ARTS,
The Michigan Daily Wednesday, April 14, 1982 Page 5
Dancing for their lives

375 N. MAPLE
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ACADEMY AWARDS! 9
Inluding BEST PICTURE
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By Ellen Rieser
AFTER A lapse of several years,
the Pennsylvania Ballet Company
will return to Power Center for perfor-
mances on April 19th, 20th, and 21st.
Since their last appearance in 1977, the
PBC has changed both in its structure
and in its performance.
Earlier this year the PBC went
through a funding crisis that resulted in
the ousting of the company's founder
and director Barbara Weisberger,
serious budget cuts, and the suspension
of production (although not classes and
rehearsals) for three months.
Despite its financial problems, PBC
has been determined to keep its spring
national tour. Indeed, in an unusual
gesture of support for the company,
each dancer gave up $1100, crew $3000,
and musicians $1200 to allow the com-
pany to afford the tour. As a result,
local balletomanes will be seeing a
company that will be dancing at its best
in the hopes of attracting new support.
The Pennsylvania: Ballet's three
programs at Power Center should show
off both the strength of the company's
dancers and the company's unusually
diverse repertoire.
George Balanchine was one of the fir-
st artistic advisers for PBC. Therefore,

the PBC has become a major repository
for many of Balanchine's works that
were originally created for the New
York City Ballet.
However, the Pennsylvania Ballet is
not just a small NYCB. Along with
works by Harkarvy (PBC's current ar-
tistic director), Butler,'Lubovitch, and
Tudor, PBC also boasts several
restagings of classics such as Coppelia,
Swan Lake, and Nutcracker.
The Pennsylvania Ballet's- first
program (Monday evening, April 19th)
will perhaps be the most varied
featuring Balanchine's Square Dance,
a modern piece by Senta Driver, Reset-
tings, and Act II of Swan Lake
(choreographed by Harkarvy afer
Ivanov). For Tuesday evening's per-
formance, the Pennsylvania Ballet will
present Galaxies (Houlton), Yes,
Virginis, Another Piano Ballet (an
outrageous parody of Jerome Robbins'
ballets originally set by choreographer
Anastos for the all male Les Ballet
Trockadero de Monte Carlo), and Un-
der the Sun (Sappington), a colorful
and whimsical romp in celebration of
the sculptor Alexander Calder. The
company's concluding program on
Wednesday, April 21st will feature Con-
certo Barocco (a Balanchine classic),
Sylvia Pas de Deux (staged by Eglec-

sky), The Moor's Pavane (by modern
choreographer Limon), and Scotch
Symphony (Mr. B. again).
The modern pieces in the Pen-
nsylvania Ballet's repertoire, the works
by Driver and Houlton, represent a
departure for a company that has
worked largely within the classical
idiom with only occasional forays into
modern dance.
It remains to be seen if this is to be a
one time occurrence (the company has
dedicated its tours to "In Celebration of
Women Choreographers" and Houlton
and Driver are women) or if the Pen-
nsylvania Ballet is moving toward
modern works.
Although it's always difficult to
provide pre-performance handicapping
for potential ticket buyers, the Tuesday
evening program may be the most in-
teresting. Galaxies, a new work, has
received good New York City reviews,
Yes, Virginia, Another Piano Ballet
should be hysterically funny, and Un-
der the Sun is the personal favorite of
several of the dancers in the company.
This is not to say that the two other
programs should not be well danced
and enjoyable. They are sure to be -in
fact any program danced by the Pen-
nsylvania Ballet in Ann Arbor is a treat.

Oscar tries again


Oscar Peterson has finally arrived
- to Ann Arbor, that is. The post-
ponted January 30th concert will be
made-up tonight at Hill Auditorium.
Generally acknowledged as the
greatest living jazz pianist, Peterson
has won numerous awards to back
up the acclaim: the Playboy Award,
the Grammy, and the coveted Down
Beat Award for 12 consecutive years
as Best Jazz Pianist.
Peterson began to play and tour

professionally in 1944 with the John-
ny Holmes orchestra, a popular
Canadian band. He stayed in Canada
until 1949, when Norman Granz
brought him to Carnegie Hall for one
of his "Jazz at the Philharmonic"
concerts.
During the past thirty years,
Oscar has played and recorded with
such notables as Ray Brown, Clark
Terry,; Dizzie Gillespie, and many
more.

