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. Clubs/.ars 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 tomorrow. Mr. Flood's Party (120 W. Liberty; 995-2132) Blues/rock with a bunch of Lepers. Joe's Star Lounge (109 N. Main; 665-JOES) 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 nationally. Rick's American Cafe (611 Church; 996-2747) Sizzling, danceable blues with . Duke Tumatoe and the All-Star Frogs tonight and tomorrow. Second Chance (516 E. Liberty; 994-5350) 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;. 761-2110) 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. State; 763-5911) 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 disappointment. Concerts 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. Dance University of Michigan Dance De- partment 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. Exhibits 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 Michigan Union. On display will be more than 250 individual paintings or "cels." These cels are all one-of-a-kind, not reproductions or prints. Miscellaneous 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 petulant. Theater 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= 0606. 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 eejz ozipse presents THURSDAY, MARCH 11 HILL AUDITORIUM, 8:00 PM Tickets: $8.50, 7.50, 6.50 reserved and on sale now r GOOD SEATS AVAILABLE low .. james BLOOD I Ulmer FRIDAY, MARCH 12 MICHIGAN UNION BALLROOM 8:00 PM Special Guests: ONXYZ Tieets: $6.50 General Admission /4 The Most Original Guitarist Since Jimi Hendrix" Robert Palmer, Rolling Stone ~jjWOODY SHAW IN ;v-% .._ QUINTET Saturday, March 20 University Club Two Shows-8 P.M. & 10:30 P.M. 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