ArsTHE MICHIGAN DAILY
rts & Entertainm ent Wednesday, February 16, 1977 Page Five


'Madeat', McBrideI
fill Ark weekend
By WENDY GOODMAN "Irish Rover", also the name
and MIKE TAYLOR of a boat that brought many
'fHURSDAY NIGHT is "local Irish to the United States, was
night" at the Ark coffee McBride's opening number;
house; last Thursday evening's right from the start, the audi-
Peter "Madcat" Ruth perform- ence was singing along with
ance was no exception to that him. He went on to sing suchI
rule. If the local flavor wasn't traditionals as "Dick Darvy, the
evident when Madcat, Ann Ar- Cobbler", "Farewell to the life
bor's incredible mouth harp of a Rover", "Ramblin' Robin",
player, adapted a line of Woody and "Finnigan's Wake". How-!
Guthrie's "Goin' Down the Road ever, McBride also performed a
Feeling Bad" as "IHuron River fair share of tunes not gener-.
Water Tastes Like Turpentine"; ally familiar in this corner of
and if it still wasn't absolutely the world. These songs includ-
clear when he complained in ed an Irish version of "Froggie
one of his blues numbers, "I Went a Courtin"', "Red Haired,
had to walk clear down to Vil- Mary", "Bosker", and "Keep
lage Corners . . .", then you ;Ahe Smoke from Rishing, Bar-
just had to know when he nev".
moaned he was going to "lay "This is my favorite song-.
my head down on a Railroad at the moment anyway" re-
line, let some Ann Arbor freight marked McBride as he lainched
train pacify my mind". into "the most powerful anti-
As if playing the guitar and war song I've ever heard".
an assortment of harmonicas Writte' by Scotsman Erik Bo-
wasn't enough, Madcat vowed gel. "And the Band Plaved
the large crowd with a penny Waltzing Matilda" tells the story
whistle, -a Mexican bird whistle, of Alstralia's narticipation in
jews harp, moraccas, and a tele- World War I. "In five minutes
phone. His songs ranged from flat, we were all blown to hell
a couple by John Prine, to some . . the armless, the legless,
credited to Little Feat, Mad- the blind, the insane" were
cat's favorite rock band, to one snnme of the lvrics, which con-
Danny O'Keefe's tune. He sang clde, "and the yomg peonle
a lot of blues and also gave "k whnt are they marhin
what he described as a "differ- for, and T a'ked myself the
ent" version of Hedy West's '500 sam"e ollestion."
Miles." It had a 5/4-tempo to
it; "I don't know how it's
s'nosed to go. I guess that'sthe '-
folk process", Madcat explain-
ed.a

Rocky:
By M\ICHAEL BROIDY
Rocky, playing at the Fifth1
Forum, is a charmingly grimy'
and ultimately beautiful storyI
of a likeable two-bit Philadel-
phia boxer who, through a fairy'
tale-like sequence of events, gets
a crack at the heavyweight
championship.;
Sylvester Stallone, a young ac-;
tor whose previous claim to1
fame had been a few low-budg-,
et exploitation films (like Lords!
of the Flatbush and Death Race
2000), portrays the title charac-
ter, Rocky Balboa - a punchj
drunk boxing reject, scorned by,
his trainer (Burgess Meredith)1
and initially rejected by the
girl he so desperately tries to!
woo (Talia Shire).
In the course of the film, how-I
ever, things begin to change for1
our hero: Rocky's perseverance.
finally pays off as he' breaks
through the girl's shy, spinster-
ish shell to reveal a maiden who
becomes Rocky's inspiration.,
ROCKY'S BIG CHANCE ar-:
rives when a Muhammed Ali-
type character called Apolloi
Creed (Carl Weathers, a former
boxer) sets in motion a Bicen-
tennial hype to end all hypes-;
a chance for an unknown box-'

