Sundoy,,A;pri! 15, 1973 THE MICHIGAN DAILY Page Three Sunday, April 15, 1973 THE MICHIGAN DAILY Page Three Children's tales the BEST STEAK HOUSE Now Open Fri. & Sat. Until 2:00 A.M. Serving Steak Dinners, Cocktails, Pitcher Beer SPECIAL STEAK DINNER E capture Fri. & Sat. 9 P.M. to 2 A.M. $119 217 S. State 761-06 D DONUT WHOLE 900 S. STATE (State & Packard) WELCOMES YOU TO ENJOY * fresh donuts * superb ice cream 0 refreshing liquids Pick up fresh donuts for your morning coffee clutc Open 7:30 a.m.-10 P.m. Tuesdays-Sundays Phone: 761'-51 B.S. IYENGAR Author of LIGHT OF YOGA will be at ULRICH'S Bookstoi MONDAY, APRIL 16th From 1 to 2 p.m. to Autograph His Best Seller By DIANE LEVICK Associate Arts Editor Closing out this season's Pro- fessional Theatre Program, Paul Sill's Story Theatre at the Pow- 30 er Center this weekend offers a thoroughly enjoyable voyage back into magical childhood fables and folk tales - and leaves the aud- ience marvelling at the actors' creativity. Interspersed with contemporary and traditional folk music, the, Story Theatre production centers around recognizable children's tales, such as "The Golden Goose" and "Henrny Penny" (Chicken Little). Sills has mas- terfully adapted the stories, mak- ing them delightful yet instruc- 61 tive vignettes, endearing to all ages. The material presents has- ic, timeless themes -- greed, -.cunning, generosity - sometimes with a twist of contemporary hu- mor and allows the audience to moralize as much or as little as they wish. The charm of the production itself, however, lies in the ac- tor's effective uge of mime and costume in creating the carica- tures that Sills intends. "The Bremen Town Musicians" fable is definitely the showpiece of the group's skill; they take on the habits, stances, and voices of re the animals they portray so con- vincingly. Devin Goldenberg as' the old, tired hound barked and growled around the stage with tongue hanging out,. even stop- ping to urinate againstan imag- inary tree. Because Story Theatre uses very few props, and relies on the -- actors' narration about themselv- es, the communication by body movement is extremely import- ant. The cast'of eight steps over imaginary fences, rides imag- inary horses, and roles over in barrels with ease. Adding to the effect are the semi-costumes, just complete enough to allow don stage one's imagination to 'fill in the rest. Larry Carr, an excellent Ducky Daddles in "Henny Pen- ny," for instance, wears a yel- low cap, a yellow Boy Scout neckerchief, and holds his hands so as to simulate a duck's short tail. Truly a participatory exper- ience for' the audience, Story Theatre's sets consist of pro- jected images on a white screen and fantastic lighting which creates creepy forests, b 1 u e- green oceans, and red death scenes. Momentary screen imag- es create moods of eerieness, fear, or joy. But the mood is also set by tal- ented lead guitarist and singer Bob Crawford, performing t h e traditional "Wildwvood Flower" as well as various Bob Dylan, Hamilton Camp, George Harri- son, and Country Joe McDon- ald tunes. On occassion the lyrics are quite fitting, as when Crawford plays "Fixin' To Die Rag" after Henny Penny's fine-feathered friends all meet their death. At times, the lyrics are ironic, as when "I'll Be Your Baby T o - night" ends a tale about a mur- dered-bridegroom. Alternating on amplified and acoustic guitar, Crawford, who has a slightly rough-edged but suitable voice for the material, provides musical sound effects and background melodies. The skill of the musician and the actors is only one reason for the production's success; their enthusiasm. is the other. It over- flows into the audience. By HARVEY THOMAS SLAUGHTER Under the brilliant direction of Artie Young, and a particularly talented group of dedicated and aspiring young actors and act- resses, Aime Cesaire's Tragedy of King Christophe came to life Friday night. And for a brief moment, the concept of Negri- tude burst beyond the small, in- tellectual circle to which it had been confined since its conception to make manifest and assert its future humanizing influence upon the affairs of-man. Given the theme, the , woeful ignorance of most of the audience of black history, and the deplor- able conditions of Trueblood aud- itorium, it was surprising t h a t Negritude in the play was able to consistently maintain and exert complete suade over the audience. This was mostly due to out- standing performances