The Michigan Daily-Friday, March 5, 1982-Page 7
Taylor's changing vision
Wiley E. Coyote, the Roadrunner, and other animated characters freeze for
the Michigan Union's exhibit of original cartoon art, March 8-9.
The Ark (1421 Hill; 761-1451)
Joel Mabus returns to the Ann Ar-
bor area after his successful per-
formance at the January folly'
festival. Mabus excells at the guitar,
banjo, mandolin, fiddle. Tonight and
Mr. Flood's Party (120 W. Liberty;
Blues/rock with a bunch of
Joe's Star Lounge (109 N. Main;
Ragnar Kvaran, one of the better
Detroit-area artists, performs
tonight and tomorrow night at Joe's.
Wrecked on Love, their EP has been
well. received both locally and
Rick's American Cafe (611 Church;
Sizzling, danceable blues with .
Duke Tumatoe and the All-Star
Frogs tonight and tomorrow.
Second Chance (516 E. Liberty;
Ann Arbor just can't seem to getl
enough 'of them, so the ,Chance is
bringing Mariner back to town. Thev
play lots of covers, with an original
(?) thrown in every now and then.
Believe it or not, they actually have
an album out, and it can be found at'
Schoolkid's, if anyone cares.
The Statehouse (416 W. Huron;.
The Gun Club, one of Punk's
newer sensations, hits Ann Arborfor
the first time on Friday night. The
group, which recently graced the
cover of New York Rocker
magazine, blends punk and blues for
a truly unique sound: Opening for
the Gun Club are two local bands,
the Meat Men and Bored Youth,
fresh from a recording spot on the
recent "Process of Elimination"
album. Promises to be an exciting
show. Doors open at 9.
U-Club (Michigan Union, 530 S.
Tonight is your only chance to cat-
ch the Madcat/Brubeck band this
.weekend. With Dan Brubeck on
drums and Madcat Ruth on har-
monicas, the show shdhldn't be a
University Musical Society
Conductor Erich Bergel and
pianist Radu Lupu make their first
Ann Arbor appearances with the
'Detroit Symphony Orchestra tonight
at Hill Auditorium. The program in-
cludes Gluck's Overture to
"Alceste," Beethoven's "Piano
Concerto No. 2," and Bruckner's
"Symphony No. 3." On Sunday
oboist Heinz Holliger performs at
Rackham Auditorium. (see inter-
view on page 6.) For more infor-
mation, call 665-3717.
University of Michigan Dance De-
University senior dance majors
Susan Chilcote, Jeanette Duane and
Sydney Mesh perform tonight at the
Studio Theater in the Dance
Building (1310 N. University). Ad-
mission is free.
The University of Michigan will
host an ;exhibit and sale of original
art from animated films Monday
and Tuesday, from 10 a.m. until 7
p.m. on the first floor of the
On display will be more than 250
individual paintings or "cels."
These cels are all one-of-a-kind, not
reproductions or prints.
Tonight only, from 5 to 6 p.m., the
U-Club offers a eiance for
frustrated musicians to do what they
have always dreamed of: perfor-
ming in front of a real live audience.
That's fright folks, an "Air Band
Contest." Watch people strut their
stuff with imaginery instruments,
imitate everyone from AC/DC to
Zepplin, and act pretentiously.
Well, it's not as pretentious as it is
The Stage Company
The Stage Company at Canterbury
Loft will perform its fourth show of
the season and the second play of the
season by Israel Horovitz. The In-
dian Wants the Bronx is a story
about two New York City street kids
in their early twenties who encoun-
ter an East Indian unprepared to
deal with the streets of the City. This
play won an OBIE Award in 1968 for
the best play. Robert Moses directs,
William Sharpe, David Kitto, and
Anthony Kelso star. The play runs
through Sunday night. For ticket
and show time information, call 665=
PTP Best of Broadway Series
One Mo' Time, a jazz musical,
recreates the era of New Orleans
vaudeville and revives many of the
snappy tunes and dance pieces
popular in the '20s.
By Ellen Reiser
C OMING ON THE heels of its suc-
cessful Tuesday night performan-
ce, the Paul Taylor Dance Company
continued ip ,fine form Wednesday
evening at Power Center. The dances,
created in 1956, 1966, and 1979,
representaed choreographer Paul
Taylor's changing vision of the interac-
tion of music, space, and bodies. As
such, the program allowed the audience
to see Taylor's progress and growth on
the way to eventually becoming one of
America's foremost choreographers
for modern dance.
Although there were great differen-
ces among the three works on the
program in both themes and
choreographic style, there were also
many visible lines of continuity. Three
decades of work have not changed Paul
Taylor's enthusiasm for small running
steps, Cecchetti-like angular jumps,
and floor_ rolls with extended legs.
Neither has time dimmed Taylor's wit
and love of the incongruous.
The evening's program began with
Profiles (1979), a work with a score
noted as being "specially composed by
Jan Radzynski." The reaction of most
members of the audience was
probably: "Specially composed for
what?" It was disquieting music for
strings that scattered and picked at
one's nerves so long that its very
uneasiness became. boringly albeit un-
pleasantly static. The usual annoyan-
ces of the Power Center sound system's
hissing, popping, and poor balance
were forgotten in the onslaught.
Confronted with the difficult music,
Taylor's choreography suffered.
Despite excellent technique, the work's
four dancers became bogged down in
repetitive slow lifts, disjointed arm and .
leg movements, and interminable slow
posturing in profile. By the end of
Profiles, even the bright blue spotted
costumes and the splendid dancing of
Elie Chaib had faded into the general
drabness of the piece.
Costumed by artist Robert
Rauschenberg in dark body stockings
with gas mask-like head coverings and
small mirrors sewn over eyes, mouths,
and palsm, the five dancers performing
3 Epitaphs appeared as strange exam-
ples of man primeval. Large and small,
bent over with finger tips brushing the
floor, the dancers slouched their way
through the piece.
The combination of the score's slow
New Orleans-style jazz and the clumsy
but gamely boogeying creatures makes
3 Epitaphs one of the few successful
humorous dance works. Short of seeing
the work and its marvelous visual
jokes, it is impossible to really ap-
preciate its charming eccentricity.
The program concluded with a per-
formance of Orbs (1966). Set to three
Beethoven quartets ("Last Quartets.
Op. 127, No. 2; 133, and 130"), Orbs
revealed the start of Taylor's move
towards lyricism. Taylor later con-
tinued this balletic influence in such
works as Esplanade (1975) and Arden
Court (1981). (Both works were presen-
ted on Tuesday's program.) In Orbs,
Taylor showed a sopohisticated and
fluent use of port de bras, turns, and
lifts. The dancers used their whole
bodies in fluid movements.
Orbs was divided into four sections
("Venusian Spring," "Martian Sum-
mer," "Plutonian Winter," and
"Terrestrial Autumn") and had dan-
cers representing the sun, the planets,
and the moons. However, the work's
many short scenes, which ranged from
"a desert crossing" to "marriage
rehearsal/ceremony" (complete with a
THURSDAY, MARCH 11
HILL AUDITORIUM, 8:00 PM
Tickets: $8.50, 7.50, 6.50
reserved and on sale now
GOOD SEATS AVAILABLE
FRIDAY, MARCH 12
MICHIGAN UNION BALLROOM
Special Guests: ONXYZ
Tieets: $6.50 General Admission
The Most Original Guitarist
Since Jimi Hendrix"
Robert Palmer, Rolling Stone
Saturday, March 20
Two Shows-8 P.M. & 10:30 P.M.
Tickets: $6.50 General Admission
ON SALE NOW