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April 07, 1973 - Image 3

Resource type:
Michigan Daily, 1973-04-07

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Saturday, April 7, 1973

11!1 M I HlGSAN DA IL'%

Page Three

This, N#KB(RD

Tim Buckley
to perform here
Tim Buckley is a singer. He's a musician too. And a
poet. He started off singing in country bands when he was
in his early teens, moved to folk and jazz and now, at the
age of 25, rock and roll. "I want to entertain now," is the
way he puts it. "Full-out, blues-type barrelhouse- rock" is
the way he plays it.
Born and raised in Washington, DC and New York city,
Buckley came to Southern California with his family when
he was 10. Following his father's advise that he should get
a guitar and learn to sing, Buckley soon found himself play-
ing with a bunch of country bands.
Changing his style to folk, he found himself singing in
the myriad small rooms around Los Angeles. With the help
of a manager, he was soon signed with Electra and cut four
Buckley's next musical phase took him into a scat-
singing jazz period. "I was close to Coltrane as anyone -has
come. I even started singing in foreign languages-Swahili,
for instance-just because it sounded better. I liked to shock
the audience and jolt the hell out of them. It was refreshing."
Now concentrating on rock and roll, Buckley says, "I am
ready to begin again."
Tim Buckley is scheduled to appear in concert with
Randy Newman this Wednesday at Power at 7:30 and

The 1973 offering of Musket, a
no-holds-barred production of
West Side Story, opened Thurs-
day at the Power Center. A pol-
ished and spirited effort, it draws
on some of the best of Ann Ar-
bor's talent to create a splendid
entertainment event.
Based on the book by Arthur
Laurents, West Side Story is a
modern, musical adaptation of
Romeo and Juliet, which takes on
a new perspective in the environs
of the asphalt jungle.
Musket's production is a par-
ticularly excellent one. Director
Robert Chapel pulls out all the
stops, employing blatant, unro-
manticized sexuality and the un-
abashed language of the slums
to give the show the toughness it
i-equires. The staging is bold and
harsh, just like the characters;
performers leap from platform to
platform and scale fences, all
with little apparent-regard for
life or limb. The result is a chil-
ling atmosphere that constantly
suggests the tense struggle of the
Makram Joubram once again
comes through with some first
rate choreography which adds
further to the effectiveness of the
production. Not of the ordinary
musical comedy variety, Joub-
ram's dances are tense, explos-
ive, and frantic, expressing t h e
mood of the play to perfection.
The show's single set is a re-
markable collection of pipes,
railings, and chain link fence
which captures the b~leak, oppres-
sive ainality of the tough w e s t
side of New York nicely. Created
by Steven Gilliam, it is extra-
ordinarily functional, allowing
for graceful modifications and a
variety of excellent lighting ef-
Without exception, the c a s t
tvrned in fine performances, fea-
turing fine singing and dancing
in addition -to accurate and bal-
anced portrayals. All the Jets
were exceptionally good, espec-

ially in "Gee, Officer Krupke",
one of the best numbers in the
show. I particularly enjoyed Ann
Crumb, who displayed fine ver-
satility in the role of Anita, as
well as Rick Frank and Ray
Neito as th leaders of the two
rival gangs.
In the leading roles of Maria
and Tony, Martha Jean Sterner
and Kenneth Marshall were both
superb. Sterner was wonderfully
naive and starry eyed, while Mar-
shall gave his character a believ-
able sense of basic honesty and
goodness. Both possess beauti-
ful singing voices, and their scen-
es together were some of the best

in the show.
Still, the real stars of the show
are Leonard Bernstein and Step-
hen Sondheim, who wrote t h e
music and lyrics. Bernstein's
music is not of the pedestrian
variety generally associated with
musical comedy; instead, it is
an ingenious synthesis of many
musical forms, jazz and o p e r a
having particularly noticable in-
fluence. Like the story, the music
is filled with tension and excite-
ment, and punctuates the p I o t
beautifully. Sondheim's lyrics
capture the hope and desperation
of the characters, and are t h e
perfect complement to Bernstein's
music. When performed well --
which it was on Thursday night
- the score is one of the best
ever written for a musical.
It is a rare occasion when a
production comes along that com-
bines fine choreography, intelli-
gent and skillful directing, fine
performances, and a good play
to the extent that Musket's pre-
sentation of West Side Story does.

Glorious Bach

Tim Buckley

I--- - 9:00.
Welcome to the Women's Community Symposium! This is
the first co-operative effort of all interested women's groups
from the communities and campus area, and the birth of
an annual event. The motivation for this event is to reach
outside of the academic community and encourage interest,
participation and open dialogue among women ofall
economic and racial backgrounds.
l0am. - 5 PM
For more information call: (313) 763-3503, 764-1817.