by An- dre Hunt, Barry Pugh, Dwayne Williams, Willis Brown, and Maigam Joubrain. These surpris- ingly strong performances were enhanced by the creative blend- ing of European stage t e c h - niques, the art of mimicry, and Afro-American rhythm and move- ments to enact storm and sugar- cane cutting scenes which were nothing less than realistic. The end result of this synthesis was the sense of being part of some- thing completely unique as the wind lashed the face of the aud- ience, contorted with pain from the cutting of the cane. The play itself dealt with the rivalry that evolved between Christophe and Petrosky after the demise of the Haitian leader, the great Toussaint. Christophe controlled the northern half of Haiti. and Petroskv the remain- ing. As a result of their differ- ences, civil war eventually en- sued. Christophe ruled strongly, but not fairly, confusing strength at times, with tyranny, while dis- pensing his justice blindly with double-edged swords. In h i s efforts to carve a sovereign pow-" er out of the chaos of Haiti, he imposed upon the tottling frame of the island the massive weight of French customs and civiliza- tion. This fusion was not to be, for the very tyranny from which they had just won independence found its apex in French culture. How can you berate the master, ragedy' yet exalt all that he stands for by the use of his language, and his way of life? What Christophe proposed for Haiti was nothing less than self-induced cultural imperialism. But the Haitian leader caught up in the rather nebulous idealism of his own rhe- toric could not see that what Haiti needed more than manners was an able administrator. Petrosky was "such an admin- istrator or claimed to be. He favored democratic rule but be- hind the thin veneer of congen- iality and amiable coolheaded- ness was a blatant lust for pow- er. He lacked the strength a n d force to rival Christophe's per suasive character, and, as a re- sult, did not fair well against his forces. For Petrosky's fatal flaw was that he was too weak to be king but too conceived in his self-importance to settle for anything less. What Haiti needed was b o t h Christophe and Petrosky, fused into one force and one character. For the real tragedy of Christo- phe was that he lacked Petro sky's administrative ability, and Petrosky, Christophe's force of character. In a sense these two characters can be looked upon as facets of a split personality. Their struggles to reunite are reminiscent of the struggles of Africa and %Africa overseas to merge° and re-define themjselves through the "commonality of ex- periences". This "commonality of experience" was the basis upon whih Negritude was found- ed, and that night nowhere was it more evident. r -1 EVERY WEDNESDAY RADIO KING EVERY TUESDAY AT T H UE R 208 W. HURON Daily Photo by KAREN KASMAUSKI Dancing Away! A scene from last night's performance by the Ann Arbor Dance Theatre. Have a flair for artistic writing? ed inreviewing poetry, and music, or writing feature stories about the drama, dance, film, arts: Contact Aru Editor, c/o The Michigan Daily. Markowitz sings TONIGHT QUARTER NIGHT TOMORROW SLOW SCREW NIGHT at 341 S. MAIN 769-5960 Subscribe to The Daily sensitie By LORRE WEIDLICH It's really hard to write a re- view of Diana Markowitz. For some people, most of the audi- ence, in fact, the evening was enjoyable from the beginning. For me, the first impressions were negative, and it was only gradually that I began to enjoy the performance. Besides this, there was a change in Diana herself during the evening. What turned me off about Diana's act was her style of humor. She relies on wide eyes, exaggerated gestures, and melo- dramatic speech. I seemed to be in the minority in my aversion, however. The aspect of Diana's perform- ance that everyone responded favorably to was her songs, a balance of humor and sensitivity Nothing was sacred, and some of her barbs were gems. "This is a song for my first love,' she announced. "He can shove it up his " She went into a song that had the audience cheering and whistling in appreciation; almost everyone's had at least one love affair, so it was a song everyone could relate to. Another prize was. the song about the "plight of the sen- sitive artist in the grasping ma- terialism of our society," a song she explained to me was about a whole group of New York Jewish neurotic poets who ex- ploit their Jewishness and up- bringing. The song fell down slightly