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February 10, 1976 - Image 5

Resource type:
Michigan Daily, 1976-02-10

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Arts& En e ti mt Tuesday, February 10, 1976PaeFv

'Way o fthe
By ANDREW ZERMAN have used more rehearsal time.I
THERE ARE few more e x - That the actors have been care-
quisite pleasures in life than fully coached in Restoration
watching a comedy of manners style and movement is clear.
when it's done well. It does have The men remember to dis-
to be done well, though, and the play their "parts" (which,
Acting Company's production of though the Restoration was a
William Congrave's The Way of licentious period, meant nothing!
the World Friday night at the more naughty than their calv-
Power Center lacked a certain es), while the women use their
flair and elan. Nothing was fans as shields, weapons, masks,
egregiously wrong with t h e and assorted other props of co-
show; it was just lackluster and quetry.
a bit dull.

as, say, Hair, to pick a show
as removed from Congreve as l
one can get. To achieve t h a tM
spontaniety and remain faith-j
ful to the proper style, and, at
the same time, to enunciate and
project every syllable to Con-
greve's luscious dialogue, is an
extremely difficult task for ac-.

proves duff

tors, especially American ones,
-and John Housman's company,
directed here by Norman Ayr-
ton, has not yet succeeded in it.
Kevin Kline as Mirabell does
not have enough charm or char-
isma, just as he didn't in The
Robber Bridegroom. Mary Lou
Rosato, who plays the elusive

faded into their costumes, her
performance might have been
too hammy and undisciplined.
As it was, too much of the cast
didn't seem to be having any
fun and at least LuPone was.
So were Anderson Matthews,
i Elaine Hausman and Sam Tsou-
tsouvas; the latter, in my opin-
ion, should have played Mira-
Ayrton should have cut the
play. Conciseness is not one of

'Nothing was egregiously wrong with the1

It's very possible that as the
company continues to perform
the play in other cities it w i 11
improve. I suspect that it could
P "

(t i
t '

its virtues and thlree hours with
BUT THE actors go through show; it was just lackluster and a bit dull.' one intermission was excessive.
and dynamic, in its own way,
all this as if by rote. The Way :. 5 IT IS safe to assume"that
::"....: .::......:.......4...IT S s fe to assume th
of 4.n xlnl m.o4 1"a nn n~iiae


ofie woi~vvria u st be as alive

- -- Millamant, has more personal-'
ity and appeal and could be a
lovely Millamant.
But she isn't bored or aloof
" enough. Millament affects a
los e a U en e world weariness from the first
oses auence moments in which we see her
as she moans about all the let-
ters she receives and Rosato
neglects this blaseness in her
ON soprano and mellow notes with little effort. characterization.

ALTHOUGH Shawn Phillips got top billing
Daily Photo by PAULINE LUBENS for Saturday night's concert at Hill Audi-

Mark Mikulski and Porter Anderson appear in Stravinsky's "L'Histoire du Soldat," a musi-
cal drama performed last weekend in Trueblood Auditorium as a joint effort of the School of
Music and the departments of drama and dance.
Stravinsky's 'Soldat': Unique
blend yields 'musica drama'

torium, it was Steve Goodman who stole the
show. Goodman, who performed the opening
set, was received enthusiastically by the same
audience that began to exit during Philips' act.
Goodman's music, a smooth mixture of blues,
country and folk, is comprised of songs with
comic narratives that deal with every subject
from Banana Republics to traveling salesmen.
His songs feature lyrics that are clearly the

Even though
his voice can f
ment by itsel
iences are tyl
to "non-narrat
didn't step out
for leaving. M
tions just faile

some of his lyrics are interesting, THE MOST irritating a n d
be eter ppecite asaninsrp Iwrong performances was Glynis
e better appreciated as an instrp- Bell's Lady Wishfort. Lady
f. Wishfort is a grotesque, sex-
starved lady, not a wild, boist-
y, it seems that Ann Arbor aud-' rous scullery maid. If she is
.iniportrayed without any preten-
pically intolerant when it comes I tions of dignity and superiority,
ive" music. As a result, the crowd the comedy is gone. Perhaps
I - entire rows exited together. Bell was directed to play the
part as she did; :certainly t h e
ERTGOERS had some justification i part is a great undertaking for
any actress under forty. But,
gany of Phillips' musical innova- whatever the extenuating cir-
ed to come off. Most of the lyrics cumstances, Bell made a sham-
and humor, while several of the blem of some of the finest
scenes in English comedy.

when the play was originally
performed the audience gave it
less than its full attention. Since
we are not expected to flirt
with orange wenches as we
watch the play, the pace can't
be quite as leisurely as it was
in 1700. Mrs. Fainall and Mrs.
Marwood are rather dreary
characters and it would be only
charitable to snip away at their
i Finally, although it allow., for
larger audiences, I don't think
the Professional Theatre Pro-
gram should have moved the
Acting Company from Mendels-
sohn Theatre to the Power Cen-
ter. Restoration comedy w a s
meant for intimate theatres.
The Robber Bridegroom and
Arms and the Man would a:4o
have been served better by the
more cozy Mendelssohn. Since
the Acting Company productions
are directed for a proscenium
stage, each time they perform-
ed in Power, that little apron
fstood between the play and the

