Page fen
T1E MfCHIGAN OAIA{Y
firdey, August 13,-1976
Fledermaus: Upbeat,bouyant
By STEVE PICKOVFR
and MIKE JONES
Die Fledermaus, the School of
Music's sa um m e r production,
opened last night with the ri-
brance and buoyancy associated
with turn of the century Vien-
nese High Society. Under Direc-
tor Uri Meyer's skillful direc-
tion, the orchestra's perform-
ance of the overture was both
came more sure of himself as
the act continued. The act war,
highlighted with the romantic
reunion of Rosalinda (Judy
Gray) and Alfred (Gordon Fin-
lay), both of mhom sang and
acted with elan and dexterity
throughout the opera.
ACT TWO was a bit disap-
pointing as its opening was slug-
gish. This was due partly to-
municated to the audience that
heddiness which follows from
too much champagne at the so-
cial event of the season.
The third act was by far the
high point of the opera. The per-
formance was very natural as
the actors had become thorough-
ly steeped in their characteriza-
tions. Frosch (Ralph Herbert)
was perhaps too convincing as
the drunken jailer, and comple-
mented the character of the
Warden (Charles Brown) by in-
terpreting his many double en-
tendres.
BROWN GAVE a marvelous
performance, greatly elevating
the intensity of every scene be
was in. The opera ends with
Rosalinda who after many a
sarcastic aside finds to her -sur-
prise that she indeed loves
Eisenstein, her husband, and
all are resolved that the prob-
lems of the night are the result
of too much champagne.
Taken all together, the op-
era is a success. The set and
costuming were nicely done and
in keeping with the mood of the
opera. Ralph Herbert, the op-
era's director placed emphasis
an the farcial nature of the li-
bretto and the free-style of a
Strauss waltz. This at times
detracted from the richness in-
trinsic to Strauss' music.
LATS
Postill case postponed
upbeat and expressive, thus set-
ting the tempo for the first act.
The act flowed from scene to
scene, although the actors show-
ed some signs of hesitation in
formulating t Ti e i r characters,
Eisenstein (James Hopkins), for
example, was slightly stiff and
made an attempt to compensate
by overacting, though he be-
Prince Orlofsky (Joan Dudd)
who was slow in picking up her
cues, and lacked vocal power
in her delivery.
The act recovered the pace of
act I with Adelle's (Julia Brox-
holm) stunning solo perform-
ance. She was a delightful co-
quette, chiding her employer
with impunity. The finale com-
(Continued from Page 1)
"TIlE BAND was loud and I
couldn't hear so I suggested (to
Baysinger) that we go outside,"
Postill said.
The two walked around the
edge of the building and leaned
up against a parked car to talk.
Postill then broached the sub-
ject of a complaint he had re-
ceived about Baysinger that
morning from the nurse at the
county jail. Baysinger said he
"wasn't a troublemaker" and
the two continued a friendly
conversation.
"At this point Frank (Donley)
walked up and listened to us a
while," Postill said., "Donley
then told Baysinger 'you're a
liar'."
BAYSINGER denied this ac-
cusation and he and Donley be-
came involved in a heated con-
versation. It was at this point,
Postill stated, that Shirley Bay-
singer walked up.
Donley and Baysinger began
to poke at each other and Don-
ley put his hand on Baysinger's
shoulder in a "restraining kind
of motion,"
,, ,.
The5-nnute
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cassette
decks. 'oss
Lesson I: The tape medium aoose es
n;.m 0,00 ,s overt phonorh t
record, Tope csMettes nre at least
s'co"te t-r't tO ttse and store as -
reco'nrds A nkoi- e records. they
denY t (vasle Col lecrt L , net ef
scroschset or otherwise lose sound
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Lesson 2: Wi a cstette dccl and
relat es- mance c blank -. Les'on
c..ttes t' or eto make yot on the
nnreco s bo. Fromo FM broodcats, made co
from c r fiMends record even belef th
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Wide frectsencv ronoe and is as suoerior
lowi tontape hts or other extrarea eosier to
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an oen reel tone decks. channel'
hioher a
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performance is the Adeent 201. recordin
Todav the Advent 901 delieers
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Postill said, "I faced Dooley
and put my hands on him. I
told him to shut up."
"I was hit, sucker-punched
from behind," he -continued. The
only person behind Postill was
Baysinger.
"Donley and Baysinger begass
shoving each other. I tried t-
separate them when Ms. Bay-
singer grabbed my arm." Pos-
till demonstrated how he had
"shoved Ms. Baysinger off my
arm."
HE DENIED that there was
any further physical contact be-
tween himself and Ms Bay-
singer.
From this point the brawl
moved inside where Postill used
a "basic judo hold (consisting
of one arm around the victim's
neck and the other over the
mouth and nose) to remove Bay-
singer's grasp on Donley. The
sheriff was then} as he and pre-
vious witnesses have testified,
thrown back and down the stairs
by Baysinger who proceeded to
kick him.
Postill and Donley left the
hall. The sheriff called in on the
two-way radio to the county
sheriff's department for a squcol
car to be sent, A tape of this
call was played as evidence of
Postill's sobriety, a fact long
questioned by the prosecuting
attorney. Postill later testified
that he had had only one drink
an honr during the evening, the
amount usually said that a per-
son may usually drink without
becoming drunk.
OTHER DEFENSE witnesses
called included state police of-
ficer Charles Spawr, who pre-
sented a report made of the in-
cident, in which witnesses of
the incident failed to state that
Postill had used handcuffs in
an attempt to choke Baysinger,
and that Postill had attempted
to pull his pistol on Baysinger.
Baysinger also did not say in
his statement to the state police
that Postill had either choked
him at all let alone using
handcuffs.
Concerning the lack of men-
tion of the handcuffs in the re-
port, Bush said, "This proves
clearly that the Baysingers
made up the story a day or two-
after the incident,"
Postill also denied that he had
had his revolver in his posses-
sion during the incident and Lt.
Leonard Dexter, another county
sheriff employe and gropm at
the wedding, testified earlier
that Postill had shown him the
gun under the front seat of Pos-
till's car, where it remained
during the evening.
'U-