The Michigan Doily-Thursday, June 29,y1978-Page 7
SHAKESPEARE A T S TRA TFOR.D:
nor the s
As You ie I' super
OWEN GLEIBERMAN impassioned howl of a ravaged in- songs were most effective in this joyful horribly corny. Juxtaposed with Per-
special toTheDaily dividual scrambling to avoid the abyss. glorification of love and nature, but the dita's simple and passionate sincerity,
nter's Tale is one of those In the wake of Bedford's glowing choreography was dreadfully Florizel seemed a far cry from the man
ively offbeat Shakespeare disorientation stood several fine per- unimaginative and the chorus line of who was willing to be disowned by his
t concludes with neither the formances: Margot Dionne was nature-loving peasants ambling father rather than lose his love. Men-
power of the darkest tragedy righteous and dignified as Hermione, through the cluttered stage was tion should be made, though, of Graeme
pirited delight of a lovers' struggling proudly to make her something less than graceful. No doubt Campbell, whose wonderfully comic
with Pericles, there are two husband believe in her faithfulness. performance as the sly manipulator
William Needles' performance as the Autolycus did much to liven an hour-
The Winkter'sTale whimpering, loyal Camillo created a m l c hgan DAILY "gact saturated with otherwise un-
fascinating corollary to the main ac-
byWilliam Shakespeare ",, ie i, mmnnwr , 33nrtomitigated celebration.
Young Shepherd ..
... Margot Dionne
.. Robin McKenzie
... William Needles
ion, nis aiemma over wnetner to
poison Polixenes exploring the reaches
of power and the burdensome conflict
arising from insane orders handed
down from on high.
THE FLOW WAS disrupted during
the fourth act, in which the play takes
an abrupt turn to the pastoral. Florizel
(Stewart Arnott), son of King
Polixenes, partakes in a flamboyant
floral celebration with his love, Perdita
(Marti Maraden), unknowingly the
abandoned daughter of Leontes. The
this section was intended to appear
spontaneous and unrestrained, but one
can only take so much before it
Matters weren't helped by Stewart
Arnott's Florizel, whose whining
declarations of love were dispassionate
enough to deem the whole business
THE DARINGLY-STAGED end was
brought off with assurance and
profound intensity. The final scene, in
which the "statue" of Hermione comes
to life after a seemingly fatal collapse,
was lit by several rows of lighted can-
dles. As the dark line of characters
marched "on stage following the
restoration of Leontes' family, time
seemed suspended, and the play ended
on a note of quiet triumph.
See AS, Page 10
Robin Phillips and PeterMoss,-directors;
Daphne Dare, desiner; Louis Applebaum,
music; Gil Wechsler, /ctigmnv.
Boz stages a hit parade
by Williao Shakespeare
Duke Senior .
Touchstone . .
..... Maurice Good
..... Joel Kenyon
.... Patricia Idlette
RobinPhillips, director;:RobinFraser Paye,
designer; Berthold Carriere, music;
Gil Wechsler, uighting
dissimilar story elements somewhat
jammed together, and this production
occasionally ran into trouble in main-
taining a sweeping continuity.
In the first three acts, Leontes (Brian
Bedford), King of Sicily, seizes upon a
manic notion that his faithful queen,
Hermione (Margot Dionne), has taken
an intimate liking to Polixenes (Ted
Follows), allied King of Bohemia. With
Bedford's powerful performance, Leon-
tes' turmoil had a white-hot intensity
that all but overpowered the other
THIS PLAY WAS written well after
Othello and attempts no surgical study
of jealousy and its devastating effects
upon a nobly intentioned individual;
Leontes' quagmire arises from his
irrationality, thus we witness a vir-
tually pathological obsession devoid of
right-thinking. When the Delphic
Oracle proclaimed Hermione chaste,
and Leontes a jealous tyrant, the King's
cry that "there is no truth in the
Oracle" was the pathetic yet feverishly
By ELIZABETH SLOWIK
Boz Scaggs gave his Pine Knob audience just what it wan-
ted Tuesday night, from a little rock to a little soft jazz to the
pop tunes he's most famous for. And under the star-filled sky,
the fans ate it up.
Starting with the first strains of "Lowdown" and ending
with a double encore of songs from Down Two Then Left, Boz
and his band played and sang with album-perfect precision,
varying only slightly with guitar jams and frugal horn in-
SCAGGS REELED OFF hit after hit, following
"Lowdown" with "What Can I Say?" and "Georgia." He
seemed relaxed before the sell-out crowd, and bantered bet-
ween songs, talking of last year's concert at Pine Knob, get-
ting cheers from college students after mentioning concerts
in Ann Arbor and East Lansing, and declaring that everyone
was going to have "a heck of a good time." He seemed like a
friend onstage, perhaps someone's older brother who you had
dinner with last night.
The songs from Silk Degrees, his sixth album, drew the
most audience reaction. The tingling start of "Harbor
Lights" tantalized the audience into raptured silence.
After "What Are You Gonna Tell Your Man" and
"Hollywood," Boz turned back once again to Silk Degrees
with "Jump Street," "It's'Over," and "Lido Shuffle." "Jump
Street" saw a guitar jam, with Boz and his lead guitarist
plucking away ina style that resembled early Chicago tunes.
AFTER THE FINALE, "Lido Shuffle," the encore songs
seemed a let down, a bit dragged out. The two songs from
Down Two Then Left sounded so much alike that I can't even
remember which ones they were.
The songs were so close to the albums that half the crowd
could have saved money by staying home and listening to the
records. The other half, myself among them, enjoyed the
deviation from studio style that crept into three or four songs.
Although the concert was by no means a disappointment, I
got the feeling that Boz never broke a sweat for his Detroit
The show itself would have been good for those sitting in
the pavilion. Boz jumped around the stage in a shimmering
white outfit while his two female back-up singers danced like
the Temptations. But for those of us relegated to the damp
lawn, the concert lost some of its effect from sheer distance.
See BOZ, Page 10
With the exception of the Himalayas,
the highest peaks in the Orient are
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Mount Wilhem reaching 14,793 feet.
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