THE MICHIGAN DAILY ,Sunday, October 25, 1970 THE MICHIGAN DAILY Sunday, October 25, 1970 music Sha-wNa-Na play i t again DIAL 8-6416 TWO CLASSICS HOLD OVER!. By LAURIE HARRIS Over 3,500 screaming post- teenagers pressed their way to the front of the Crisler Arena last night to touch and bop around with the Sha-Na-Na in UAC's Homecoming concert. Girls fainted and even some guys flipped out as Sha-Na-Na revived the roots of the present musical scene-good, old Rock land Roll. It was bobby socks, greased hair and too-tight pants that helped make the evening so happy. Sha-Na-Na are twelve guys who can make everybody happy and happily they writhed and sang and pranced their way through musical history. Starting way back at the heart of Rock and Roll with 'Silhouettes,' first done by The Rays, and then working through all the old 'do-ah diddies' and 'be bops' that made that era nonsensical and meaningful. Remember 'Teen Angel' with all its sappy, heart-throb lyrics? Think of it slowed down to an almost tedious pace, with eleven guys weeping and dancing pat- terns around the lead singer as he falls to his knees in utter agony over the loss of his girl. Or 'Chantilly Lace' with Jocko howling and moving his ass vivaciously all over the stage. Not fresh from The Big Bopper in 1958 and not moldy either. And Scott, dressed in gold lamee right down to the boots, with a sexily bared chest writh- ing from microphone to micro- phone in the best Elvis Presley fashion. , Then there is John, over six 'feet tall and under two feet around, baring his 'muscle-bul- ging' arms to the audience, burp- ing sporadically, and singing in- to the melodious depths of 'Blue Moon'. Three dancers, all in shining gold, bent and swayed their bodies, augmenting the har- monious backdrop of black and striped T-shirts. And so it went, one oldy-but- goody right after another, each spurring the audience on to hearing the next. Each with twelve guys partaking somehow, either by dancing, singing or playing instruments. Each with an audience that willingly ante- dates the present, getting more and more energized by the glori- ous memories of the past-melo- drama, cracking voices, sexily weaving bodies and one guy throwing himself to the stage in a stoned stupor, subservient, as the rest of us, to the Sha- Na-Na calling them back for four Jitter-Bugging, hand clap- ping encores. The lights dimmed, the music came to a rolling, beating cli- max and halted and the stage was dark leaving an exhilarat- ed-now-bobby-s o x e d-audience still stomping for more. And Ten By DANIEL ZWERDLING to everyo Some entrepreneur in the sky plodding have end shuffled some Chicago, some patyu Blood Sweat and Tears and a part you female singer in the Janis Joplin tic techn tradition and presto: Ten Wheel make it it Drive. With two albums all their as well.T own out on the market, there's died: th no reason why this group shouldn't stick around the big anger concerts. Its three virtuosoa trumpets, trombone and sax- composer clarinetist play every bit as well And fir as the Chicago and BS&T brass, stand on maybe better. singer, b This "new California sound," ensemble as the posters bill the band, isn't arrangem so much a truly new sound as stage flex it is a successful blend of some the instr well-established musical tradi- them, to tions of the past two years. jam and Blood Sweat and Tears proved disc. Th Sweat an complish 4 KEN RUSSELL'S film of Do He LA RENCE'S COLOR by Deluxe Unfted Artis *F and * THE ACADEMY AWARD WINNER! "BEST PICTURE"I V Mt, - COMING - BERGMAN'S "PASSION OF ANNA", -Daily-Jim Judkis Wheels roll I, t c IZ ne that the days of the or screeching brass ded; to hack a brass ve got to play a fantas- ical horn which would m classical or jazz music The stand-by thirds and harmonics have also e band needs an ar- ho has studied Hinde- ld other contemporary rs. fnally, the band doesn't a star-it has a lead ut thrives on a close\ playing from careful nents, but with complete xibility to give breaks to umentalists who want sound sometimes like a not a studio dubbed at's something Blood nd Tears has never ac- ed. belts out a song, like 'I'm a Wantj Ad' or 'Stay With Me,' she scarcely moves her body, under- stating the tension and drive oft the drum and brass beats. Ten Wheel Drive's only mis- fortune (which the band fought and overcame admirably): it was scheduled to follow Sha- Na-Na. At Woodstock Sha-Na- Na came before a guitarist named Jimi Hendrix, who didn't need to win back the audience's affections. When Ten Wheel Drive came on the stage the crowd gave it a cordial if some- what aloof reception. This band really had to prove itself. By the end of the concert, the en- tire coliseum was stomping on its feet and refusing to let the1 California group go. The Michigan Daily, edited and man- agec. by students at the University of Micnigan. News phone: 764-0552. Second UL1ass postage paid at Ann Arbor, Mich- gan, 420 Maynard St., Ann Arbor, Michigan 48104. Published daily Tues- day through Sunday morning Univer- ity year. Subscription rates: $10 by carrier. $10 by mai Summer Session published Tuesday through Saturday morning. Subscrip- tion rates: $5. by carrier, $5 by mall., II! BOOK SALE, EVERYTHING IN STORE REDUCED 20% OFF LIST ON NEW 50% OFF LIST ON USED Come in and browse. Get required books for the rest of the term SALE CONTINUES STUDGNT 00K SGRVIC 1215 S. UNIVERSITY ^c 0, -Daily-Terry McCarthy orne Symphony: Odd assortment By A. R. KEILER Last night the concert given by the Melbourne Symphony Orchestra and its new perma- nent conductor Willem Van Ot- terloo was in commemoration of the 25th anniversary of the United Nations. Perhaps that is the reason for the odd assort- ment of works that made up the first part of the program. We heard first the Sun Music by the young Australian composer Peter Sculthorpe, the f o u r movements which make up up Franek's Psyche, Verdi's Hymn of the Nations, and fin- ally Beethoven's F i f t h Sym- phony. The first half of the concert left one, at least this reviewer, with the unsettling impression that !each of the works was something left over from i t s own concert. The choice w a s apparently dictated by the com- memorative occasion of the concert. It could not have been in response to musical consist- ency. But the real point was not to find some better programma- tic representation of the event but to realize that to print the word (in this case commemora- tive) is to do the deed. It's what the philosophers like to call the question of performatives, and for concerts, works much better than the music. Sculthorpe's piece is subtitled "Anniversary Music." There was nothing very anniversary about it, except its commission, and nothing really distinguished about it, save its genuineness and lack of rhetoric. It reflect- ed the composer's interest in' Oriental music, but I don't think this was enough to sustain the piece. Verdi's Hymn of the Na- tion closed the first part of the program. It is a ten minute piece utterly devoid of the slightest musical worth, and in addition, requires a small chorus and tenor as accomplices. The piece was written for the London Ex- hibition of 1862, for which it was accepted but never performed. It is composed, in about e q u a 1 parts, of sentimentality, patriot- ism, and an almost pathological over-indulgence for national anthems. In spite of all of this John McCollum, the tenor solo- ist, sang beautifully. Franck's symphonic poem Psyche is rarely performed in its entirety, the last movement Psyche and Eros being the most familiar. It is a very uneven piece, without much direction or form until Psyche finally meets up with Eros toward the end of the work. It has some of the translucence and refinement of texture which is special to the musical vocab- ulary of Franck, but it is short on the long-arched melodic in- spiration that one finds, for example, in his D Minor Sym- phony. Van Otterloo's approach was one of transparency and un- derstatement, rather than pas- sion or real involvement. The virtues of his reading of Beethoven's Fifth Symphony were largely negative. He avoid- ed most of the exaggerations and cliches in the first move- ment of the work, except for the inevitable and unwarranted poco allargando on the first repeat of the four note motive which opens the movement. For the rest, the performance unfolded more as a delineation of the rhythmic propulsion of the score than as a study in color and sonority. It was a complacent delineation at best. There was, on the whole, too little personal involvement or profile in Van Otterloo's conducting. He takes convincing