at the end when she came out and called the artist a "faker" instead of letting her irony get the message across as she had during the rest of the song. 231 south staie Not all of her songs were humorous, many were serious, for example, "Take her serious- ly," about the ending of a love affair that didn't work. Diana's piano playing was nothing outstanding, but her voice has strength and expression. It's a strong voice, with a dryness to it, and a stunning thick vibrato. Probably the song which brought the best aspects of her voice to A Q3 -f hanky-tank. She's been perfoarm- ing professionally for only a year now, and should have a record out in the next year. Diana's third set was a change from her first two, possibly in response to the warmth of the small but enthusiastic audience., She let her songs, many of them repetitions of songs she'd sung earlier in the evening, speak for themselves, without the heavy comedy routine she'd used be- fore. The songs bear listening to more than once, and the second time their sensitivity was far more apoarent. Her third set was by far the best. I hope that Ms. Markowitz will continue performing more .in the style of her final set, and forget the comedy routine. It only takes the emphasis off her material and voice, which are strong enough to stand on their own. to FILM-Cinema Guild and Future Worlds show Godard's Alphaville tonight in Arch. Aud. at 7, 9:05; Cinema II presents Bergman's Virgin Spring tonight at 7, 9 in Aud. A; UAC Mediatrics show One Day in the Life of Ivan Denisovich in Nat. Sc. Aud. tonight at 7, 9:30; tomorrow Cinema Guild and Future Worlds present Pal's The Time. Machine. DRAMA-Professional Theatre Program performs Story Theatre today at 3, 8 in Power Center. MUSIC-The Music School performs the opera, Pellas and Melisande at Mendelssohn tonight and tomorrow night at 8; Music at West Side presents Music for Flute and Strings today at 4 in West Side United Methodist Church; St. Claire's Episcopal Church presents Ars Musica Con- cert at 3, 8 today; Dona Id Bryant conducts Stabat Mater at First Presbyterian Church of Ann Arbor at 5 today. DANCE-Ann Arbor Dance Theatre in Concert at R.C. Aud. today at 2:30; the Black Markley Council presents Reflections of Spring today at 4:30. ART-A and D sponsors an Undergraduate Art Show from 7 to 10 today and 11 to 5 tomorrow. I Miarkowvitz the forefront was one which she did not write, a song from 'Blue Angel.' Ms. Markowitz off stage is a warm, friendly person, and talk- ed freely with me about how she got into her music. She grew up in Ste. Agathe, just forty miles north of Montreal, and tried for several years to sing blues, accompanying herself on guitar and tambourine, before she discovered the piano just three years ago. For her it was a major improvement, because, as she explained to me, "The notes are all there in front of you." At the same time she took up song writing, strongly in- fluenced by Kate McGarrigle, although her piano style was tonight 6:00 2 60 Minutes 4 News 7 Movie "Easter Parade" (1948) 9 I Dream of Jeannie- 50 Star Trek 56Movie "Hamlet" 6:30 4 NBC News 9 Tom Jones 7:00 2 TV 2 Sunday Report 4 George Pierrot 50 Lawrence Welk 7:30 4 World of Disney 9 Canada: Five Portraits 8:00 2 M*A*S*H 7 FBI 50 Merv Griffin 8:30 2 Mannix 4 Columbo 9 To Be Announced 56 Work Day Dreams 9:00 7 Pilot Films 9 Sunday at Nine 56 Masterpiece Theatre 9:30 2 Barnaby Jones 50 Detroit Show 10:00 9 Weekend 56 Firing Line 50 Lou Gordon 10:30 2 Evil Touch 4 Profiles in Black 11:00 2 4 7 News 9 CBC News 11:15 9 Nation's Business 11:20 9 Religious Scope 11:30 2 Moeie 7 Big Valley 7 ABSNews 9 Movie "Fast and Sexy." (Italian 1957) 50 For My People 11:45 7 Movie "Foreign Exchange" (1969) 12:30 4 News 1:30 2, Movie "Sidewalks of New York." 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I 3035 Washtenaw across from Lee Oldsmobile NEXT! "SLEUTH" .4 * * * * * * * * * * * * * * * * * * * * * * * * * * * I 4TH HIT WEEK! FEATURE PROMPTLY AT 1-3-5:05-7:05-9:10 (No Short Subjects) IN THE LIFE AND TIMES OF U IM Project Community & Rainbow Multi-Media present RAY CHARLESSHOW 73. CHARESMINGUS LIGHTNIN' HOPKINS - ORNETTE COLEMAN - LUTHER ALLISON - The JOHNNY OTIS Show It";. "2I -' LEON THOMAS - HOUND DOG TAYLOR * YUSEF LATEEF SUN RA - J.B. HUTTO & the HAWKS - ROOSEVELT SYKES MORE ARTISTS TO BE ANNOUNCED AFTER YELLOW SUNDAY 15 APRIL VIRGIN. SPRING INGMAR BERGMAN, 1960. MAX VON SYDOW, BIRGITTA VALBERG, GUNNEL LIND- ~1c J~I i