Sensitive

tale

role. He displays an intense without'ever losing sight of the
feeling for the character (he storybook nature of the film. He
even nicknamed him the Italian is expertly assisted by James
Stallion-Stallone is stallion in Crabe's appropriately seedy
Italian). Rocky is one of the cinematography which nicely
most beautifully realized per- captures the shabbiness of
sonages of the past few years Philadelphia's underbelly.
and Stallone deserves credit for THE PERFORMANCES are
not only his wonderful perform- uniformly superb. Burgess
ance, but for a screenplay that Meredith is poignant as, Rocky's
manages to be artistic without trainer, a man who is reju-
detracting from the simplicity- venated by Rocky's new-found
of the story and characters. His goals; Carl Weathers is appro-
screenplay is funny, touching, priately haughty and overcon-
sometimes bitter;- Rocky's hulk- fident (but stilf ikeable), as the-
ing, inarticulate, awkward fa- boxer who discovers'he may
cade encases an intelligence and have gotten more than he bar-
sensitivity that is capable of gained for; and Talia Shire is
good deeds that go unapprecia- convincing as the spinsterish
ted (when he tries to dissuade Plain Jane who is transformed
a young. girl from becoming the by Rocky's love into an inspir-
neighborhood whore, he is ing beauty (I told you it was
thanked with a "Hey, Rocky! a fairy tale).
Screw you, creepo!"). But the film really belongs to
Rocky marks a high point in Sylvester Stallone, who not only
director John Avildsen's ca- wrote and stars, but also chore-
reer'. Like his star, Avildsen's ographed the climactic boxing
beginnings were modest to say match, a most powerful se-
the least (his first few films quence where each blow lands
were semi-pornographic cheap- like an uppercut to our own
ies) until he directed the in- jaws; it is a scene that leaves
expensive but fascinating Joe audiences cheering wildly. Stal-
and the undeservedly ignored lone gives the film its heart and
Save The Tiger In Rocky, provides its audience with a
touching, exciting, and highly
Avildsen displays a thorough enjoyable experience.
--~-.-.-- ...,~d


er to fight the reigning champ'

Co;Iv Photo by ALAN BiLINSKY
Actors in the Eleventh Hour Players' version of "A Day in the Death of <Joe Egg" last week
do their parts, so to speak.

g1

proves over-satiric

Four songs into the first set,;
Madcat peered into the audi-
ence. "Is Percy Danforth
around? I'd like him to come
up here." In response a young;
spirited man just three years
short of four score walked up
to the stage. Madcat introduced
him as the United States' great-
est bone player. While Madcat
ran through three numbers,
Danforth, also of Ann Arbor,
sounded like an entire percus-
sion section as he played his
bones, twisted, and danced
along.
AS MUCH AS Thursday eve-

.~

By SUSAN BARRY
WHEN JACK McLaughlin as
Brian in the Eleventh Hour
Players' production of A Day!
in the Death of -Joe Egg stepped1
onto the stage and proceeded to
affront the audience with silly
commands, its most immediate'
reaction was uncomfortable, al-!
most embarrassed laughter.
McLaughlin's intense, unflinch-
ing stare had a compelling pow-
er toacommand concentration
;that was only almos~t imnerceD-

all too familiar with, and
caustically benumbed by Irag-
edy. His comments were cut-
ting, cynical, and ridiculous, but
they were invariably laced with
a resigned desperation, and re-
flected an unwillingness to con-
front the reality of his exist-
ence.
THE PLAY BEGAN with a
dramatization of the sexual dis-
solution of the marriage. From
thereait proceeded to a burles-
que act by ;Brian and his wife

vegetable, that she is in fact .;character which was necessary

human because she possesses,
the faculties of reason and will.
Brian, on the other hand, has
the reason to perceive his prob-
lems, but he cannot exert his
will to change them, or even
to face them. So he builds a
wall of indifference between
himself and reality, a wall that
is constantly crumbling around
him. Even in his decision to
leave he fails to assert his
strongly-voiced opinions, as he
assures his wife they will goy
away together, then sneaks out
the back door with his valise.
JACK McLAUGHLIN as BrianF
made effective use of the male',
ability of his voice and features
to encompass Brian's self-con-
fident/self-deprecatory attitude.r
His tone could be wonderfully:
belligerent, especially when em-
ploying his wit, a sort of under-
statement masquerading as per-
ception.

to make some of his more ma-
cabre jokes work.
Kathleen Conlin as Sheila, on
the other hand, just didn't
achieveenough believability.
Her actions seemed inconsistent
and a bit clumsy. The best clues
to her personality were given
by Brian in his monologues. But
I repeatedly found myself won-
dering, what does she really
want?
DIANE ELLENBERG as Pam
'was appealing in her com-
mitment to her elitism. Her hus-
band Freddie, the faddish phil-
anthropist - played by John
Wojda with convincing superfic-
iality - attempted to criticize
Brian's metaphors with cliche
hypothetical situations, in a vain
attempt to break down Brian's
fantasy world.
In the final analysis, the play
relied too heavily on clever dia-
logue sentimentality and the

