
34 47 6 24 79 95 89 72 135 154
29 13 18 39 96 78
129 27 49 55 67 103 123 149 112 133 162 167
174 185 182
141 23 168 45 56 159 109 134 163

(Continued from Page 3)
"The country is more and more in the
power grip of institutions that don't
represent the people's needs," Nader
told the crowd at the Michigan Theatre.
He emphasized that the corporate men-
tality must be exercised from our min-
ds before we can effect change. Most
people accept the existing power struc-
ture because they have never imagined
it any other way, says Nader. Com-
pliance with the corporate monopoly
has been ingrained in the American
people in much the same way as certain
sexist attitudes or patriotic loyalties.
This mentality, according to Nader, is
supressing the people's ability to speak
out against the corporations that are
"removing themselves from the fate of
the people.. . and getting more out of
control."
This desire, this sense of obligation,
to speak one's mind is Nader's bir-
thright. His parents, first-generation
Lebanese immigrants who settled in the
small town of Winsted, Connecticut, in-
- stilled in their four children an ap-
preciation of the Constitutional right to
freedom of speech. In his book Nader
and the Power of Everyman, journalist
Hays 'Gorey' relates 'a 'conversation

between young Ralph and his father
about the duty of Americans to say
what's on their minds. Ralph had come
home from school one day feeling
frustrated because he had become
tongue-tied when he wanted to correct

his teacher in a class discussion. His
father told him it is wrong not to take
advantage of Constitutional rights, and
that people who don't express their
opinions don't deserve to have any im-
pact on events. So from his childhood,

Nader wa
take on f
parent au
Nader
single-hai
consumer
problems
larger, m
all, Nader
foundatio:
system.
awarenes
urging his
in local,
Arbor are
approxim.
auto, 1
cooperati'
Nader
Washingt
besides tf
He is adv
current t
challengii
dorses no
specific p
dicated h
med prim
spurred c
5'

54 2 25 43

51 88 64 97 107 131 139 157

(Marvin) Harris
-. I' ' I' ~ ~ uIltulAl Mtrnigsji

a

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