Good times at


"I envied them," was one pat-
ron's comment after Wednesday
night's performance of Princess
Ida by the University's Gilbert
and Sullivan Society.
Having performed in a number
of G&S production in high school,
I have always believed that these
productions were more for those
on stage than the spectators out
front. And it is a beautiful sight
when this enthusiasm skips over
the lights and into the audience.
Unfortunately, while high on
spirit, the Mendelssohn Thea-
tre production comes up short on
technique. The acting, under the
direction of Susan Morris, w a s
frequently shoddy and the music,
under the direction of Eric Stern,
was at best average. However,
the score, possibly Sullivan's
best, and the fast-paced action
overcame these faults to produce

Dir. ROBERTO ROSSELINI 1948. A tremendous naturalness is developed in cr
this understated series of 6 disconnected dramatic incidents occuring in
Italy during WW 11. Bluntly shows the tragic chasms which open between
good people in wartime. Fellini was one of the six scenarists. "A milestone
in the expressiveness of the screen . . . it cannot fail to rattle the window-
panes of your eyes."-New York Times

a thoroughly enjoyable evening.
Oddly enough; this G & S plot
has more significance today than
it did when first performed in
1884. It is the story of woman's
attempt to liberate herself -
though as befits a G & S produc-
tion, our heroine ends up headed
for connubial "bliss"' as the final
curtain falls. The title character
has forsaken her childhood groom
for the life of a women'srcol-
lege dean and the unfolding plot
reveals everyone's attempt to re-
unite her (against her wishes)
with her long lost lover.
Ashley Putnam (Princess Ida)
has a beautiful soprano voice
which more than made up for an
occasional lack of lyrical clarity.
Likewise, her romantic lead, ten-
or James Bryan (Hilarion) was
excellent, whether singing or act-
Kudos also go to Nancy Gil-
martin (Lady Blanche) who play-
ed Ida's scheming second-in-
command to perfection, and es-
pecially' to the three frightened
soldier brothers, Kevin Casey
(Arac) Jim Posante (Guron) and
Victor Lindblom (Scynthius).
Though guilty of occasional
over-acting, they clearly were the
center of attention whenever on
stage. It was their opening song,
"We are Warriors Three," nice-
W H FME_ 1;S

lv soloed by Casey, which seem-
ed to loosen up the others.
James Drew (King Gama) how-
ever, was something of a dis-
appointment. Given the tought
assignment of singing the patter
songs, Drew, or the director, de-
cided to forsake acting for vocal
clarity. Thus, while his diction
is surprisingly good, his "cele-
brated snicker and a fascinating
leer," leave much to be desired.
Dave Johnson (King Hildebrand)
likewise appeared wooden wv h e n
carrying out his stage move-
The female chorus was superb
but the men frequently seemed
to be lost or out of step. How-
ever, much of this could be blam-
ed on physical staging problems.
With a huge chunk of the stage
given over to a three sided castle
wall, there is little room left
for movement. Conversely, the 24
person chorus had great diffi-
culty keeping apart during t h e
dance numbers; and naturally
the choreography was somewhat
limited. A smaller chorus would
have permitted a vast improve-
ment in mobility.
As usual in a G & S production,
despite the plot's emphasis on
the liberated woman, most or
the really good songs in "Prin-
cess Ida" are reserved for the
men, which is a shame consider-
ing the female leads and chorus's
vocal superiority. Nevertheless,
despite the show's numerous
drawbacks, the overall perform-
ance was a pleasure to sit.


DRAMA-Gilbert and Sullivan
today at 2, 8, Mendelssohn;

Society presents Princess Ida
RC Players present Chekhov's

The Three Sisters today at 2, 8, RC Aud.; UAC-Musket
presents West Side Story today at 2, 8, Power.
CINEMA-Cinema Guild shows Mizoguchi's Ugetsu Mono-
gatarai (Tales of the Moonlight After the Rain) tonight
at 7, 9:05, Arch. Aud.; Cinema II shows Rossellini's Pai-
san tonight at 7, 9:30, Aud A; Couzens Film Coop shows
Viva Max tonight at 7, 9, Cafeteria; UAC-Mediatrics
shows Mondo Cane tonight at 7, 9:30, Nat. Sci. Aud.;
Bursley shows Anne of the Thousand Days tonight at
9, W. Cafeteria; India Students Assoc shows Amar Prem
today at 3:30, 6:30, Aud. E, Phys-Astron.
MUSIC-School of Music presents Chamber Orchestra, Paul
Makanowitzky, conductor, tonight at 8, Rackham.
DANCE-Dance Dept. presents a mini-concert tonight at 8,
Barbour Gym.
ART-BFA show at the Union Gallery.
WEEKEND BARS AND MUSIC-The Ark, Biff Rose (Sat.,
Sun.), admission; Blind Pig, Boogie Woogie Red (Sat.)
cover; Pretzel Bell, RFD Boys (Sat.) cover; Rubaiyat,
Iris Bell Adventure (Sat., Sun.) no cover; Bimbo's, Gas-
lighters, (Sat., Sun.) cover; Del Rio, Jazz (Sun.) no cover;
Golden Falcon, Fifth Revelation (Sat.) cover; Mr.
Flood's Party, Diesel Smoke and Dangerous Curves (Sat.,
Sun. at 3 p.m.) cover; Bimbo's on the Hill, Long Spur
(Sat.) cover.

