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December 07, 1974 - Image 5

Resource type:
The Michigan Daily, 1974-12-07

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[Saturday, December 7, 1974


Page Five

THE MICHIGAN D 1111||1 4 iLY Page Five 111




Somewhere along the line,
probably in just about every
show that's ever been produced,'
there comes a point when mem-
bers of the cast and crews start
wondering quietly: "What the
hell am I in this for?"
The 1974 MUSKET production
of Jack McLaughlin's Jericho
opened last night, one night late,
having been snowed out of
Mendelssohn last weekend. Andc
considering some of the other
problems the show has had, it is
a miracle it ever got on stage
at all.
Consider: There have been
major changes or problems in
almost every important aspect
of the show's production within
the last two weeks. The lead-
ing man decided he preferred I
to be in the chorus two weeks
ago, the orchestra was fired last
Tuesday, a new choreographer
was brought in about a week
ago, and the only crews the
show has had came in within
the last two days.

This is devastating stuff, and
only a rare group of people
could survive all this and still
come out conscious.
McLaughlin is the 29-year-old
doctoral student who wrote the
musical comedy, directed it, and
finally took the top role in it.
On stage, Jericho is a pass-
able musical comedy with some
nice music and an energetic if
sometime nervously - plunky
cast. Taken from a book written
by McLaughlin and musical di-
rector Jim Ford, Jericho was
revised to be a musical last
summer. There are several
good bases for characters in
the script, but few are ever re-
alized. In addition, the order
of scenes needs to be changed
somehow, since it just not flow
well in places.
Several of the songs are real-
ly excellent - in fact, at times
Jim Ford's music seems to rise
above the level of the rest of
the show.
The story centers around

Josh Maxwell (played by Mc-Law" is one of the best in the

Laughlin), star reporter for the
Beacon Bugle. Maxwell is fight-
ing the Connecticut - Hudson
Railroad's attempt to close Bea-l
con station, claiming that it has
not been sufficently profitable.1
Maxwell teams up with law-
yer and girl-of-his-dreams Ruby
Rubinsky (Shelia Ann Heyman)'
in an effort to rally the nearby{
townspeople against Connecti-
cut - Hudson and to try to dis-
cover the real reason for the1
closing. As it turns out, railroad
boss Barnsworth (Dale M.1
Carlson) has shady land deal
plans for the station grounds.,
P.,cLaughlin has good stage
energy, but he needed more of:
his own direction. He points too;
much and his expansive ges-
tures seem vapid after a while.
His singing seemed quite weak,
especially in "See the Clown."
Heyman as Ruby is a better
rounded actress than her part-
ner, but seemed a bit too lust-
ful at times. If she tones her-
self down slightly, she'll lose
some of the overly animated
sexuality that emerged in her
performance from time to time.
Her rendition of "He's the Man
I Love" was very good.
Carlson (who is real life, they
tell me, is asalesman from Ja-
cobson's) was a bit too sweet to
be railroad boss Barnsworth,
but still was very funny and en-
tertainin_ His ghoily tittle

show and uproariously funny.
John Stephans as Pop Mc-
Claine deserves credit for "Bal-
lad in the Fog," a very simply
and poignantly - performed
piece of music.
Anne Harrington's choreog-
raphy was good, considering she
only had command of Jericho's
dancers for the last two weeks
of rehearsal. There were some
clumsy moments and in a few
places poor use of the stage (as
in "Just the Three of Us"),
but much was creative. Unfor-
tunately, some of the cast seem-
ed unsure from moment to mo-
ment of exactly what they were
supposed to do in the larger
chorus numbers.

