Taesday, Jonuory 28, 1975

THI5 MICHIGAN DAILY

Page Five

T~~esday, January 28, 1975 THE MICHIGAN DAILY Page Five

Electric candlelight concert

Tired maestro
Conductor Arthur Fiedler rests atop a pile of luggage while
waiting to start an engagement with the Cincinnati Sym-
phony Orchestra. Fiedler, who regularly heads up the Bos-
ton Pops Orchestra, has been on a nationwide tour recently.
his week
Ensemble thrives on
peaches and cream
By DAVID WEINBERG
ABOUT A YEAR and a half ago, in the summer of 1973, a little
play called Banana from Outer Space appeared on the
Residential College stage for the first and last time. It was a
musical comedy with original script and music.
Only five of those 20 original cast members still remain
associated today, but Peachy Cream Productions, whose birth
is rooted in that first play, has pushed on, and is alive and
singing.
This week, on Thursday, Friday and Saturday nights in the
East Quad auditorium, Peachy Cream opens their latest and
greatest, Fever Pitch. In a year and a half, a lot can change.
"WE'RE JUST starting to get the feel of our material and
really come to grips with what we want to do," said dancer
Judie Goodman.
Goodman, who one Ann Arbor News reviewer compared to
Ginger Rogers, joined the group last summer along with manyj
other now-permanent group members to produce Zazzuzoo, aj
more vaudevillian exploit. It was after Zazzuzoo that the group
decided to enter the project more seriously.
The result has been Peachy Cream Productions, now in
their fifth production and rising at an unrelenting speed.
IE FORMAT of Fever Pitch, unlike the nightclubby Cabaret
of last January, or Tapioca Holiday of last fall is a musical
review. Indeed, the group was criticized after Tapioca for stick-
ing too much to the same type of material: melodrama with a
little bit of musical director Mark Eisen's original music, and a
lot of Cole Porter.
Responding to those charges, Assistant Director Peter Ander-
sob said, "I think there was some validity to that charge. We
were getting too associated with nostalgia, and we didn't want
that."
Group member Marty Sherman added, "I think the concept
of Fever Pitch is clearer to us, and it builds more towards
something." Goodman asserted, "People are definitely learning
how to better handle their talents."
Fever Pitch, as the group explains, is in segments or
scenarios. The setting of each segment moves chronologically
forward in time, from the 30's to the 70's, attempting to give the
audience an impelling feeling of movement and energy.
In addition, the actors themselves try to create what the
group termed as "controlled frenzy" in their individual per-
formances. "There's a touch of exaggeration to the perform-
ances," said Anderson, "a feeling of control with a feeling of non-
control."
He added that Fever Pitch has elements of social satire
in it, something which the group has not used before. Asked if the
group had ever considered doing "serious" drama, Anderson re-
plied, "We're not into serious drama per se, but we do see our
comedy. as social satire. Our politics are more like the Marx
Brothers, rather than being blatant."
UT THE GROUP is moving up in the world, although theyj
laugh about the 2 cents per hour that was the net result of
Tapioca Holiday. They do plan, however, to run a dinner theatre
production of a new show. The Rhinestoned Revue, at the
Campus Inn sometime in March.
"We'd ifke to play at Blind Pig or Matrix, you know, some-
where with a small cover charge," says Anderson quietly. "But
our first concern is to keep growing and keep producing."
And if the last year and a half is any judge, it's going to
be hard to keep this young ensemble from doing just that.
UAC CONCERT CO-OP

