ARTS The Michigan Daily Sunday, March 22, 1981 Page 5 Bad choreography trips dancers By JULIE EDELSON Modern dance has a simple and basic format; there are no sets or elaborate costumes and the dancer is allowed to center solely on his body to express the necessary mood of the piece. If modern dance is performed skillfully, it can ap- pear truly exquisite. Unfortunately due to their less than adequate choreography, the University of Michigan Dance Company did no justice to this fine art at their Friday night performance at the Power Cen- ter. They relied extensively on the same types of routine movements until they were able to display the expert choreography of their resident guest artist, Lucas Hoving, in the finale. THERE WERE some inherently refreshing aspects to the performance. The music included an interesting variety: there were space-like sounds by Bulent Arel and Witold Lutoslawski in "Voyageurs," the first piece, and soprano Constance Barron sang in "Chill Factor," the second piece. Her remarkable voice was the highlight of this dance. Classical music by Chopin added a certain diversity to the program. There was also an absence of music in certain sequences. This use of total silence was an ingenious technique, because it increased the audience's concentration on the total image created by the dancer. IT IS disappointing that these "images" tend to be so monotonous. In "Voyageurs;" which choreographer Vera Embree uses to illustrate people's indecision and lack of direction, the Daily Photo by TRACY CRAWFORD Pete Seeger put in a prodigious performance at the Michigan Theatre yesterday afternoon. Seeger sang in three languages, lamented several political atrocities, led a perpetual nass sing-along, and even trained a choir during intermission. Not bad. Peeefet By FRED SCHILL Only Pete Seeger could make politics so much fun. In a delightful performan- ce before ,a sold-out Michigan Theatre crowd Saturday afternoon, Seeger mixed politics and folk music together as naturally as yin and yang. And the man absolutely emits en- thusiasm. The concert was a sing-along from the first chord of the opening 'Ballad of John Henry" to the last note of Seeger's recorder at the end of the encore. CLAD IN BLUE jeans and a plain green shirt, carting on a pile of musical instruments, Seeger lent his voice and witto a wealth of folk songs' that, often as not, espoused a cause or lament of one kind or another. "If mankind survives," said Seeger at the outset of the show, "it will be because us human beings work out some new old ways to live together in- stead of the strict ways the modern world makes us live together. My way is to find songs folks can sing together." Those songs often were innocuous but irresistable little ditties like "The Ballad of John Henry" and a calypso song that Seeger wrote new words for called "Maple Syrup Time." His husky, enthusiastic vocals made each tune a familiar classic, and the delighted 'crowd responded by singing along,. 9?clapping rhythmically, even acting like marachas when Seeger asked them to. THERE IS MORE entertainment per square inch wrapped into that man than in any two of his peers. "Old Time Religion" was transformed into a wit- tily scandalous ode to revelry, as Seeger impishly sang "We will pray with Aphrodite/We ,will pray with Aphrodite/She wears that see-through nightie/It's good enough for me." Giminie that old time religion! A. modern Christmas carol written in Nicaragua and once banned by the Somoza regime was sung in Spanish, cutting the crowd out of the game until Seeger decided to teach us the lyrics. Deus ex machina! - down from the ceiling rolls the words. Nothing to it. The song was not without a bite, though; it was banned because the boy Jesus in it wants to grow up to be a guerilla fighter. During the intermission, Seeger in- initial response is that of awe. We love vited anyone who could sightread backstage. Voila! The first song of the second part of the show was a round,, featuring the newly-created choir Art and con! sounding for all the world like professionals as they sang a whimsical tune about making money from selling The Boomtown Rats-'Mondo Bongo' munitions. It brought thehouse down. (CBS) - The Boomtown Rats' fourth THAT KIND OF marriage between album is a unique mix of intense in- politics and good, clean fun is Seeger's tellectual statement and limpid, crowning genius. A love song to the late meaningless garbage. Archbishop Romero of El Salvador, I have no doubt that Bob Geldof is who was assassinated three days after quite capable of propagating good begging Jimmy Carter not to provide music; anyone who pens something like his government with any more the classic "I Don't Like Mondays" has weapons, became a spirited 'mass tas 'to h'ave a stroke of creative genius the audience joined happily in. Take somewhere. The problem is that he that, Ronald Rayguns. sometimes gets turned in the wrong As Seeger himself said, "An old song direction, and as of yet has failed to may bounce back new meanings to the realize it. same person who has sung it a thousand times before." Maybe that's why he IF YOU DECIDE to listen to Mondo still sings the old ones fervently, Bongo, take my advice and listen to poignantly leading the crowd in a ren- side two first. It'll make side one much dition of his beloved standard "Guan- easier to cope with. tanamera" and winsomely re-telling "Mood Mambo" is probably the most "Abi Yoyo" as if it were still the bed- ridiculous thing I have ever heard The time tale for his small children that it Rats do. Actually, none of the reggae started out to be. "About that age (two tunes on the album work very well, but or three), kids wake up to the reality this one is probably the worst, with that a lullaby is a propaganda song," background jungle noises and lyrics Seeger explained. , like "The fog horns scream and the Mixed into the show were an Irish boys go 'Woo Woo'/ I don't mind 'cause folk song, an "official" French labor I'm with You-oo." song sung in French ("If there's one But The Rats really miss