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October 20, 1976 - Image 5

Resource type:
Michigan Daily, 1976-10-20

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Sn te rta in m e n tWednesday, October 20, 1976 Page Five

---Ken Parsigian
"INDECISION is the pitfall of all bridge players," explained
Bruce, who was giving one of his daily lectures to- Rico and
Margie. "When a declarer can't make up his or her mind, that's
the first step down the road to defeat."
"I don't know about that," I called as I walked into the
room: "Why, sometimes indecision can lead to a master stroke.",,
"That sounds like the introduction to a hand," said Rico.
And of course he was right. So, without further ado, I scribbled
down the following:
A A 10 x x
V K x x x
K x
West East
Ax Axxx
rQ10 Jxxx
f*QJ1oxxxxxx - f
4J 4KQxxxx
4 K Q J x x ;
A x x
*A x
4x x x
"GREG WAS sitting South, Ann Marie North, and Susan
and Stu East and West respectively. Despite Stu's 4 diamond
pre-empt, Greg and Ann Marie had little trouble reaching a
solid 4 spade contract. Stu led the Queen of diamonds, and Greg
paused to think.
"There should be no problem," he said to himself, "but the
experts always tell us to do our thinking before playing .to the
first trick, so that is what I'm going to do. Now, the first thing
to do is. count my losers. I only have three losers-two clubs
and a heart - and since I am only in 4 spades, all should be
well. The only thing left to decide is where to win the first
Greg saw. arguments for both sides, and after nearly a min-
ute of trancing during which he changed his mind 5 or 6 times,
he finally decided to win it in dummy.
"KING PLEASE, partner," he called. And Ann Marie duti-
fully tossed the diamond King on the table.
But, even though he had called for the King, Greg had really
not made up his mind yet, and by the time it came around to
him, he had decided to win it in hand. Now, we all know how
absent-minded ;Greg is, and when he is thinking about his play
to a trick he rarely notices or remembers anything else about
the hand. This was the case, as Greg, having forgotten that he
had already played dummy's King, and not having noticed that
Susan had ruffed, tried to win the trick with his Ace.
"Not so fast!" cried Stu as Greg tried to gather in the first
trick. "I believe my partner trumped it."
GREG LOOKED at the trick, and sure enough, Stu was
right. Susan had trumped, and the trick was theirs. And to make
matters worse, Greg had thrown away both his Ace and King.
And what could he say? T t he had forgotten he had played '
the King? He knew it woud be embarrassing but there was
nothing he could do about It now, so he decided to concentrate
on the hand. Susan returned a small heart, and Greg paused to
consider the hand.
All hope of making the contract was lost, he reasoned, since
in addition to his original three losers he now had added the
ruffed diamond. But, this was also encouraging since there
was nothing he could do about the ruff, so he would have been
down one trick even if he hadn't lost both the Ace and King
on the first trick.
"Now at least I won't get yelled at," he said to himself.
THEN it occurred to him that he might eliminate the effect




By SCOTT EYERLY themselves which doesn't often typical of Studio Theatre direc-
'44tHE EMPHASIS is on the happen in experiences as basic tors: a teaching assistant who
process, not the product." as this." offers students her background,
This is Vera Moorehouse's de- The accomplishment is con- but who is seeking some ex-
scription of Studio Theatre, a siderable, considering that four: perience herself. The wife of a
performing and learning pro- of the five actors were fresh- professional magician and pre-
gram run by students within the persons. sently a Ph.D. candidate,
drama school. Moorehouse, us- Materials are limited also. Moorehouse holds a bachelor's
ing the one Studio Theatre pro- Besides basic technical equip- degree from the University of
duction she has directed as a' ment, occasional costumes, and Illinois and a masters, from
basis, offers interesting in- "laboratory pieces," which are Eastern Michigan, both in the-
sights iito the entire program. painted blocks usable in many atre history and criticism. Yet
Though actors in Studio Thea- ways, the school gives the pro- she claims laughingly, "I'm not
tre productions may be in any gram nothing but a rehearsal a director."
class, directors and head tech- area. Admission is free to all Stu-
nicians are usually graduate I , dio Theatre performances. Next
students. Administrative Assist-~ ARE YOU kidding?" ex-
ant Lynn Musgrave explains claimed Moorehouse. "I had to in the series is Voices by Susan
the process as one of "step- buy the cookies for our garden Griffin directed by Darlene
ping stones": only after a direc- lunch scene." 'Peitz, October 20-21 at 4 p.m.
tor completes a Studio Thea- But as successes like The: Later productions include Ren-
tre production can he or she Fantasticks, Free Verse, and dezvous by Benjamin Bradford
petition for the direction of Our Town have proven, the vit- and Eugene Ionesco's The Bald
Showcase, which in turn may al materials of the theatre are
lead to a play in Power Cen- imagination and a willingness Soprano. Each will be perform-
ter. During the course of the to work - qualities Moorehouse ed in the Frieze Building's Are-
production a faculty member has well in stock. She seems na Theatre.
will attend 'several rehearsals,
to evaluate the director and of-
fer advice. Moorehouse stresses
that this person is "an advisor,S
definitely NOT a sponsor. The . SPONSORED BY THE OFFICE OF ETHICS
faculty member is there to AND RELIGION AND CANTERBURY HOUSE
make suggestions."