olts unsuspec
By BOB TAUB audience had left,A
"Some people blow their minds - some in their seats, unable
people blow other things . . ." Those they liked it, but i
were the words of a group of avant-garde like it, and the conse
musicians and artists who managed to do Usable music be
both to us Saturday night. They were the serious, austere, tho
producers, directors, performers and vic- musicians, each equi
tims of The Electric Candleilght Concert er, or some sort ofi
-a compositions department special re- holes. They then beg
cital at the School of Music. musician never see
A standing room only crowd was al- than four notes in si
ternately stunned, magnetized, trauma- thing came off like
tized and offended, amongst other psy- mind - at least it
chological and psysiological reactions. portion. More people
The large crowd began to dwindle like The last performa
sand through an egg timer as the night's sion was the haunti
activities began. After a while, it became Meeting by Daniel
a race - would the recital finish before electronic tapes pro
all had left - everyone having reached middle-aged man, r
his or her saturation point of chaos and maculate suit, cigar
calamity? lated at the assorte
Things did start out mildly enough. apparently exhorting
The 1912 silent film "New York Hat" was evangelical path to,
shown, starring John Barrymore. But as pointed to fiercelyz
the lights dimmed, electric piano, ARP hands.
synthesizer, and tape effects began - Smiling, jerking h
emitting eery, random electronic jolts the Good Book, poin
that punctuated the visual proceedings. pointing to the sky,
The real show was in the audience- oblivious to the howl
as some intently gazed at the film - audience. Was this p
searching for plot, characterization, and conspirators in this b
God knows what else. Others were less of madness?
able to resist the mind-stilting music and Writhing, tortured
lighting, and surrendered their concen- ed, and scraped the
tration for something perhaps more im- moths attracted to
portant than merely watching a film . . . smiling heavenword
Before the next phase, Douglas Leedy's people he really cou
Usable Music I, certain segments of the The music and lig
Chamber series sj
in Sunday (f APerfo1
By SARAH POLAREK metaphysical wisdom and Ren-
Sunday afternoon at the Fac- aissance charm.
ulty Chamber Copcert was by The second movement of Moz-
turns an elating and then en- art's Clarinet Quintet was
trancing experience, heightened played as a memorial for Dr.
by the rich variety of perform-! Thor Johnson, who was an
ance which swelled Rackham I alumnus of the School of Mu-
Auditorium. ! sic and was, at the time of his
The 2 hour concert, fourth death, the artistic director of
of a series of five presented the Interlochen Arts Academy
by the faculty of the School of Orchestra. The five instrumen-
Music at the U-M, included talists blended extremely well
works by Mozart and Stravin- to create a subdued memorial
1 sky, as well as some highly un- piece.
usual works by lesser known After intermission pianist
composers. Benning Dexter and violinist
The program began with a Percy Kalt presented a haunt-
concerto by French composer ing and poignant rendition of
Marguerite Roesgen - Cham- Stravinsky's Duo Concertant
pion which featured harpsi- piece which constantly empha-
chord, bassoon and alto saxo- sized the alternation between
phone. the harmony and conflict of the
Roesgen - Champion has par- two instruments.
tial claim to the revival of the The concert was brought to
harpsichord in the twentieth -
century, and her piece ele-
gantly combined the classical
and the modern. Donald Sin-
ta's alto sax sounded particu- 0 0 00
larly lively and mellow, while
Ellwood Derr on harpsichord pre
and Hugh Cooper on bassoon
blended with him perfectly.,YELLOW
A highly unusual violin "solo"
followed, written by Dutch
composer Henk Badings and A fanciful oni
p e r f o r m e d by G u s t a v ebyTHE
Rosseels. The violin was ac-
tually accompanied by two
electromagnetic t a p e s TODAY! Ti
which were alternately at odds
with or complementary to the 7:00, 8:45 10:3
violin part. This point - coun-
terpoint technique was extreme- A U DA A N
ly effective and the audienceA,
was thrilled.
A small portion of Henry
Purcell's 17th century opera Complete winter 19
The Indian Queen was then per-
formed by baritone Leslie Guinn NOW AVAILABLE

and mezzo - soprano Rosemary D d's Book.
Russell, who were accompani- vi s L
ed by an ensemble consisting of Centicore Aud.
six talented music school stu-
dents. The piece was filled with ______________