The trio that performed Jeri-
cho's music, with the exception
of Jim Ford, have only had the
music three days. The job they
did was awe-inspiring, consid-
ering that time factor. Sets and
costumes were fine, and the
stage crew's set changes came
off as swiftly and smoothly as
And so the name Jericho takes
on greater and greater mean-
ing as one goes on, except it
was the walls of Mendelssohn
that almost came tumbling
down. Thanks only to a valiant
effort on all sides, the show will
go on.
But that sense of struggle re-
mains with Jericho, partly be-
cause of script, partly because
of time. The sense that one gets
is that it is not quite the way
Jack McLaughlin intended it.

l ,d


Thoughtful defense

Newspaperman Josh Maxwell (Jack McLaughlin) has his de
lawyer Ruby Rubinsky (Shelia Ann Heyman), the girl of his
bullying receptionists.
Danlce theses at S(

vastating first meeting with
dreams, and her melange of

V ltlV U L lbeats contractI

ne 'iavali 6enwamtz upeneu Skinweave is divided into
eir masters dance theses con- three sections. The first em-
rts last night at Schorling ploys four female dancers clad
ud. with a program calculat-
to stretch the imagination i .n pink and orange leotards
d ticset the m in Iand tights who wrap the 22-
yd tickle the ribs. ard ribbons of cocoa - brown
The opening piece, C. Dan- spandex around their middles
ia's Duet for Cello and Violin, and proceed to wind and unwind
in the grand tradition of across the stage in various pos-
ance masters theses: dedicat- tures and at various speeds. The
to their fathers (soft pedal middle section is a solo by the
e Electra complex). Both choreographer (in gold leotard
artens and Schwartz are and tights), who fights with the
ained musicians, in addition fabric. And in the third, the
being talented dancers. To original quartet returns to ex-
is brief cheerful dance of cel- plore, snail-like, their Spandex
shapes, violin case jokes and cocoons.
ue joys of practicing they ap- This is the second example of
nd a bit of musical perform- Schwartz's choreography to be
nee, Sarah on violin and Jane
n cello, in tribute to their presented on campus in the
hildood ociaizaton.past year. She demonstrates
hildhood socialization,.a lot of imagination, fine tech-
Skinweave, choreographed by nique, and the broad range of
ane, is a skillfully - designed styles necessary to successful
nterplay between the electronic dance design. Although her ma-
ape/piano solo music of the jor interest is teaching, hope-
horeographer's brother Peter fully she will continue choreo-
axalin and four 22-yard long graphing works for well-train-,
bbons of Spandex, the girdle' ed, capable dancers.
aterial. Jane describes this Sarah's masterwork, Oscill-'
Masses m igraI
By JONATHON EASTMANN of reasons - to hear Handel's
The sixth annual University magnificent work, to enjoy what!
usical Society presentation of is traditionally a fine perfai-m-
r e o r g e Frederick Handel's ance, or perhaps just for the
essiah opened at Hill Aud. opportunity to stand and sing
ast night to a crowd so close the famous Hallelujah chorus. 1,
capacity that the difference At any rate, they got their
,asn't worth quibbling ov r. money's worth.
The event, which stars the The 200-plus member Ch x'al
Sassive U n i v e r s i t y Choral Union was suitably thunderous,
nion, packs Hill every year as befits Handel's less-than-
nd draws what is probably the meek score. It's meant to be
ost diverse crowd of any hap- impressive, and it is.
ening in this city, running the Once again, the Interlachen
11 gamut of Ann Arbor's so- Arts Academy Orchestra ac-
ological spectrum. companied t h e performance.
What draws them all is somne- This is a terrifyingly talented
hat dbcrwse. l s oe group of kids who play as well
hMany seemed to be there to as many college orchestras I've
e friends in the chorus. They
uld be seen scanning the stage FERNANDO ARRABAL
ter arriving, giggling vhen areatest I i v i n a Surrealist
ey spotted whoever it was plavwright and film direc-
uey were looking for, and wav- tar, IN PERSON
The rest came for a v iriety

