Page 6-Wednesday, November 16, 1977-The Michigan Daily MENDELSSOHN TO GERSHWIN PERFORMED: Pennsylvaniaj By STEPHEN SELBST A FUNNY THING happened Mon- day night when the Pennsylvania Ballet took the stage at the Power Center; this exquisite company, justly celebrated for its characteris- tically high level of execution, was sloppy. The timing of the ensemble dancers was off perceptibly enough to send a quiet buzz of conversation coursing through the orchestra seats. But it must have been a'fluke. After that slightly shaky start, the com- pany proceeded to delight the aud- ience with a program that leaned heavily on classical ballet, but included a highly pleasing modern piece. And after the rough beginning, the general' level of execution was quite good, especially in the solo dancing. The company performed two, num- bers choreographed by George Ba- lanchine, Allegro Brillante, and Scotch Symphony, set respectively to Tchaikovsky's P i a n o Concerto Number 3 and Mendelssohn's Sym- phony Number 3 in A Minor. The company also performed Rialto, billed as "A suite of Art Deco Dances" set to the music of George Gershwin, and Grand Pas Espagnol, set to Five Spanish Dances by Moritz Moszkowski. AS FAR as technical flaws go, the Ballet p only serious problem of the evening came during Allegro Brillante. The timing of the ensemble dancers was shaky throughout the early portion of the piece. But this in no way detracted from the performance"of the principal dancers, Michelle Lucci and James Mercer. Lucci has the great quality of being able to command attention on a crowded stage; in the midst of a whirling company her movements seemed almost effortless, and al- though the sweat on her neck was visible a good distance away her face never once betrayed exertion. She radiated the warmth of an innocent while performing sophisticated danc- ing. James Mercer supported her cap- ably. Helping with the spins he looked occasionally mechanical, but leases at Power Center for such a large dancer he seemed well in control of his body. THE PLEASURE derived from observing Allegro Brillante comes from the strong contrasts in the piece. Typically Balanchine, it alter- nates stretches of busy, almost frenetic group dancing with stretches of pas de deux and solo dancing that are exquisitely lyrical. Largely on the strength of the principal dancers, the company was able to carry the piece off successfully. The other Balanchine work, Scotch Symphony, was classical ballet in the truest sense of the idiom. The piece featured a large ensemble, a recog- nizable story line and lovely solo dancing. As the prima ballerina, Alba Calzada was the clear star. Her arabesques and pirouettes were flaw- less and her legs were flexible almost byond the bounds of credibility. Seemingly at the apex of a leap, she would find an extra six inches to extend her foot in. Not once, not twice did she do this, but throughout the performance. TOO BAD her partner, the Scots- man, played by Steven Majewicz, was not so capable. Of the Pennsyl- vania dancers given major roles, only he was disappointing. His sinewy, muscled legs suggested power he never displayed. And, during his moments of solo dancing, it appeared as if he was only half trying; his axial spins lacked convic- tion. These flaws might be forgivable; but in addition, he was flatly wooden. His face never showed an expression throughout the number. By compari- son, most of the members of the company seemed aware of and pleased with their performances that Majewicz seemed a scarecrow amid a group of children happily let out of school for the semester. Rialto, a suite of modern dances choreographed by Rodney Griffin, was the only nonclassical number presented. Quite accessible to the audience, it featured a number of short dance sketches, similar in tone to vaudeville blackout numbers. The idea worked delightfully. The costumes the dancers wore were witty variations of formal evening clothes, and the backdrop, a glowing Art Deco amalgam of skyscrapers, See PENNSYLVANIA, Page 7 . . . . . . . . . .." ..:.: ........:..... .. the nn arhor f lm cooperative TONIGHTI Wednesday, Nov. 16 THE RAIN PEOPLE (Francis Ford Coppola, 1969) 7 ONLY-AUD A Coppola (GODFATHER I and II, THE CONVERSATION) directed this film about a married woman who tires of domestic life and takes off. Shot on the road with the crew living in and out of a bus, this sensitive film remains Coppola's personal favorite. Sandra Knight, James Coon, Robert Duvall. ALEX IN WONDERLAND (Paul Mazursky, 1971) 9 ONLY-AUD A A novice film director tries to find his "Wonderland," not in any specific place, but rather in his cinematic ideas and fantasies. After the New York success of his first film, he makes the pil- grimage to Hollywood to start another, only to be haunted by Felliniesque sequences from 8'/. Torn between being considered pretentious, he is compelled to visit the Master, Fellini: the result,.a visionary movie from director Mazursky, With Donald Sutherland,,Ellen Burstyn, Frederico Fellini, James Moreau. Plus Short: BETTY IN BLUNDERLAND (Dave Fleischer, 1934). Betty Boop falls asleep over her book and dreams those dreamy dreams. Funny, inventive, a classic of American animation. Yh XMIX.":: "mv{n'! s f'' ,k4 :x i iii' "; $ },i i". iii :.t...vv."Y YC RESIDE NOVEP EAS ENTIAL COLLEGE PLAYERS present lB EUNUCH Area punk bands hit Second Chance of TERENCE MBER 1718,19 T QUAD Al 8 clock PM JUDITORIUM Single admission $1.50 Double feature $2.50 i admission $1.50 }}}vy +: i:i ?"Y: $::}tiff:{yv tir 'v:};:;'.;'-i .n'vK{' . Lti "::::'?' 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