REHEARSAL time 'is mini-
mal. Moorehouse was allowed
but two weeks when preparing
Anouilh's Cecile, or The SchoolI
for Fathers for performances'
[earlier this month; as a result,
her players put in three to four
hours per day. She admitted,
"It's work. But the cast achiev-+
ed an incredible rapport among

WORLD-RENOWNED pianist Alicia de Larrocha, who performed Monday night at Hill Aud.
before an enthusiastic audience. De Larrocha is one of the foremost members of the Spanish
musical world today.

Several Michigan professors have'been
asked to prepare a lecture as if it were
the last lecture they would ever give-(
to consider what they feel would be
most important to say.
Prof. Henryk Skolimowski

De Larrocha" spark



B background-she was born
in Barcelona and is one of the
leading representatives of Span-
ish music - one might expect
Alicia de Larrocha to be a
tempestuous, emotional pianist,
given to showy pyrotechnics.
But de Larrocha's classical
training lends her such control
that even her fortissimo 'pass-
ages have a muted tone; they
have all of the power with
none of the bite. Her stoic, al-
most bored countenance, then,
belies her inner concentration.
Every phrase is carefully
thought out and meticulously
The first half of her concert
in Hill Auditorium Monday
night was devoted to the works
of Mozart. Playing three classi-
cla pieces in a row is a diffi-
cult feat to pull off, but de Lar-
rocha managed to hold every-
one's attention. Her touch was

marvellous, especially her pi-
anissimo, which was always dis-;
tinct yet ethereal.
THE RONDO IN D is a light,
pleasing piece in which the art-;
ist was able to bring new ap-
proaches to each, variation so
that it sounded like new mate-
The Fantasy in C minor, which
de Larrocha played very pian-
istically, is more dramtic in
j nature. Harpsichordists would
probably be insulted by her per-'
formance of it, thinking Mozart
should be played on their instru-
ment only, as the composer him-
self performed it. De Larrocha,
however, though generous with
her pedal and dynamics, retain-
ed a precise articulation. Though
she had a tendency to wax mel-
low in her middle sections,.nev-
er did she relax her tight con-
trol: every note had her full
Mozart's last piano sonata,
the D Maior, has two contrast-

ing themes in the first move-,
meit that de Larrocha brought
out beautifully. The Andantino
con espressione was pepform-,
ed with delicacy and the Finale
with its contrapuntal writing
and brilliant runs gave a furth-
er hint of her technical pow-;
BUT IT WAS in the four pre-
ldes by Rachmaninoff that all
of the pianist's skills were util-
ized. Opus 32, No. 12, with its ,
ostinato passages, brushed light-
ly as snow falling; Opus 32,
No. 2, strangely mystical, Opus
32, No. 5 and Opus 23, No. 5
all revealed great musical in-.
stincts. The last number, with
its almost Bolero-like rhythms,
was a perfect lead-up to her
final piece, the Sanlucer do
Barrameda by Turina.
The Sanlucer is a Snanish
impressionist piece with French'
characteristics. Its rhythms and
exotic tonalities were exciting,
even if the piece was a bit
drawn out and repetitive.

In spite of the fiery flamenco
passages, however, de Larrocha
held herself back and the per-!
formance of the Spanish piece
lacked the sense of spontaneity
that such indigenous folk tunes -
demand. Still, the lyric passages
had the loving sonority of a
guitar; and, following them with
two flashy encores, de Larro-
cha left an enthusiastic audience
behind her.

FRI.-SAT. $2.50


U-M Stylists
at the UNION
to the
613 E.Liberty
and receive


ballads, songs & tales
without a doubt one of the
finest living singers in (or out of)
any tradition from anywhere."
-New York Times


Hard Rain': Lazy5 confused.



of his original blunder and still manage to go down only one !,IT'S NOT his palpable obnox-
by means of an endplay. So, with this in mind, he won .his heart iousness. It's not even his
Ace, drew trumps in two rounds, and cashed both the Ace of $2 million onion - domed Mali-