U~ t~ lhlfl g. gi71b g±Av iy *1uC.. ..
While playing in the Swiss ner to play the jack. East com- number "No One's Above The :
teams event at the recent tour- plied, and South ducked. West -
h o n in g nament in Southfield, my team continued with the king of
met a strong team consisting of hearts, and declarer perforce
I four of Michigan's best bridge won his ace. T6 MEDIATRICS
players. At our table me and Virtually certain that East
a ] i r'r stn my partner, Steve Landen, fac- no longer had any hearts, for his
ed Floyd Sayed and Russell two heart bid had marked him PRESENTS
Roosen. with a weak hand and probably
Escape, is a dance-poem on South, my partner, Steve, op- six hearts, Steve realized that Fred Zinnemann's
civilization and space in four ened the bidding with one dia- he could afford to lose tricks
segments; it manages to avoid mond. West, with favorable vul- only to East and not West. So,
preaching to be humorous and nerability, preemptively jump- upon winning his heart ace, heT H E D A Y O F
a little pessimistic. The music ed to two hearts, and I made a led a club towards the the aceE D
is, once again, designed by her negative double, promising sup- planning to lose a club trick to
brother, Tom Megee. port for the unbid major. Lack- East. T H E JA C KA L
ing an attractive rebid, South But, when declarer led the
The piece begins with a responded two notrump, and I seefcustwrsdmy
graceful exposition of a J. S. raised to three notrump, whichs seven of clubs towards dummy,
Binch etude by solo dancer and rie otrentup hc West, Floyd Sayed, played the F R I . 7: 30 & 9:45 SAT.
Bch etude by solo daeand s w- passed out. jack of clubs, Steve played
solo cello. In the second sec-! NS-VUL D'ec. Dec. 7
tion, a trio dressed in primary EW-NVu dummy's ace, and East, Rus- -
colors and decorated with geo- NORTH sell Roosen, played his queen. NAT sci AUDA
NORT AT.SC AU D.Adm. $1.00
metric designs explore conflict, i A K 8 4 Now the contract could no long-
containment and aggression in ' 8 3 2 er be made.
a crowded space, again to Bach. V2 3 2 Witness what happens if the
The music for the third sec- . A 9 6 S 3 opponents do not defend precise-..
tion is a collage recording en- WEST EAST lh in this manner. First, if West
titled "City Catastrophe": peo- A 7 2 A Q 9 6 3 does not split his club honors
ple become machines, and ulti- r K Q 10 9 6 4 1 J 5 declarer could have safely pass-
mately the machines dies. * J 7 f K 10 9 6 4 ed the trick to East, won the
The fourth section begins with .. J 10 2 . Q 4 return, and have taken four
an ear-splitting whistle and a SOUTH clubs, one or two diamonds (de-
film of a tomato splatting; the A J 10 5 pending on whether or not he .
dancers react to Chick Corea's V A 7 is forced to take the finesses,)
piano sounds in front of a film * A Q 8 5 3 and three spades (after losing
of an oscilloscope. . K 8 7 to East's queen).
Oscill - Escape is a stimulat- The bidding: Second, if East had not un-
ing, thought - provoking crea- South West North East blocked his club queen, South
tion which received very posi- 1 f 2 V DBL Pass would have permitted him to
tive audience reaction, not just 2NT Pass 3NT Pass hold it on the second round of
because of the high proportion Pass Pass clubs and then would have tak-
of relatives in the crowd. Opening lead: queen of hearts en the same tricks as above.
West led the queen of hearts, Fine partnership cooperation
conventionally asking his part- and defense combined to de-
feat a normally unbreakable
(j wMy partner continued to
/ truggle with the hand, losing _ ADVANCE SALES AND
these finesse and winning INFORMATION
the diamond finesse but heMEDLSH LOB
could only come to eight tricksM PHONE 764-0450
heard and better than some. served second bow. and wisely (at least on this Made possible by a grant
When it was all over, the It was typical of Ann Arbor hand) played for down one rath- ! in part by The
audience responded with pro-. audiences in that sen ,a.- vhen er than to make, which would Michigan Council for the Arts
longed, enthusiastic applause they've been treated to an ex- have led to a two trick set, fivej-._.__ - -- -
and was soon on its feet with a i ceptional performance, they're hearts and one club, if West
standing ovation which brought not afraid to demonstrate ap had had the club 10 as previous
everybody back for a well de- preciation and respect. play had indicated.



now in stock
SR 50

7 & 9:30, ANGELL AUD. A
Arrabal will answer questions
following each screening



rI l'"



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