It is not every day that one
gets to hear a live performance
of Bach's St. Matthew Passion,
and thus it was a great thrill to
be at the performance Wednes-
day night in Hill Auditorium by
the U-M Chamber Choir and
Symphony Orchestra, conducted
by Thomas Hilbish. Th almost
three-hour work includes some of
the most glorious music B a c h
penned, and what made it par-
ticularly stirring here was the
drama that came from hearing
an English text, and being able t
respond to the wedding of words
and music that is essential to a
complete understanding of this

Let everyone have this exper-
ience at least once - never mind
purists who insist on original
language versions - if one is
interested, one can always study
the German text later for a ful-
ler appreciation.
The use of 24 soloists who di-
vided the arias not sung by the
principals worked out very nice-
ly, as the amount of solo talent
in the Chamber Choir was im-
pressively displayed.
High praise goes to Milton Bail-
ey, who sang the Evangelist, and
brought to the part all the best
qualities of a dramatic singer,
while avoiding overstatement.
Bruce Hall made excellent use
of his remarkable rich bass in
the part of Jesus, his imposing
presence onstage lent added
depth to his interpretation.
Soloists Charles Brown, John
Hall, Lynda Hamilton and Janet
Smith also deserve large ap-
plause for their outstanding con-
tributions. Robert Clark, harpsi-
chordist, deftly punctuated the
recitatives, and organist Patrick
McCreeless' discreet organ regis-
trations added greatly to the total
The choir and orchestra sound-
ed marvelous, by and large;
some shaky string passages and
unfortunate tuning problems in
the English horns could not
dampen 'the obvious enthusiasm
of all concerned, and what emer-
ged transcended performance
problems, and filled the audi-
torium with immeasurable seren-
ity. The audience, participating
in eight of the chorales, included
584 high 'school singers to help
things along.
Hilbish carried the flow of the
work smoothly forward, with per-
haps less emphasis to dynamics
than could have been; this was
most evident when there were
deviations from a general mezzo-
forte. Otherwise, one had f e w
complaints, and was left to bask
in the glory of the music, and
reflect in amazement that one
man could have conceived it
8:30 2 All in the Family
4 Emergency!
7 Here We Go Again
9 Movie
"Darling" (English 1965)
"Film Odyssey"
50 That Good Ole Nashville Music
8:30 2 Bridget Loves Bernie
7 Touch of Grace
50 Nitty Gritty
9:00 2 Mary Tyler Moore
4 Movie
"Mayerling" (English 1968)
7 Julie Andrews
50 2 Bob Newhart
10:00 2 Carol Burnett
7 Delphi Bureau
50 Lou Gordon
10:30 9 Document
11:00 2 7 News
9 CBC News
11:15 7 ABC News
9 Provincial Affairs
11:20 9 News
11:30 2 Movie
"The King and Four Queens"
9 Movie
"The Night of the Generals."
50 Movie
"The Mermaids of Tiburon."
56 Hollywood Televison
11:45 4 News
12:15 4 Johnny Carson
1:30 2 Movie
"The Nylon Noose"
(Germian; 1963)
7 Movie
"The Fastest Guitar Alive."
1:45 4 News
3:007 News
3:30 2 News
The University of Michigan
I School of Music Presents

Debussy's Exquisite Masterpiece
opera in English
Josef Blatt, conductor
Ralph Herbert, stage director
April 13, 14, 15 & 16, 8:00 p.m.


Picture Director
Actress (Liv Ullman )
-N.Y. Film Critics Awards
Today at 1, 3, 5, 7, 9 P.M.
Thurs, Fri, Mon, Tue at 7 & 9 only

The myth and the truth, as seen by the men who civilized the
West, and lived to regret it!
-New York Mag.
TIMES OF Judge Bean
starts promptly
at 1 p.m.-
-~~74 &31 9U;10t
entre Phon 6626264


6:00 2 4 News
9 This Is Your Life
50 Star Trek
56 Para Ml Pueblo
6:30 2 CBS News
4 NBC News
7Reasoner Report
9 Fishin' Hole
56 Consumer Game
7:00 2 Truth of Consequences
4 George Pierrot
7 News
9 Untamed world
50Hee Haw
7:30 2 Young Dr. Kildare
4 Ad'aenturer
7 Town Meeting
9 Getting Together
56 Lenox Quartet-Haydn
Opus 20


contact the frontiers of psychiatry

R. D. Laing
author of The Politics of Experience Bird of Paradise;
The Divided Self; Sanity, Madness and the Family;
Reason and Violence.
ASYLUM 1972 color
Laing's therapeutic commune in London-"This is the
only film that shows how we work to help people who
feel that society is trying to destroy them."

Arthur Janov
author of

The Primal Scream

The Primal Revolution

Inner Revolution.
The primal therapy of a 35-year-old college teacher,
his actual daily sessions with Dr. Janov, with music by
John Lennon.

-video commentary-
f- - -(. - - -I A - - A

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