By NANCY COONS suggestive of a comic-book hero. especially in the tango, bit her product of an imaginative, comedic mind that, backuplmuict
THE JOINT efforts of t h e The overall effect was of a contribution to the production's bpfor example, describes health food as "stuff so Butrmusic
story-book, without an era to success thru choreography was i But for all
School of Music with the limit the theme. outstanding. It is difficult to tellstrange, the cockroaches will move next door." cannot be que
how much stage motion was de-
produced by an unusual and de- THE TALE is a kind of alle- termined by her work and how and he listens
Qlightful presentation of - Stra- gory, dealing with a soldier whoGy much was by Jack van d 'yatter'sknb.Inathe
vinsky's L'Histoire du Soldat. !having achieved a kind of per- direction: the final result rr- sharply with Shawn Phillips' more ambitious, ing. In these
Performed three times t h is~ fect happiness, grasps for mcIre ed their combined efforts to be but less personal style. Backed by six guitars, a ent from mos
weekend in Trueblood Auditor-I and loses all. Porter Anderson, thwhil ians.
ium, the production - which is who played the soldier, couldn't wort e. grand piano, a synthesizer, a gong, and various
neither play, 'ballet, opera, nor have been better cast.I i s Ofacourseathe music wa th percussion instruments Phillips - comp
musical - maintained i's uni- features and bearing made h m dominant factor in the show's pinrps me P p
que position in the arts as a the total youth, with shining impact. L'Histoire is one of with long, flowing hair-presented himself as a tization wit
"musical drama." Created for eyes and lifted chin. After the Stravinsky's most faslinating musical Christ-like figure. years composi
seven musicians and four danc- first loss to the devil, Ander- compositions, especially con- an example 1
er/actors, the work relates lib- son's solo dance was ex~"rmelv sidering its immediate prede-I
rettist Carlos Ramtlz's simple expressive, as he seemed to cessors, the rich andaromantic PHILLIPS' MUSIC cannot easily be categor- children and t
but profound tale of a young wrap his entire body with grief. ballets such as Firebird. This ized. The percaptive listener can detect influ- overly theatric
soldier struggling with the de Eddy Galloway was a versa- work couldn't contrast mre ences from a wide range of styles of Western of this as-yet
vil with its spasmodic and jerky
vil- tile narrator, overseeing t b e rhythms and transparent bar- music - and his numbers feature an even more
The stage was bare except for stage's activities and often ser'- monies. eclectic sound in concert on his albums. "The popula
the lo ste th b t ing as thesoldier's foil. T .>e It is also one of the most diffi- fast buck outc
ground under producer Kerry proaches the king's court was cult works in the cornet and Phillips has a rich voice that can reach full wrote it for yo
Thompson's baton. Each of the outstanding, as the narrator clarinetcsrepetoire, requiring soft
characters moved and spoke pantomimed several characters, These and fast tong mg.
with relative freedom, t h o u g h prancing, mincing, and march- ths two performances, by
each motion and word had to ing acros the stage with appar-!Stan Baptista and Ann McCutch-
match the dry rhythms of t h e ently limitless energy. an respectively, were skd.lflly
OCCASIONALLY the metered The devil, played by M a r k t
verse became a little awkwardMikulski, portrayed both t h e THE OTHER five mrisicians D aily C lassifieds
not so much when the rhythm wicked and gullible sides of the also played their challenging
was strict, but when they relax- demon with skill, though occas- parts well, which included bas-
ed and began to speak with ionally forcing his ca cter soon, trombone, violin, percus-Results
more dramatic diction. This vith over-projection. His scenes sion, and bass. The combination
more natural style often left of physical agony was horrify- of seven such sounds is colorful,
stiff, forced rhymes hanging in ing, his old lady convincing, and dramatically very effective.
the air, their match forgotten. but direct man-to-man dialogue The entire performance was
An occasional drama:ic re- was a bit too melodramatic, so effective, in fact, that thereI
enforcement was offered by was a long silence before the
large black-and-white slides pro- BETH CORNING served dou- audience applauded, as they ab-
jected over the stage, showing bly as the coquettish princess sorbed the final impact. When coo 0pera iv
the soldier in a summary posi- and as choregrapher of consid- they eventually did applaud, it
Pion which re-emphasized G h e erable ability. Her dancing and was with justified enthusiasm TONIGHT-Tuesday, Feb. 10
emotions projected by his stage stage presence were very good, for a fine production.
The costumes were meant to'4
remove the characters from any UAC ARS Comedia presents: (Stanley Kubrick, 1968) AUD. A-7 & 9:30
time or place. It was a strange "THE TOFYriif not the "utimote. trip" as in the advertising, 2001 is
mixture: the men in medieval:" H TIM E OF YOUR o s uioeeovr''- 0
tights, the princee in a Victorian certainly the ultimate cinematic experience and the most
L FE 7/ OF A PLAY"original. mind-blowing vision to hit the big screen. Less
dressing gown, and the devil LI /6 A than 46 of the film's 141 minutes is taken uoby dialogue; J
appearing in a cowl and cane!the rest features the stunning, much acclaimed special I
---- A lively collection of four one act comedies, effects (one year and many millions of dollars in the
ncluding "PLAZA SUITE" by Neil Simon. making. A movie that cannot be seen too many times.
603 east iberty' in AUD. A, ANGELL HALL
MIYIWUIUW'U El'FEB. 19, 20, 21-8:15 p.m. $1.25
FEB. 22--3:30 p.m. -
Mendelssohn Theatre-Reserved Seats $3-2.50
Shows Tonight at 7:00 & 9:15 Hill Aud. Box Office
Open at 6:45A B
An Allied Artists - _ GUEST ARTIST SERIES
Columbia Pictures Production
An Allied Artists Release -_ I In the PCWFR CFNTFIR

