The Michigan Daily-Tuesday, February 14, 1978-Page 7
By SUSAN BARRY
R ECENTLY A MUSEUM directori
to display their works at an exi
depiting various interpretations ofA
work from friends and friends of frie
'the director expanded his project a
request that all further deliveries be
included pre- and post-lapsarian illus
family including everything from
sketches to the pair in drag and Adam
dress standing before what appeare
The Apple Tree
Anderson Room - Michigan1
February 10, 1978
Chorus ................ Dan Boggess
Tree' tasty treat
invited some artists original sin lies not in the forbidden tree but in the awful
hibition of paintings chicken jokes he has been coming up with lately and
Adam and Eve. Art finally Adam and Eve succumb to the most horrible of
ends poured in until horrors - they grow up.
and finally made a The first act lacks any religious, moral, or sexual
halted. The display overtones, and is actually just good, clean fun. Some of the
strations of the first dialogue is truly clever, but it is the actors who make the
Biblically-inspired performance interesting. Kathy Badgerow, although not a
and Eve in modern great singer, is able to mime a variety of expressions. Her
ed to be a modern Eve was a comic strip cross between Lucy, Blondie, and
Little Orphan Annie.
TED BADGEROW AS Adam had a tendency to
overact. He obviously had a good grip on his role but his
Un'°" eyes had a tendency to grow a little too wide and his
Ted Badgerow gestures were rather exaggerated.
Kathy Badgerow Tom Shaker (alsb the, director of the musical) was
... Tom Shaker delightfully lewd as the snake, as he tangoed with Eve
s, Jim Freeman, around the stage.
Debbie Walker Shaker; an ex-student at the University, explained
e. It seemed that that he hand-picked the performers, all students, on the
of creating the first basis of their talent and reliability. The presentation was
carefully calculated to succeed in order to establish the
presented in the An- concept and lay the groundwork for further productions.
n, was similarly in- THE SECOND ACT, which was in no way related to
cute complications the first, starred both Badgerows again, with Shaker as
oman discover each narrator. Kathy Badgerow played a chimney sweep who
than domestic bliss. dreamed of being a movie star. Through the efforts of a
have come directly fairy godmother she actually realizes her fantasies and
lam is a befuddled becomes the lovely Passionella, Prime-Time Temptress.
ve wants to come too Like the first act, this one succeeds mainly because of
decorating the hut the acting. A supporting chorus, including Dan Boggess,
rhate . flowers." Ob- Jim Freeman, and Debbie Walker, contribute a great deal
to the charm of the performance.
too intelligently for The musical, part of a dinner/theatre package with
gain his affectionr the dinner provided by the University Club, will be offered
k I'm stronger than again next Friday and Saturday night in the Union. An af-
k terglow, with the innovative jazz group "The Force,"
hen Eve, tempted by playing at the University Club, made the evening com-
es Adam that the plete.
By DOUG HELLER
FOR ANYONE who is a fanatic for
acoustic guitar mastery, Larry
Coryell and Steve Khan's new col-
laborative album is a must.
Two for the Road was recorded
while on tour, although the sound is
always perfectly crisp and the listen-
er is only reminded of the fact when
the audience breaks into applause.
From the standpoint of a strictly
Two for the Road
Larry Coryell and Steve Khan
Midwestern American farmhouse
everyone was intrigued by the ideac
man and woman in their own image.
The first act of The Apply Tree,
derson Room of the Michigan Union
spired. The play details the inevitably
that arise when the first man and w
other and settle into something lesst
The stereotypical couple could1
from a 1960's situation comedy. Ad
adolescent who gets skittish when Ev
close to him. He is disgusted by her
with "rubbish" and proclaims, "I1
viously, he has never read Milton.
EVE TALKS INCESSANTLY and
Adam to tolerate. She begins to1
however, when he threatens, "I thini
-you are," and she coos "I bet you are.'
