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December 02, 1972 - Image 3

Resource type:
Michigan Daily, 1972-12-02

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Saturday, December 2, 1972


Page ,Thre

Saturday, December 2, 1972 Th2 M;CHiGAN DALY Page Thre'e

RC Players score
theatrical points

Women who step out of their
culturally prescribed sexual roles
become freaks and deserve to
die. Bad things happen when the
upper class tries to mingle with
the lower class. At least, accord-
ing to August Strindberg in his
play, Miss Julie.
The Residential College Play-
ers are presenting the Strind-
berg work and Harold Pinter's
The Dumbwaiter through today
in the East Quad Auditorium.
The Players score quite a few
theatrical points in their staging
of these two tricky plays. In the
Strindberg play, Adele Ahron-
heim, as the high-born Miss
Julie, is especially adept at sug-
gesting the repressed sexual con-
flict within the character.
Miss Julie confesses that her
mother taught her to "never be
the slave of any man" and to feel
equal with men (a no-no in
Strindberg's world). Her parents,
she says, brought her up to hate
Have a fai far
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poetry, and music.
or writing feature
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men and women.
Handicapped by exposure to
their sexual problems, Miss Julie
uses sex, in a neurotic way, in
unsuccessful attempts to fill in
her sense of emptiness.
Strindberg sentences her final-
ly to death as punishment for
seducing her servant, Jean.
Jean, however, is not totally
exonerated for his actions. James
Z. Grenier portrays him as a
scheming con-man, eager to ex-
ploit his sexual conquest of Miss
Julie to obtain money for a hotel.
Ahronheim and Grenier play
this game of sexual politics very
well, though Grenier has an un-
fortunate tendency of stumbling
over his lines. The pair bring out
the sexual tension simmering un-
der the surface.
Director Peter Ferran should
have pared down the play by
fifteen minutes. The production
was a bit too long for the actors
to comfortably sustain the psy-
chological . duel between Miss
Julie and Jean.
The "meaning" of the Pinter
play, the curtain-raiser, is, pre-
dictably, difficult to pin down.
Nothing is certain.
The Dumbwaiter presents two
men shut up in a dreary room.
They are paid assassins, wait-
ing for the victim to complete
their asisgnment of murder. They
receive orders for food on an
old dumbwaiter. One of the pair,
Ben, says the room is the kitchen
of an old cafe and customers are
still sending orders. The other

dumber man, Gus, says their
boss is playing tricks. Finally
Gus leaves. Ben gets instructions
to carry on with his assignment.
Gus rushes in the other door and
freezes as Ben pulls out his gun.
What does this ambiguious
mess mean? Pinter might be
saying that reality is never cer-
tain or that betrayal is always
just around the corner. Pay your
money and take your choice.
An almost-tangible sense of im-
pending disaster grows due to the
lack of information. The New
York Times, in their inimitable
fashion, once called Pinterism
"maximum tension through min-
imum information."
The uneasiness builds for both
the characters and the audience
as the polt gets curiouser and
Scott Cummings as Ben fails
to convey the necessary sense
of barely concealed hostility. His
delivery of lines is stilted.
In the role of Gus, Steve Kro-
novet contributes a pleasant
touch of humor. Kronovet, ex-
hibiting a good grasp of comic
timing, lingers over particular
words, splitting them out at the
best moment for the best laugh.

The Messiah, oratorio by George Fred-
erick Handel. Louise Russell, So-
prano, Sofia Steffan, Contralto,
Waldie Anderson, Tenor, Benjamin
Matthews, Bass. The University
Choral Union and members of the
Interlochen Arts Academy Orches-
tra with Mary McCall Stubbins, Or-
ganist and Marilyn Mason, Harpsi-
chordist. Donald Bryant, Conductor.
Friday, December 1, 1972 at 8:30 PM
in Hill Auditorium.
Last night in Hill Auditorium
a capacity crowd defied the new
snow and knife-edged cold to
witness the annual University
Choral Union Union production of
Handel's' Messiah. The crowd
was not disappointed. All ele-
ments of the production combin-
ed to form a meaningful and
sensitive rendtion of the sacred
Under Donald Bryant's capa-
ble direction, the University
Choral Union whipped together a
silken performance, complete
with blended voices, perfect in-