clubs and the King of hearts, before leading a small diamond
to put Stu in.
'Stu won the trick, and with only diamonds left in his hand
he continued with a diamond.
Once again Greg stopped to think, and Ann Marie cupped her
hands about her head, sensing the imminent disaster.
WHENEVER he stops to think he throws away another
trick," she whispered to me.
And it appeared that she would be right, because Greg was
unsure for the second time in the hand. He couldn't decide which
hand to ruff in and which hand to discard from. While he wasI
thinking, he called for a small club from dummy, and once again
he changed his mind by the time the trick came to him, so he
pitched a small heart from his hand, inadvertently giviig Stu
the trick.
"I can't believe it!" cried Stu. "He did it again," he said as
he tried to control his laughter.
ANN MARIE turned away in disgust, and Susan giggled un-
der her breath.
Greg was now desperate. He was being ridiculed, and he had'
to find some excuse. He didn't mind losing, but he demanded
some respect. He didn't like being laughed at.
"The trick has gone exactly as I intended from the outset
of the hand.," announced Greg. "Now would you kindly lead to
the next trick."
"ARE YOU saying that you did that on purpose?" asked Stu
"Yes!" said Greg firmly.
Still laughing, Stu finally led another diamond, and Greg
paused to think one final time. But, as he was pondering whether
to ruff in dummy or his own hand, it suddenly occurred to him
that the contract was now cold. He pitched dummy's last club and

bu hearth.
Really, it's not.
No, what's really bothersome
about Bob Dylan is his god-
damn laziness. It's finally
caught up with him. And, more
important, he knows it.
ON HIS latest release, a live
recording entitled Hard Rain,
Dylan is a wounded animal.
He's desperate, worried and
His is the voice of someone
whose impassioned words have
been ignored. And he's bitter.
The times have a-changed
without him. Why dirge when
you can disco, people say.
In spite of it all, he is trying.
That is this album's most re-
deeming characteristic.
THE MUSIC is raucous and,
generally, pretty thin. The gui-I
tars snarl and spit, angry but
undirected, although they at
least try to canture Dylan's in-
tentions. Which is more than
can be said for the rhythm sec-
tion. Inter - action between$
drums and bass is minimal,
and the relationship of both to
the music as a whole is neglect-.
ful at best. There are times,
however, when everything (ac-
cidentally?) clicks. Rarely, but
when it happens the result is
nothing less than rewarding.

"Lay, Lady, Lay" retains
none of the romanticism it may
have at one time possessed. On
Hard Rain it is a compelling
chronicle of loneliness and in-
complete comfort. When Dylan'
wails "Let's go upstairs'Who
really cares" it stings. It's ac-
tually painful to climb those
stairs, again, for the emotional
massage is just transient so-
lace. In our liberation, Dylan
has observed our impotence.
Hard Rain is a testament to
regret. At 35, the pronhet turns
his eves to the past. Dylan sees
an ugly vision but is honest
enough to reveal the sight in
what turns out to be a rather
cruel passion play. Aging fast,
he's all too aware of his mor-
tality, and he's not sounding
'rosy about the future.
INDEED, time, it seems, is
not on his side. In "Oh, Sister"
he laments "Time is an ocean!-
hut it ends at the shore' You
may not see me tomorrow."
And again in an excellent
"You're A Big Girl Now":
"Time is a jet plane / it moves
too fast' but what a shame1
if all we shared can't last." The
latter song has an aura of in-
conclusion about it, as if he is
defaulting on his destiny. Dur-
ing his contemplative evalua-
tion, the past seemed so mis-
spent that he has turned his
back on the present. Not unlike
'Richard Nixon before him, Dy-
Ian has trouble looking square-
lv at the present, and has opt-
ed for a West Coast shelter

where he can turn his bac
the country. But in so d
he has foreclosed for now.
Hopefully, he's just cat
his breath. There are s
good thing yet to come,
as there ard good things on
album. But whether Dyla
capable of producing an a
the likes of, say, Blond
Blonde again is questionab
Only time can tell. An
Hard Rain Dylan is afrai(
running out, or at least c
ing up. Which it is rem
largely his own decision.
OCTOBER 19 & 2'
Tu-Fri 10
Weekends 12
First Floor, Michigan Unio

k on
n this
an is
e on
id on

Formerly the head weaver at Colonial Williams-
burg, Norman Kennedy hails from Aberdeen,
Scotland, has been adopted by an American
Indian tribe, is totally charming, and a highly
polished performer.
TIVE in a benefit for the Ark. $1.50
one of the top harp players in America, and
from Ann Arbor no less!!
WED.-HOOT ............... ... 75c

1421 Hill



II it's
'ains the
- world
T Of...
-rte !___-----_.LIVE ON STAGEfimo
GENE RODDENBERRY, Creator of STAR TREK, will present thp original pilau film of
STAR TREK, never before seen by the general public & the HILARIOUS OUTTAKES
and BLOOPERS - PLUS an insight into the creation and Creator of STAR TREK
V along with questions and answers from the audience. DON'T MISS IT
SAT.' OCT. 23 & SUN. OCT. 24
-6S 12:30 PM & 7:30 PM
,34 0aS a-1 A04th St. at Washington " Downtown, Royal Ook
For Mail Orders Send a cashiers check or money order with a self-addressed stomped envelope plus 50c
handling to: Royal Oak Theatre Box Office, 318 W. Fourth St., Royal Oak, Mich. 48067 (Please indicate day

__. -

October 20-24




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