All the fun takes a serious turn wh
an agile-tongued serpent, persuade
Baryshnikov succeeds where the
others fail in 'Turning Point'
acoustic guitar duet album, these vir-
tuosos manage to achieve new and
brilliant effects that range"from
Spanish to folk, focusing on a clean
Even someone who feels tired of
hearing guitar should give this a
listen - the instrument is given a
fresh kind of treatment by playing
music not originally intended for
WHEN CORYELL and Khan first
got together to feel out the possibili-
ties of such a musical venture, they
Sdecided to adapt and play material
not designed for acoustic guitar.
Coryell's manager brought them
together in early 1975 with the
suggestion of forming a dual acoustic
context, which might include some
electric, but would be "a tremendous
help to the finances".
After only one formal rehearsal
they went on the road, and recorded
the album en route. Whether compar-
ing the result to the first versions of
the songs, or judging them for their
own merits, the LP is no less than
"Son of Stiff Neck" is a co-
authored piece that's a rendition of
an earlier number done with Alvin
Jones called "Stiff Neck."
The guitars exchange and mesh well'
here (as on the rest of the album).
The communication is so tight they
seem to merge.
ALSO INCLUDED is Chick Corea's
"Spain," with some classy Spanish
inflections, and a tune by Coryell,
Long or Short
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611 E. University-662-0354
"St. Gallen". This one is filled with
abrupt stops and simultaneous
rhythm chords in different time sig-
natures. It gets very fast, a lot of
harmonics are thrown in (a delicate
technique which brings out a strong
resonance), and it ends in cheers.
Two WayneShorter songs are per-
formed with both guitarists strum-
ming back and forth and smacking
out super fast note leads, thumping
the box in rhythm. The audience and
artists hoot like crazy, and then the
sound drifts off gently. It is very well-
textured, and seems like there is an
entire orchestra playing at times.
The last song, "General Moto's
Well Laid Plan," gets extremely in-
novative. The beginning is polished
smooth and pretty, and develops into
a rough, harsh bending of notes and
hammering open strings. It is so
stunning as to force the listener to sit
up and say, "Wow! Where did he
come un with that?"
TWO FOR THE Road sets a new
standard for jazz and acoustic guitar.
Larry Coryell has a long history in
jazz, playing with every great from
Mahavishnu John McLaughlin, Al-
phonse Mouzon, Billy Gobham, Her-
bie Mann, Miroslav Vitous, Ralph
Towner, Randy Brecker, and the
Tuesday, February 14, 1978
TOUT VA BIEN
Director-JEAN-LUC GODARD (1972)
Steve Khan has played back-up for-
an incredible number of bands and
singers. A partial list of those having
enlisted his aid include Steely Dan, °
George.Benson, Maynard Ferguson,.
To make the recording easier to
hear, Coryell plays out of the right
channel and Khan from the left. The
playing and feel of the music here is
as sincere and pure as the thanks
Khan writes on the album jacket to
everyone who went to see them, "I'
hope that these performances bring
back nice memories of those even-
Coryell and Khan work well to-_ ,y
gether to produce an excellent
album. Two for the Road is sure to,.--
provide plenty fine evenings of-
1 and 2 bedroom apartments
includes security lock system, drapes,
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1693 Broadway, Apt. 302
Reaume and Doddes Management Co.
By ANNE SHARP
THE TURNING POINT is a film
about people passionately involved in
the world of ballet. Evolved in the
romantic era of mid-19th century
Europe, ballet depicts raccoon-eyed
women with sloping shoulders, long
legs and permanent buns at the
napes of their necks who go through
stylized, agonizing contortions, per-
iodically supported by men in in-
decently tight stockings.
Deedee (Shirley MacLaine), one of
Turning Point's main protagonists,
once had a conflict of interests
similar to that of the Red Shoes'
heroine. She is now a plump house-
wife with three adolescent children..
One night, while visiting old friends
backstage at the ballet, Deedee runs
into Emma (Anne Bancroft), a
former friend and rival from the
dance company who has gone on to
become a star. The two women are
drawn together in an uneasy camer-
dance with the lovestruck Emilia in a
mauve-lit, mirrored practice room
which dissolves into a real-life bed-
room scene between the two lovers.