while others twisted
to decide not just if
ndeed if they should
equences of that.
gan with 17 rather
ugh bizarrely attired
ipped with a record-
instrument with little
an to play, with each
ming to play more
uccession. The whole
a funeral for the
s conscious, rational
began trickling out.
nce before intermis-
ugly beautiful Gospel
Lentz. Two ghastly
vided the audio as a
espectable with im-
, and bible gesticu-
d mass of humanity,
them to follow that
"up there," which he
with his upstretched
is arms pointing to
ting to the audience,
he remained almost
s and cries from the
anned? Are these co-
allet, this pantomime
souls crawled, shak-
ir way to the stage,
this madman-flame
and reaching out to
ldn't see.
hVing rose and fell in

crescendos of emotion and torment, as
this weird opera came finally to a crash-
ing halt - with both preacher and sav-
ed lying supine on stage. The end of the
world?
No, just intermission - as we were
cheerfully informed. Refreshments were
provided by the performers in the form
of cold popcorn and Spike Jones on the
loudspeakers. Some bit into the popcorn,
others chewed on their nails, and still a
steady stream gathered up coats and left.
The finale soon began, and what had1
been standing room only was now merely
a full house. Perhaps what was left for
last was the final Acid Test for true be-
lievers only. It began with a classical trio
of soprano saxophones, then grew on a
serious enough young lecturer, bent on
edifying the assembled multitude on any
and every topic.
He occasionally interspersed savvy
comments such as "I'm an All-American
bov, I have a father in every town ."
The fact that he could not be heard was
inconsequential to the slowly building
caconhanv of a chamber quintet.
The additions of non-tobacco cigarettes,
a troupe of calistheticists, and various
and sundry other sensory impingements
was enough to drive everyone sour-where
--either out of the recital hall (the audi-
ence finally reached equilibrium) or out
of their minds.
Before anyone knew it, it was over -
co-mnents were many and varied from
rvitterinas of "Amazing" to exclamations
of "What was it?" to hin characteriza-
tions of "Just like Zappa."

1
ting audience

Professor Michael Whitty
U. OF DETROIT
SPEAKING ON:
"Depression Blues: Working Class History
in the Bicentennial Era"
PROF. WITTY
NOTED LABOR HISTORIAN
Has published numerous books on working class history
Wed., Jon. 29-7:30
2nd floor Michigan Union
FOR MORE INFO CALL 665-5179
Sponsored by UAC and People's Bicentennial Commission
- -
D. W. GRIFFITH'S 1915
MOTHER AND THE LAW (at 7)
Started just after BIRTH OF A NATION, this dramatic
story starring Mae Marsh and Robert Herron concerns a
family under pressure by economic and social forces. Silent.
D W. GRIFFITH'S 1919
BROKEN BLOSSOMS (at 9:05)
A masterpiece of atmosphere and acting, this silent is a
poignant story of the love between a Chinese immigrant
and an abused vouna girl. Lillian Gish and Richard Barth-
elmess shine and shimmer in the starring roles.
CIN EMA GU ILD )'''- '^C
For $1.50 AUD.
r-

parkles
rmance

an exciting close with a "jam
session" performed by Edward
Louis Smith, trumpet and flug-
elhorn, and Carl Alexius, piano,
(both from the School of Mu-
sic); and guest performers
Robert Elliott, percussion, and
Ronald Brook, double bass.
The improvisations were bas-
ed on five "jazz classics"
("Splankey", "I Can't Get
S t a r t e d", "Au Pravave",
"When Sonny Gets Blue" and
"Cherokee"). The performance
was striking in its presentation
of popular music, particularly
in the conventionally classical
atmosphere of Rackham Audi-
torium.
The final concert of the
Chamber series will be per-
formed Sunday, February 16,
at 4 p.m. in Rackham
--__._0
- - - - ~ " ~

sents
UBMARINE
motion produced
BEATLES
ues., Jan. 28

30

$1.25

GELL HALL
0
D75 schedules
at:

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A Angell Half



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Announcing

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