tempos, p h r a s e s musically, and analyzes a work correctly, but there is no tem- perament or individuality. He conducts as if he is contend to remind his musicians how the pieces should go, instead of bringing them alive. He seemed to get going in the last move- The singer in Ten Wheel Drive rasps and shouts and coos like the late Janis (one song sounded remarkably like Jop- lin's Kosmic Blues album) She doesn't have the electrifying stage presence of her mentor (mentress), nor the stupefying vocal and emotional control, and exposure she should make a name for herself. When she "'l CTCH 22' ISTHE MOST MOVING1THE MOST INTELLI- GENT9THE MOST HUMANE -OHTO HELL WITH IT!P IT'S THE BEST AMERICAN FILM I'VE SEEN THIS YEAR"'-VINCT CANBY. I " l Iu N Y T ME "IT'S ONE HELL OF A FILM! A COLD, SAVAGE AND CHILLING COMEDY! Firmly establishes Nichols' place in the front rank of American directors." I -Bruce W~ilimson, PLAYBOY "Viewing Arkin is like watching Lew Alcindor sink baskets or Bobby Fischer play chess. A virtuoso, player entering his richest period! A triumphant performance!" -TIME MAGAZINE " 'CATCH-22' says many things that need to be said again and again! Alan Arkin's perform- ance as Yossarian is great!" -Joseph Morgenstern, NEWSWEEK BY LAWRENCE DeVINE Free Press Drama Critic The very young are differ- ent from you and me. They have more d r e a m s. Then once in a while, one of them with love w h e r e his gall should be writes a play like "Summertree," a kindly day- dream about things as maybe they should have been. "Sum- mertree" is by Ron Cowen, then about 22 whennhe wrote it. In three short acts in the Actors Company production at Ann Arbor's Mendelssohn Theater, his first play stands up as if it were his last. A young soldier is dying be- side a tree in Vietnam. Like Ambrose tierce's "An Oc- currence at Owl C r e e k Bridge," the story then be- comes all that the boy re- members in the instant before death. But it worked for Bierce and in "Summertree," it works for Ron Cowen. Ann Arbor's 'Summertree, A Sensitve Production Al AT MENDELSSOH N THEATER A young actor named Dirk Benedict gives a pure and honest eperfortance as the boy, absolutely free of stage tricks or sham. In the play- long flashback, Benedict is superb as he suffers the im- mutable pain of a son trying to get through to his father. The father is played by Wil- liam Myers in a particularly good perfDrmance. Balding a little, his sensitivity scabbed by a job like Willy Loman's, the father is heartbreaking when he says what his son imagines he'll say after his boy's death: "I gave him everything, he was a fine man!" Then, right to the bones of "S u m m e r t r e e," comes the mother's reply: "He had to die for you to say that?!" True, he did have to die. In a deft dramatic touch, the youth's flashbacks include himself hanging out in his backyard with himself as a child. The y o u n g e r. boy is played by a red-haired boy of unfailing appeal who is either 12 years old or a w i z a r d, named John Clark and he was wonderful. The play is born in sym- pathy, and in a young man's sensitivity to himself as one able to give love, to his fat parents, to his gentle girl- friend. The cast is excellent; director C 1 a y t o n Corzattes staging, with its background slides of fresh flowers, lawns and trees alternated with battle shots of the war, is in- ventive to a careful, controll- ed degree. Mostly, it is peace- ful. That is difficult; creating a peaceful play about dreams that are killed. *1 *1 ment for awhile, but really made contact audience. he never with the FINAL PERFORMANCES! Sat. Eve. Sun. Mat. & Eve. Subscribe To/ THE MICHIGAN DAILY - - - - - - - -- - - - - Some people never change. Thank God we do. THE MICHIGAN MEN'S+ 1902 GLEE CLUB I ____ I I E I s U" The SidelongGlances ofa Pigeon KICke 9 rr Meet Jonathan. The very day he graduated Princeton r _ he became a New York taxi driver. (Then, he met Jennifer.) '{5 ARM/American Revolutionary Media presents KWAIDAN Cannes Film Festival Prizewinner the ultimate in ghost stories ... a fim to revrel in .and remember." The University of Michigan and The University of Illinois Men's Glee Clubs in -JOINT CONCERT- Fnriinu Ninvanimhpr A ?PAMM MS OPnNIN ASSMflOM MTh(UI VTS ItXP51(11 A MIKE NICHOLS FILM ALAN ARKIN 2tum: I- ! p I I /I