ning belonged to Ann Arbor, tibly tol.hed with a hint of sar Sheila portraying the discovery
Friday and Saturday . night's donicsm. of, and attempts to treat, their
performances at the Ark could This rather satiric duality in child's illness - with both doc-
not even be considered nation- his character set the mood for tor to evangelist.
al. Owen McBride, who present- . .Eventually their discussion
his role in the play, as well as Evnuly terdssio
ly lives in Toronto, sang songs h up a treponding quli was brought around to God, who
andin tol tae ofrrScotland andli
and told tales of Scotland and -is seen by Brian, in one of his
Ireland, of workers and lovers. ty mo the reaction of the audi- r
Whether or not you went to ence. That is, Brian's metaphor- delightfully sa "manic-depressive
the Ark either of these two Ic obsrvations were superf rugby footballer," whose will
arugb foouitere whoseng willhen
nights merely for entertain- all quiter an t when was not reflected in the deform-
ment, you had to come away the laughter began to subside, it of his child, "in fact it ab-
a little more knowledgable a more disturbing element be- ; ouy brnshmdw.
about the tinkers of Scotland, gan to rise to the surface, an so t as brngs nthe doicussion
old cobblers' methods, proce- element of pathos that forced It ase in the dusn
dures - for asphalt laying, fixed the observer to question his or of blame, that the true naLture
her own motives in reacting: of the characters' personalities
marriages and penalties for temerged momentarily Sheila
"messing around" with the with amusement to something blamed herself believing that
farmer's daughter, Gaelic vo. that was so intensely unfunny. her former promiscuity render-
cabulary, Gaugers and Pachin The play was basically con-
(mountain tea), and World War cerned with a day in the life- ed her unfit for motherhood. In
I. Perhaps McBride's greatest of the parents of an extremely fact, marriage had turned
asset ihs rich and flavorful epileptic child. If that sounds Sheila's promiscuity outward.
asse is hisrll richce analvofleplpi
voice. He not only uses it in like the basis for comedy, it's - " lay B ra c all
songs, but also when relating time to start worrying. And thngs," says Brian, which in-
folk tales learned from the yet the humor arose from the chudes her plants, her pets, and
Shanachies of his homeland. sensitive consciousness of a man her child. But Sheila is physi-
,______. s~ally frigid, unable to conceive,'
or even respond to Brian's sex-
ual advances.-
Bs BRIAN, ON THE other hand,
ally impotent. He is a child who
t never grew up and is still pull-
MO~laOveT uSIC"""""ing n
mooa over music He wants magic, in his marri-
By WENDY GOODMAN troducting Thompson, a black 'age and in his life, which caus-
By WNDY OODAN todutingThopson a lackes im to invent lovers for his
and MIKE TAYLOR percussionist hired for the tour, ses herf hs
Colinsquppe, "e ickdthmu wife, which she takes seriously'
GOAMING AROUND Masonic Col1ins quipped, "We picked him and resents.
temple last Saturday night up coming into Detroit - he's His problem is highlighted in
were 600 Farrah Fawcetts, 450 not bad for $3 per night, don't Sheila's observation that her
demi-Farrahs, 75 Chers, and you think. Accompanying this idiot child perceives a tower of
one Telly Savalas. Vendors, remark, he picked up a stool blocks and knocks them over.
weighted down by 500 $5 T-shirts lion-tamer fashion, jabbing it This proves that she is not a
towards Thompson, who snarled
a~nd 200f $2 vrogr-ams, velled, -R. _r _a+_~

Creed for the title. and uncompromising uuner--
Stallone, who also wrote the standing of the low-life boxing
script, is marvelous in the title world of the Philadelphia slums,
~ -~ -______
Samuel Fuller Double Feature
PICKUP ON SOUTH STREET
(AT 7)
A cheap crook picks the purse of a young
woman on the subway, the woman is an under-
world contact and must get it back. Tout acting
by Richard Wi.dmark and Jean Peters.
RUN OF THE ARROW
(AT 9:05)
Rod Steiger, Charles Bronson and Brian Keith
star in this unusually fine western.
CINEMA GUILD $1.25for one OLD ARCH. AUD.
A Reading of E. P. s Cantos in Italy
From 1 July to 25 August a viv a
i ore reading of Ezra Pound's Cantos
will be the center of a study session
at Brunnenberg Castle in Northern
Italy. , The castle is the home of
Mary de Rachewiltz, the daughter
of the poet. In addition to critical
studies of materials related to the
Cau/ov, independent work will be
offered in beginning and advanced
Italian, Latin, Greek, Chinese and
Provencal. Workshops in music (for
singers, composers and poets), in
poetry, in translation, and in Chi-
nest and Japanese literary forms will
be offered. If you are interested in
attendinig the session, write or call:
Arts & Letters
141 South Professor Street
Oberlin, Ohio 44074
(216) 774-2859