As portrayed by Leslie Browne,
Emilia comes across as a colorless,
emptyheaded little priss. When Yuri
later deceives her with another
ballerina, Emilia, in a scene too cute
for words, downs a dozen Manhat-
tans, then shows up for a perform-
ance, comically reeling through
Swan Lake while Deedee and Emma
gasp in horror in the wings.
Although the other characters gush
over Emilia's talent, Browne's ac-
tual dancing is stiff and mechanical,
especially in contrast to Baryshni-
kov's brilliant execution
EMILIA'S INSIPID onstage ap-
pearances are constantly inter-
spersed with dramatic closeups of
MacLaine, lips tight with suppressed
emotion, and of Bancroft's craggy,
suffering face, supposedly reacting
to a knockout performance.
As if to compensate for the human
emotion lacking in the dialogue, the
NEWS FROM THE
MAJOR EVENTS OFFICE
Although the eyes of Ann Arbor will focus
on Steve Goodman, this Thursday night at
the Power Center, people around town are
also quite interested in the opening act, Jim
Post. A former Texan, now based in
Chicago, Post emerged in the folk era to
pay his dues. In a group titled "Friend and
Lover," Jim scored a hit song in the late
'60's entitled "Reach Out In The
Encouraged by friends to go out on his
won, Post went out West and released his
first album, "Colorado Exile" (long before
John Denver . . .). Most recently he was
nominated for a Grammy (on the first
round) in the folksinging category, with
the release of "Back On The Street Again."
One way to describe Jim is to call him an ex-
citing performer, but even that doesn't do
him justice. Come see what we mean. With
Jim Post and Steve Goodman on the same
stage, the evening should be a delight.
Tickets are $5.00 (reserved) and are
available at the Michigan Union Box Office
(M-Fri, 11:30-5:30). For more information,
please call 763-2071. Happy. Valentine's
actors continually hug one another.
Emma and Deedee, who embrace
throughout the film, have a con-
trived, phony relationship. Even
their climactic fight scene, where
Emma's guilt and Deedee's jealousy
come to a head, seems staged and
cliche-ridden. At one point, Emma,
incongruously, responds to a catty
remark by MacLaine by throwing a
drink in her face, just as Jose Ferrer
did to Fred MacMurray in another
film (one almost expects Emma to
shout at Deedee, "Here's to the real
author of The Caine Mutiny!")
Turning Point was supposed to have
provided meaty roles for two distin-
guished, gutsy actresses, Bancroft
and MacLame; but their tour-de-
force degenerates into an ineffectual
female wrestling bout, and Mikhail
Baryshnikov carries off the film in
his firmly-muscled arms..
This examination of the contemporary class struggle dramatizes the social
earthquake of the events of May, 1968. Godard demonstrates his commitment
to social revolution with his examination of the May '68 protests and the
impact it leaves on a leftist married couple-YVES MONTAND, a serious film-
maker who has lapsed into the "dolce vita" of television commercials and
JANE FONDA, an American reporter who decides to quit establishment jour-
nalism. French, with subtitles.
78 9p.m. $1.50
FRIDAY: Vincent Minnelli's LUST FOR LIFE
A few pennies from the jar:
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aderie, partly because of the mem-
ories they share, partly because they
are, in a sense, still rivals. Deedee
envies Emma's fame as a dancer,
and Emma, nearing the end of her
stage career, looks wistfully at
Deedee's home and family. Here is
the "turning point": Will the two
women stew in mutual jealousy, or
gracefully accept the lifestyles they
BOTH DEEDEE and Emma live
,vicariously through Deedee's pretty
young daughter Emilia (L e s I i e
Browne), a promising ballerina. We
get a glimpse of the fascination
which youth and the ballet hold for
the two women in a pleasant but
slightly dippy and overlong fantasy
sequence in which Yuri, played by
the nationally-acclaimed S o v i e t
dancer, Mikhail Baryshnikov, A foxy
devil who seems to be making it with
half the American Ballet Theatre,
goes through a pas de deux mating
Dylan Thomas' UNDER MILKWOOD
Professional Theatre Program's
Guest Artist Series Production
Wed., Feb. 15-7:30-11:00 p.m.
Thurs., Feb. 16-3:00-5:00 p.m., 7:30-11:00 p.m.