An evening with
Handel's Messiah

tonation and good diction. The
Choral Union produced the right
Oboist Robert Sefenson and
Trumpeter Jeffry Dodge, espe-
cially in "The Trumpet Shall
The soloists were also quite
pleasing. Waldie Anderson, how-
ever, was extraordinary. His pro-
jection and grasp of the text
proved that he is an artist of
superior calibre. Sofia Steffan
had her bad moments. It was ex-
tremely hard to understand any-
thing she said. Benjamin Mat-
thews was victim of the same of-
fense at times.
Bryant's interpretation of the
score was quite accurate, both
in tempi and dynamics. The
"Hallejuah" chorus was not at
all rushed; rather, it was noble
and resplendent.
All of the performers delineat-
ed the forms of the piece rather
well. The endings had the appro-
priate dramatic intensity.
This production was especially
rewarding for its authenticity.
Marilyn Mason'sharpsichord re-
alisation was very tasteful. The
subject of baroque ornamentation
has long been controversial in
musical circles and Mason's
rendition did nothing to distract
from the solo lines. Mary Mc-
Call Stubbins' organ interpreta-
tions were much the same way-
elaborate and filigreed yet not
at allrbusy or distracting.
I must comment that all of my
expectations for The Messiah
were destroyed when I heard to-
night's performance. It was not
at all boring as many people
would have you believe. Indeed,
the entire work was well-paced.
In an era that decries traditions
as evil and meaningless, Han-
del's Messiah stands as a break-
water. It is a musical experi-
ence that needs no prologue, no

Curved Air

E lectronic sound:
Fury and irritation


__ _ _ i



"When I was ten years old my father taught me to
assess quite rapidly the shifting probabilities on a
craps layout: I could trace a layout in my sleep, the
field here and the pass line all around, even money on
Big Six or Eight, five-for-one on Any Seven. Always
when I play back my father's voice it is with a pro-
fessional rasp. It goes as it lays, don't do it the hard
way. My father advised me that life was a crap
game! It was one of the two lessons I learned as a
child. The other was that overturning a rock was apt
to reveal a rattlesnake. As lessons go those two seem
to hold up, but not to apply."

-William Wolf, Cue

sounds for the right moments,
giving emphasis to the dramatic
aspects of the text.
The Interlochen Arts Acad-
emy also rose to the occasion.
The wunderkinder from the nor-
thern fastes demonstrated an
uncanny ability to play with ma-
turity and sensitivity, unlike
some noted professional orches-
tra. In particular, kudos go to

"Beautifully p e r f o r m e d by
Tuesday Weld and Anthony
-N.Y. Times

"Actress on
her way to
an Oscar!"
is brilliant!"


"It ranks high among the best movies I've ever seen.
One of the most rewarding experiences you'll ever
have in a motion picture theatre."
-Rex Reed, Syndicated Columnist
Sat., Sun.-"Play", 5:40, 9:00-"Diary", 7:20
Mon., Tue.-"Diary'', 7:20-"Play", 9:00 EIpTH PDF

of a mad
a frank perry film Siagr nq
richard benjamin
frank langella
Carrie snodgress