I

t
c
t

1V.U , a4l 4Ltil , ilt L
But even more remarkable cliche of exposing cliche. That;
was his timing, particularly in the play succeeded in spite of
the scene where he broke down this was' largely due to several
and confessed his longing to go outstanding performances that'
home and visit the relics of his compelled the audience to be-
youth. McLaughlin generated a come involved with the charac-
great deal of sympathy for the ters' thoughts and motivations.!
SUMMER WORK EXPERIENCE
INTERNSHIP PROGAM
NATIONAL ENDOMENT FOR THE ARTS
13 WEEK SUMMER PROGRAM
WASHINGTON, D.C.
Stipend plus travel expenses
Gradaute Students and Staff eligible
FOR FURTHER INFORMATION, CONTACT
GRADUATE SCHOOL FELLOWSHIP, OFFICE
160 Rackhom (764-2218)
APPLICATION DEADLINE FEBRUARY 25, 1977
ANN AUIFC2 [IM CC-Cr
TONIGHT in AUD. A, ANGELL HALL
WEDNESDAY, FEB. 16
82 (Otto e MeZZO)
(Federico Fellini, 1963) 7 & 9:15-Aud. A
Marcello Mastroianni, the film director haunted by fears of his
failing inspiration, embarks on a grandiose project that will turn
his own life into a film. Fellini's homage to himself? Perhaps, but
certainly the paradigmatic film about filmmaking. Fellini says the
fim "can be described as something between a mudded visit to
a psychiatrist and an examination of a disordered conscience with
Limbo as a setting. It is a melancholy film, almost funereal but
emphatically comic." The title? This was Fellini's eighth and one-
half film. "Fellini's 82 certainly 'ranks among the most brilliant
cinema works of our time, an intellectual, and artistic exercise of
the first rank."-Judith Crist. Marcella Mastroianni, Anouk Aimee,
Claudia Cardinale, Sandra Milo. Dubbed.
SHOWTIMES ARE 7 & 9:00
Admisison $1.25

", - as if it was part of tne act.
hoarsely. Surrounding the crowd'
was the lush aroma of grass To the group's credit, the con-
and hash, and "two dozen plus" cert was quite exciting at times.
billy club clad security officers Every now and then there were
who didn't seem to care. And up moments, if short-lived, of glori-
there on the stage was Genesis, ous rock'n'roll. In addition,
a first rate group doing a sec- "Supper's Ready, a lengthy,
ond rate show. well-developed song from sev-
Although the concert had its eral years back, was perform-
worthwhile moments, Genesis' ed with stunning laser and light
sophisticated music was all but effects. The encore, done in Red-
lost in a barrage of too much wing uniforms, of "The Lamb
electricity. Tony Banks on key- Lies Down on Broadway" and
boards, Steve Hackett on guitar, the climax of "The Musical
bcaes, the fd on gbasBox" was energetic and stir-
Michael Rutherford on bass, rn.
Phil Collins and Chester Thomp- rng. 0. -
son on drums all appeared to
be competing against each oth-
er, rather than playing as a uni-
fied group. Throughout the show A Y OU
Collins had to sing so close to
the microphone to be heard Wednesday Sp'eci
above the inst-uments that most
of the lyrics were rendered in-. jJ 1 .
comprehensible - a true shame, B ak ed
considering the sensitivity of the
group's words and themes. D 0NE HoCm e : MaeBkdL
The band's performance of " Large Pretzel Bell Salad
"Afterglow," a tune from their 0 Steaming Hot Basket o
new album, Wind and Wuther- with Creamery Butte
ing, epitomized what was wrong; $3.95 ADULTS CHILD
with the concert. What should
have been a mellow love song T A
came arrss as an electrical T U S A

artistic writinq
If you are interest-
ed In reviewlag
poetry. and music
or writing feature
stories abou atue
drama, dance, film
arts: Coutact Arts
Editor, c/o TIe
Michgan aily

CAN EAT!
jal 5 to 10 P.M.
asagna
sagna
d with Choice of Dressing
f Russian Rye Bread
r
DREN Under 12---$1.75
SPECIAL

THURS.,

r
FEB. 17 in AUD. A at 6:30
ALAN RUDOLPH

.will speak and preview his
new film "Welcome to L.A."
PART OF THE ROBERT ALTMAN FESTIVAL
TRUFFAUT'S

1I

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