oprano still satisfied
By RICHARD LEWIS De los Angeles opened her perform- Faure art songs: One of them, "Tris-
ance with two short songs by Alessan- tesse," was delivered with a pathos that
'HOROUGHLY respectable, if dro Scarlatti. Ably accompanied by was deeply moving, and all were sensi-
ot thrilling, recital was given Graham Johnson, she started out with a tively done. But the recital's highlight
:toria de los Angeles Tuesday declamatory passage featuring a num- was the section of Spanish songs which
at Rackham Auditorium. The ber of sustained high notes. The strain concluded the program.
o offered an evening of songs detected in this passage fortunately dis- These songs, written almost ex-
aly, Germiany, France, and her appeared as the evening progressed. clusively by twentieth-century compos-
Spain, with only one operatic Piccini's "Se il ciel mi divide" was ers, pulled us out of the dreamy mist of
n on her program. delivered with great strength, although French art song and bounced us around
understandable that, after such a an ever-so-slight breathiness flawed the a bit. After Moreno's "To Huey Tlahtzin
id arduous career, de los Angeles Cuauhtemoc" came a lively pair of
choose a program relatively free victoria de los Angeles songs by Montsalvatge, to which the
1 gymnastics. Her heyday was in Rackham Auditorium well-preserved de los Angeles imparted
d-1950's, when her recording of November8,I1977
n" was made, not to mention the "Sono unite a tormen tarmi"... Alessandro Scarlatt
series of recordings with Jussi "La violette"........s.....Alessandro Scarlatti
SHer previous Ann Arbor ap- ii ciel mi divide"..........Niccolo Piceinni
ing. Hrpeiu n ro p "An die Musik"............... Schubert
ce was in 1951. If Tuesday's Graham Johnson, Pianist
did not feature a voice as daz-
s the one heard 26 years ago, it
heless presenteda voice capable singer's basically rich lower register.
arkable clarity and sensitivity. This problem cropped up more than on-
ce in later selections.
NEW PROGRAM THE GERMAN LIEDER that fol-
3HINGTON (AP) - The Na- lowed were, for the most part, tedious.
Endowment for the Arts has a De los Angeles gave them a very work-
1-million Livable Cities Pro- manlike treatment, but did not seem
particularly interested in any but the
ays the objective of the pro- final piece, Brahms' "Vergebliches

FREE FILM,,
Charlie Chaplin's '1936 $"
"MODERN TIMES"
First Presbyterian Church
1432 Washtenaw
8:00p.m. TONIGHT j

all the vicacity of a young girl. Audien-
ce enthusiasm grew as she wound up
the evening with works by Mompou,
Vives, and Obradors.
Two encores were demanded, and the
second - the "Seguidilla," from Car-
men - proved that Victoria de los
Angeles can still shake the rafters when
she chooses.
Opens Tonight!
8 P.M.
IN THE POWER CENTER
i OR THE PERFORMING ART
The~
Acting
Company
in
Nov. 11 & 12
Chapeau'
SAlfred Uhry & Robert Waldman
Musical Based Upon Eugene Labiche's
Italian Straw Hat.
Tickets available at PTP Ticket Offic?
Michigan League, Mon-Fri. 10-1 2-5'
Power Center BoxOffice
For information call:
(313) 764-0450, before 5
(313)763-3333, 6-8
SUNDA Y ONL Y
Nov. 13 mat. & eve
MOTHfER
by Bertolt Brecht
Tickets also available through Hudson's.

Dancing the night away Daily Photo by ANDY FREEBER(
Members of "Bites," a university dance group, practice for their concert tonight at 8 in the dance building
Shaw spoof succeeds

By CINDY RHODES
and DAVID VICTOR
T HURSDAY EVENING was the
first of four performances by the
University Showcase Productions of
George Bernard Shaw's Getting Mar-
ried. Written in 1907-1908, the play
has often been accused of being obso-
lete because it is said to be centered
on marriage and divorce laws.
'However, the play was defended by
Shaw in 1933 when he wrote that the
belief in its obsolescence was "a
striking example of the delusion of
progress which saves us from de-
spair." The play is still 'relevant' for
a modern audience because it does
not focus on the need for revised
legislation, but rather, it is a "ser-
fine arts
November 11 - The Rotterdam,
Philharmonic makes its Ann Arbor
debut with a program featuring-
selec'tionsby Dutch composers. 4: 0,
Hill Auditorium.
November 11-12 - Chapeau, a
Professional Theatre Progran pre-
sentation. Power Center.
November 12 - Penca and Topeng
Babakan. West Javan Music and
drama. 8:30, Rackham Amphithe-
atre.
Noveember 13 - Mother Courage.
The second of this week's Profes-
sional Theatre Program productions.
Power Center.
November 14-16 - Pennsylvania
Ballet. This celebrated dance com-
pany graces the Power Center stage.

mon on equality," focusing on the
attitudes of society toward the whole
subject of marriage and divorce.
The play, which takes place on the
12th of May, 1908, in 'The Norman
Kitchen in the Palace of the Bishop of
Chelsea" onthe morning of the
wedding of the Bishop's daughter,
Edith, has no act or scene divisions,
but is one continuous flowof action