POTTERY-School House Pottery Sale today and tomorrow
10-5 at 4991 Whitmore Lake Road. Also included will be
stoneware, raku, sculpture, weaving and painting.
ART MEMO-Student Government Council sponsors the
December Art Fair tomorrow 12-6 in the Union Ballroom.
The event gives student and amatuer artists an oppor-
tunity to sell their wares for Christmas.
DRAMA-Ann Arbor Civic Theatre presents Cole Porter's
Anything Goes with a special matinee Saturday today at
2 and tonight and tomorrow night at 8 in the Mendels-
sohn. Professional Theater Program presents The Effect
of Gamma Rays on Man-in-the-Moon Marigolds today
and tomorrow at 3, 8 in the Power Center. Residential
College Players presents Pinter's The Dumbwaiter and
Strindberg's Miss Julie tonight in the East Quad Audi-
torium at 8.
MUSIC-Musical Society presents Handel's Messiah con-
ducted by Danald Bryant tonight at 8:30 and tomorrow
at 2:30 at Hill Aud.
HOLIDAY ART-Union Gallery presents a holiday reception
tonight 7-10. On display are paintings, lithographs, seri-
graphs, hand-blown glass, weaving and ceramics.
Baroque and renaissance music will be provided all
evening by the honors baroque trio and the Paulus
Hofhaimer Ensemble.
ART-Pyramid Gallery features an innovative art happening
tonight at 6 at 109%/ N. Main. Lantern Gallery presents
works of Joan Miro.
FILMS-Cinema Guild features Duvivier's Tales of Man-
hatten in Arch. Aud. tonight and tomorrow night at 7,
9:05. Cinema II presents Hitchcock's Psycho tonight in
Aud. Angell Hall at 7, 9 and Hitchcock's Thirty-Nine
Steps at 7 and Psycho at 9 tomorrow night in Angell Hall.
Bursley Hall Movie is Goodbye, Columbus in West Cafe-
teria at 9 tonight.
WEEKEND BARS AND MUSIC-Bimbo's Gaslighters (Fri.,
Sat., Sun.) cover; Blind Pig, John Nicholas and the Boo-
gie Woogie Red (Fri., Sat.) cover, Classical Music with
Denise Petrick (Sun.) no cover; Del Rio, Armando's Jazz
Group (Sun.) no cover; Golden Falcon, Wooden Glass
(Fri., Sat.) cover; Mackinac Jack's, New Heavenly Blue
(Fri., Sat.) cover, Okra (Sun.) cover; Mr. Flood's Party,
Mojo Boogie Band (Fri., Sat.) cover; Odyssey, Stone
Front (Fri., Sat.) cover; Pretzel Bell, RFD Boys (Fri.,
Sat.) cover; Rubaiyat, Iris Bell Adventure (Fri., Sat.,
Sun.) no cover; Bimbo's on the Hill, Cardboard (Fri., Sat.)

Just a few seconds into Curved
Air's third album Phantasma-
goria (Warner Bros. BS 2628),
and one quickly realizes that
nothing is uncommonly new; nor
is anything uncommonly old.
Led by the crystal voice of
Sonja Kristina, and equally by
the fleeting harmonics of Darryl
Way's violin, Curved Air is not
your typical ass-kicking rock and
roll band; they're better de-
scribed as a "poor man's" King
Crimson, a hodgepodge of lyrical
images and electronic wizardy.
Phantasmagoria differs f r o m
its predecessors only in its in-
clusion of horns, giving "Not
Quite the Same," among others,
a stately brass-chorale effect not
unlike Pink Floyd's "Atom Heart
Mother." In another comparison,
the sound that results is rest-
less, featuring a darting syn-
thesizer break, and Sonja's gran-
diose voice. Also, the use of
trumpets and trombones sparks
a "latin flavor;" this being the
hypnotic effect behind "Once a
Ghost, Always a Ghost." This
song, like "Puppets" on Second
Album, is all in good fun in the
same sense as Al Kooper/BS&T's
"House in the Country." Irra-
tional rhythms and sound effects,
glasses clink and the conversa-
tion flows, all in a bit of ener-
getic electricity.
"Marie Antoinette" is some-
what successful, especially in its
growing uneasiness. Sonja flut-
ters about softly, concealing
those everpresent weaknesses in
Curved Air's bassist and drum-
mer. Sonja leads, but never
commands the group, as instru-
mentally the group maintains a
sound and fury equal to the
song's tensions.
"Melinda (More or Less)" is
an offhandedly pretty song, but
certainly not a memorable one.
Francis Monkman's harpsichord
and Way's haunting violin back
Sonja's clean voice and acoustic
guitar, and friend Annie Stewart
adds a quiet flute to continue the
overall gentle feeling; but more-
over an undying sameness with
a hundred other "fairy tale" bal-
lads. Thus, calming becomes
6:00 2 4 News
9 Wrestling
50 Star Trek
56 Thirty Minutes With
6:30 2 News
4 News
56 Just Generation
7:00 2 Truth or Consequences
See LISTINGS, Page 8

01 C2 7 M rlk

"Q. Do you think pop art is-?"
"A. No."
"Q. What?"
"A. No."
"Q. ">
"A. No, no, I don't."
These words, which appear be-
side a framed shopping bag
printed with a Campbell soup,
explains the current state of pop
art. They are the words of John
Doe who has recently brought his
graphics to the University's Mu-
seum of Art. John Doe is that
Campbell Soup artist, formerly
known as Andy Warhol. His time
pieces of America appear dis-
quieting, even a little boring. The
grocery store commodities, mov-
ie stars, and currency now in
the museum are perhaps too fa-
miliar to us to create any inter-
The "Marilyn Monroe Series,"
which appears with him in the
Saturday Review of the Arts,
is a series of three varied and
multicolored prints bearing the
inscription "I never wanted to
be a tap dancer." (Warhol, to
our pleasure, gives each of his
works an informal comment for
an added dimension.) .
Also, eight assorted two-foot-
tall Campbell Soup can prints en-
titled, "Suite No. 44," are ar-
ranged in two rows of four on
one wall of the museum. His
comment reads: "I like boring
things." Warhol may bore us,
but he doesn't disappoint us.