ans were particularly inept. Patti LuPone was a cute and audience. It was evident in each
of Phillips' faults, his sincerity lovable Foible, though if so production that the company
stioned. He likes what he plays, many of the other actors hadn't was using only part of the stage.
carefully to what he is produc-
ways, Phillips is markedly differ- HAROLD
t commercially successful music- LAT 7M
(AT 7)
A selection of silent comedies by a talent that
presented a 20 minute poetry dra- is comparable to Chaplin and Keaton, but one
which is discussed for less often. His work has
h taped music that he spent three / the quality of hilarious nightmares
ig. Though the poetry seems like
of Dr. Seuss' writing for flower HOWARD HAWKS' 1948
he light show extravaganza was: RED RIVER
cal, Phillips said he was proud (AT 9:05)
unrecorded piece of music. Starring John Wayne, Montgomery Clift, and
Walter Brennan in this classic Western about
r music business can't make a ) the opening of the Chisholm Trail. The last
of it," explained Phillips, "But I picture show in The Last Picture Show.
ou and your children." BOTH SHOWS FOR



thisv eek



wm. .

BOB SEGER and the Silver Bullet Band
at Crisler Arena. Tickets: $5.00 and $6.00 avail at UAC/Michigan
Union Box Office.
Eclipse Jazz KEITH JARRETT in concert
SATURDAY, FEB. 14 at HILL AUD. Reserved Seats $5.00, $4.50 & $4.00
Tickets available at the Michigan Union Box Office and both Discount Records
UAC Ars Comedia proudly presents
a lively collection of four one-act comedies including
"Plaza Suite" by Neil Simon
FEB. 19 THRU 21-8:15 P.M. Reserved Seats $3.00 and $2.50
Tickets available at UAC Ticket Central
UAC-SYZYGY Monthly is now accepting contributions for the April
issue. Submissions in graphics, photography, fiction, poetry, and non-
fiction are eligible for cash awards. The deadline for the first issue is
March 12. If you would like to be on our staff, or want further infor-
mation, feel free to call 763-1107.
Feb. 13 and 14 Feb. 15
Tickets- $1.00-Nat. Sci. Aud. Tickets: $1.00-MLB Aud. 4
Times- 7:30 and 9:30 p.m. Times: 7:00 p.m. and 9:30 p.m.
THE UNIVERSITY ACTIVITIES CENTER is looking for qualified people
to fill Senior Officers Positions for 1976-1977.
President, Coordinating Vice-President. Public Relations Vice-President, Chief Financial
Officer. Deadline for application is Feb. 20. Please stop by UAC, 2nd Floor Michigan
Union and fill one out.
Call on "Dolly," March 25-28, for the most toe-tappina toot-stomping, hand-clapping
good time you've had in years! "Dolly's" a iov, and she's coming to Ann Arbor in
March. Dont let the parade pass you bv! Group tickets available-cail 763-1107.
TODAY at 3:00 p.m.: JONATHAN KOZOL, speaking on "Alternate Use of Educa-
tion" at Hill Aud., no admission fee
NEXT WEEK: David Brower, President of "Friends of Earth" speaking on "Environ-
mental Imperatives for the Future."

Ann Arbor Civic


a. -. ~ -,.L ~

OPEN 6:45

le Night Thoreau
Spent in Jail
Jerome Lawrence
Robert E. Lee

$2.50 -


Book by Ossie Davis,
Philip Rose, and Peter Udel
Music by Gary Geld
Lyrics by Peter Udell

For more information and an application form, ask Mary-io at the UAC office, Second
Floor of the Michigan Union. Deadline: Feb. 27. UAC Ticket Central located in the
Hill Arad. Open Monday thru Friday 11"00 a.m.-5:00 p.m. For more info, call 764-8350.
TIME OF YOUR LIFE, 7/6 OF A PLAY-Feb. 19 thru 22
mice f i n ikir. i * A ___1


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