the boat worse thing than banning a song, it's with "Under Their Thumb," the old making it official," Seeger quipped), a Stones tune with lyrics rewritten by beautiful, whispering recorder solo, Geldof. If I were Jaggar or Richards, I and a "long meter style" rendition of a would sue for defamation of character. very fervent "Amazing Grace." He never missed a beat. While tuning his guitar he commented, "This guitar was in perfect tune out there (gestures offstage). Just shows you what's right in one place is wrong in another." In- corrigible. He even ended his show with "We Shall Not Be Moved" -and the - . . the sform ofapp crowd shook the walls asking for more. brOke into a firSt- -Atlantic the space-like creatures' smooth, sup- ple bodies and unconventional movements. One soloist, Marjorie Mann, was so expert in her creation that she looked like one long hose. But the favorable response only lasts several seconds. The technique soon becomes automatic, the dancers con- tinue performing basically the same movements and the audience is rapidly bored. The dancers lack more than direction; they need a new choreographer. This monotony is carried over in Susan Matheke's piece, "Chill Factor." The two dancers demonstrate their emotional involvement effectively, but their movements are not exciting enough to sustain interest for the duration of the piece. But ,the dance goes on and on, the dancers dulling our senses through their repetitive movements. IT IS incredible how similar the choreography of the first number resembles that of "Winter Ebb," the third piece. We see basically the same movements executed in a similar man- ner by dancers in similar costumes, making for a dull dance. In "Winter Ebb," some dancers' technique far surpassed their counter- parts. This factor should not exist in what is referred to as a "unified" com- pany dance. Here the company was ob- viously amateur. The choreographer too, was amateur, because she could not clearly demon- strate her theme. We constantly won- der what the choreographer intended us to infer from the piece. This is not an in- triguing mystery; rather it becomes a usion in Rats On side two things start looking up. "Banana Republic" is an incredibly listenable tune with its heavily sedated mood, subtle tempo changes and ex- cellent vocal harmonies. If The Boomtown Rats would just throw away the artsy stuff, they would have the ability to make powerful social statements-as they did with "Mon- days." They did succeed 'in making social commentary to a lesser extent bn this album in "Another Piece of Red" (about communism), and "The Elephant's Graveyard" (even though it sounds like Elvis Costello), about corruption in the legal system in which Geldof protests, "You're guilty until proven guilty, isn't that the law . . . Justice isn't blind, it just looks the other way." To add another twist to the Mongo Bongo web, two songs on the album, "Go Man Go" and "Up All Night," are just plain musical fun. With all the negative and positive aspects of their music, I can't help but wonder if the success of The Boomtown Rats is much more than a fluke. One thing is for sure: If they don't make up their mind as to which direction to head, they will soon fall flat on their musical tails. -Tammy Reiss plause and cheering class hurricane."f City Press DISNEY o .goes to ..:w:: the Devil! ; ;; : SAT, SUN-1:20, 3:20, 5:20, 7:10, 9:00 MON-7:10, 9:00 i Y frustrating experience for the puzzled observer. IT IS obvious that Lucas Hoving was the dancers' saving grace. Hoving's dance credits include major roles with Martha Graham, Agnes DeMille, and Jose Limon. He has taught in his native Netherlands and at the Juilliard School. Consequently, it is not surprising that his choreography was able to instill spark in the performers. Hoving's piece, "A Day in the Life of. . ." is a delight. The dancers seem to think so too, because they derive inspiration from his direction. The stage is completely open so the "backstage" is exposed and this greatly broadens the available space. Dancers come toward the audience from the back, making faces at us and getting us involved with the perfor- mers. This unique humor enlivens those who had drifted off to sleep in the previous numbers. ! , L i INDtVIDUAL THEATRESS *,e o" .b~y 761'9700 I There are also, finally, a variety of movements: unified syncronization among dancers, slow, beautiful duets with graceful movements, fast leaps and jumps, and clapping. THIS IS THE key to creating the ex- citing piece - Hoving has captured the joy of the modern dance. When the lights go out on his dance, we are greatly relieved to discover that the University Dance Company has the ability to perform for us. Unfortunately, they do not have the high quality choreographers. Matheke and Embree should take lessons from Hoving and improve the calibre of their dances so that they ' are truly professional, and not just a potpourri of redundant movements. MANN THEATRE5 VtGLAGE 4 375 N MAPLE ' 769-1300 Daily Discount Matinees TUESDAY BUCK DAY cg 'Y'a I -BARGAIN MATINEES- WED. SAT. SUN "$2.00 til 6:00 SALLY fELD TOMMY LEE JONES "BACK ROADS, Also Start.iqDAVID KEITH wr,.tnbyGARY Oevc>RE Mgsyc by HENRY MAN(.IN4.lyncsby JAN and MARI(YN RERGMAN Qvea io haogaphy JO JN kAl M:ALO:. -S Podouced by RONAJE)?SHEf [IGVErected byMARtlTI rIT Roe== 1:17:303:19:301 As timely today as the day it was vwritten. 4:30 PITRS EESE STARTS APRIL 3 "LA CAGE AUX FOLLIES II" J 3rd FINAL WEEK '' Notin' going to .. 'stond in your way." IRVING- _ . 1.45 4:15 7:15. 9:45 M++elvinR SAT. SUN-2:00, 3:50, 5:50, 7:40, 9:30 MON-7:40, 9:30 "HUGO THE HIPPO" FREE KIDDIE SHOW-3127&_3/28 A very spacey >.comedy. 130 .7 Burl Ives 3.30 5 20 earth 7:25 Qiound 9:15 wk a Aba. I The U-M Professional Theatre Program Michigan Ensemble Theatre Ann Arbor's Own Professional Theatre Company Resident DEBUT PRODUCTION Henrik !bsen's PreservationHall Jaz and Monday, March 23at 5'S on a c a a HillAuditorium Tickets at: $8 All main floor, $7 All first balcony, $6 2nd balcony, first 8 rows, $4 Remaining 2nd balcony.