"Cheetah" and "Ultra-Vivaldi"
are included to show the band's
instrumental prowess. "Cheetah"
is both a perverted extension of
"Foggy Mountain Breakdown"
and an elegant-sounding Heifetz
concert movement. More simply
though, it is a Way-led move-
ment, with drummer Florian
Pilkington-Miksa's machine - gun
rattling lying casually under-
neath. The song only, succeeds
when it grows quieter, changing
direction into a demanding, al-
most cursing "D.O.A." feeling,
slowly and mechanically winding
its way to an end, any end.
Along the way, Monkman joins
in, weaving patterns with the
synthesizer, patterns that are
only fleshed out and completed
in "Ultra-Vivaldi." "Ultra-Vival-
di," sequenced entirely on a
Synthi 100 synthesizer, is Monk-
man's little "clockwork" finale;
a Curved Air "Singing in the
Rain" complete with a madden-
ing use of the stereo effect.
Side two is the album's
thematic basis, a constantly

War pop art
mirrors America

shifting series of musical and
lyrical i m a g e s accomplished
through full use of instrumenta-
tion and dramatic effect. The
title song is deliciously odd,
filled with hopeless cross-rhythms
and crisp violin work. Way plays
the demonic madhatter as he
leads the surge downward, end-
ing in a trashy, three minutes-
plus cut, "Whose Shoulder Are
You Looking Over Anyway?"
"Shoulder" consists entirely of
Sonja's analyzed voice tapes
played on a synthesizer-in other
words, irritating electronic noise.
"Over and Above" is the sym-
phonic climax; a long and stren-
uous exercise in attemtped music
individuality that fails as often
as it succeeds. The jazzy inclu-
sion of vibes and xylophone, as
well as trumpets and trombones,
brings about a needed freshness.
In comparison, the five-mem-
ber group sounds tired and tire-
some. Curved Air's "unconven-
tionality" in music becomes not
all that unconventional as it fails
to revitalize itself with new mu-
sical annointments. Their neo-
rock sound and image, their
trying instrumental technique all
become dull-bladed, and not the
hair-splitting successes they seek.
Complete with a boring, Terry
Kath-styled g u i t a r conclusion
and the seemingly offensive re-
See CURVED, Page 8

Liz Taylor, a series of elec-
tric chairs, Coke cartons, and
the dollar are other objects that
help to create the artist's nos-
talgic mood. ' The collection
seems to be neither autobio-
graphical, nor retrospective, but
an isolation from his art in ac-
cord with the theory of the
avant-garde composer, John
Cage, formerly of Ann Arbor.
The bland memorabilia of An-
dy Warhol's exhibition is unin-
teresting and somewhat boring.
Warhol's talent lies in his ability
to make us aware of those ob-
jects which have lost their po-
tential for visual recognition
through constant exposure. The
artist's saving grace is best
summed up in the words of ex-
hibition organizer, G. R. Swen-
"A great deal that is good and
valuable about our lives is that
which is most public. We must
first deal with these most com-
mon cliches . . . if we are to
understand the possibilities of
this brave and not altogether
hopeless world. We not only can
but must deal with the challenges
that Andy Warhol has given us."
Whether Andy Warhol is seri-
ous or pretentious in placing ad-
vertisements within the tradition-
al aura of the museum is insig-
nificant, for it nevertheless cre-
ates a curious challenge. He will
be mirroring 20th century Ameri-
ca until Wednesday, December
3. It's worth a visit.




Would you share malt liquor with a friend ?
Sure. Now there's no question about it. Because now malt liquor has a good
name. BUDWEISER. BUDWEISER Malt Liquor is 100%-malt, malt liquor (no
other grains are added). This makes BUDWEISER the first malt liquor
that really is ... malt liquor.


WR-Mysteries of the Organism next SATURDAY


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