Getting Married
By George Bernard Shaw
Arena Theatre
November 9-12; 1977
Directed by Andrew Mendelson

from beginning to end.
The opening of the play focuses
immediately on one aspect of mar-
riage -.domination by the husband.
"For the tenth and last time"
General "-B o x e r" Bridgenorth
(Thomas J. Badgerow) proposes
marriage to Lesbia Grantham (Shel-
ley Crandall), and she again refuses.
Crandall was very good as a woman
who does not want a husband
interfering in her life. However,
Badgerow was not as effective as the
'proper British general' as he could
have been. His 50-year-old general
came out as a somewhat spoiled
child. With the entrance of Collins,
the greengrocer and alderman (Da-
vid Manis), Badgerow tamed down
his overdramatization as he berated
Collins for not wearing his robe at all
times, even though Collins is afraid
he'll get gravy on it while he's
catering the food for the wedding.
The appearances of the next two
characters, Reginald Bridgenorth
(Howard Weinblatt) and his former
wife Leo Bridgenorth (Devorah Eizi-
kovic), were also overstated in the
beginning, but they too remedied it
by the time the Bishop enters. Leo
McNamara was perfect as the realis-
tic, practical Anglican churchman
whom nothing fazes. He was quite
convincing as one who is able to deal
with everything from anonymous
love letters to Edith's refusal to
marry because of the divorce laws.

One of the finest performances of
the evening was that of Lou Brock-
way as St. John Hotchkiss, whos
whole purpose in life is to be a
gentleman and a snob. He came
across as both quite well. There is a
tension between Hotchkiss and Reg-
inald, because Hotchkiss is the man
Leo wants now to marry (though she
really would like both), and this
tension was effectively communicat-
ed by all three characters. With-the
entrances of Edith and her fiance
Cecil Sykes, the play shifts from the
statiqg of grievances to finding a
possible solution.
The highlight of the show was the
performance of Zenobia Alexandrina
(Mrs. George) Collins, played by
Diane Tasca. She was- able to save
the show at the end, when the action
becomes a bit flat and repetitious,
and when the actors began to mess
up their lines a bit. Tasca's perform-
ance was more than excellent, to the
point of making Brockway's Hotch-
kiss seem not quite so good as it was
in the beginning of the play. At the
end, though, when he regains his
snobbery, he also regained his form-
er fine portrayal.
At the end, everything is solved by
itself: during, the arguing over the
marriage contract Edith and Cecil
run off and get married, Hotchkiss
decides that it was Reginald's com-
pany that he liked more than Leo's,
Lesbia declares her unlove for
"Boxer," Mrs. {George reveals her-
-self as the anonymous love-letter
writer, and they all leave to go to the
marriage-breakfast.
The quality of acting through
Getting Married was very high. Out-
standing were the performances of
Collins, Reginald, Hotchkiss, and of
course Mrs. George. The only pos-
sible flaw could be the overdrama-
tization of "Boxer" and "Father
Anthony," which cut down on their
effectiveness. However, the other
characters more than compensated
for this. One completely forgot that it
was a student production, not a
professional company, It was a play
well worth seeing.


-~1

1-

t ''

UNIVERSITY OF MICHIGAN
office of
MAJOR
EVENTS Presents

Ronstaidt

Fri. Nov. 11
Crisler Arena 8 pm
Reserved Seats $8.50

Jazz group to play
By PAUL SHAPIRO
T HE ART ENSEMBLE Of Chicago, one of the most innovative and
creative jazz groups of the seventies will be appearing at the Michi-
gan Union Ballroom Friday and Saturday nights, November 11th and 12th,
The Ensemble is comprised of five extremely talented musicians:
Roscow Mitchell, woodwinds; Lester Bowie, trumpet; Malachi Favors,
double bass; Joseph Jarmen, saxophones, and Dan Moye, percussion.
One of the first groups born out of the Association for the Advancement
Of Creative Musicians (A.A.C.M.), the Art Ensemble continues in their
tradition, drawing heavily on African rhythms, folk songs, traditional jazz,
and western classical music. Their approach to composition is based on the
concept of group improvisation and they were some of the first musicians to
further explore the work of John Coltrane and Ornette Coleman.
The Ensemble will be offering two workshops. On Friday they will ap-
pear at 3 p.m. in Soith Quad's West Lounge, and on Saturday at 2 p.m. at
Trotter House.
Tickets are $3.50 and available at the Michigan Union box office. For
further information contact Eclipse Jazz at 763-1107.
The U-M Men's
Uiersty of Mchigan
Glee Club
PR ESEN11TS

Tickets are available at the Michilgan Union Box
Office in Ann Arbor, and Friday at Crisler Arena.
Fri. Nov. 18
Hill Aud. 8 pm
Reserved Seats $6 $5 $4
Tickets available at the Michigan Union Box
Office in Ann Arbor, Huckleberry Party Store in
Ypsilanti and all Hudsons.

A m&ar*un

Sat. Nov. 19
Crisler Arena 8 pm

"THE LIGIITER SIDE"

with

II