Records


Teens and jeans riot

PARAMUS, N.J. (AP) - A depar-
tment store auditioning for a jeans
commercial was forced to shut early
when more than 8,000 young girls and
their mothers showed up, officials said.
"It was the closest thing to an all-out
riot that I've ever seen," said Theresa
Soltes of Dumont, who took her 2-year-
old daughter to the audition at the
Abraham & Strauss Store in a mall here
Monday night.
The auditions, limited to girls aged 2
to 12, are for Golddiger jeans, a
preteen version of denim designer
wear. *
Store personnel and the manufac-
turer of Golddiggers said 4they un-
derestimated the number of youngsters
and parents who would show up. In-
stead of the expected 1,500 people,
police estimated that 6,000 got inside
and another 2,000 were turned away.
Store manager Carmie Mehrlander

said aboutt2,000 girls filed applications;
were photographed and were inter-
viewed. Four models will be chosen,
she said.
"My daughter was knocked down by
the crowd's pushing and shoving, my
mother was almost hit by a falling
clothes rack and I was run over by a
baby stroller," said Mrs. Soltes.
Ms. Mehrlander said there were
adequate security provisions - 13 ad-
ditional security guards and five off-
duty Paramus police officers - but the
overcrowding finally got out of hand.
'"The place was an absolute mess,"
said Paramus Police Chief Joseph
Delaney. "Although we didn't order the
store to be closed, the manager decided
that discretion was the better part of
valor and complied with our request."
The store closed 45 minutes before its
usual 9 p.m. shutdown.

Fingerprintz -'Beat Noir'
(Stiff)
You can tell this is the record.
Fingerprintz always wanted to make -
smart without being trendy, lush
without being orchestrated, danceable
without being sequenced.
And what a perfect title - Beat Noir.
Fingerprintz are still doing their decep-
tively simple pub-pop as well-crafted as
ever. This time around, though, it's far
craftier. There's an air of mystery
to it, a shadowy quality to the oroduc-
tion that promises, for all the up-front
pleasure it delivers, still greater
treasures just concealed. Of course,
repeated listenings never divulge any
more, but that only makes the elusive
joys of each song stronger and sweeter.
This playful caginess reaches its
peak onpthe dance tunes, which are
nothing short of the raucously trashy
rock of Gary Glitter with an extra
funkiness provided in part by vocals
that sound like Smokey Robinson high
on the heady power of rock and roll.
Believe it or not, it's even more
delicious than that. And danceable?
You bet.
If Fingerprintz never do anything
else in their musical lifetime, Beat Noir
will win them a place both in the Hall of
Unlikely Wonders and our hearts.
Oh, incidentally, this week's Words to
Live By: "Get civilized./You must be
cool/to survive.
--Mark Dighton
Wendy Waldman-'Which Way
to Main Street' (Epic)
Wendy Waldman has always been

something of a rebel in the way she has
combined folk music with classical
harmonies and mixed heavier rock with
a Gershwinesque melodic sense.
On Which Way to Main Street, her
recently released debut album for Epic
Records, Waldman goes a step further
in the rock direction with several fairly
non-melodic, but amore intense, rock
numbers.
Waldman burst onto the pop music
scene quite successfully in 1973 with
what was essentially a folk album, Love
Has Got Me. Some of the folk remains
on Which Way to Main Street,
especially in love songs like "Does
Anybody Want to Marry Me," and epic
ballads like "Time-Like Your, Wire
Wheels,' a ,song about the uneasy
wisdom which comes with success, and
"Which Way to Main Street," in' which
an alienated urbanite dreams of
recovering the mythical innocence of
small town America. Waldman is at her
best in these songs, as her rich, Carly
Simon-like voice carries the slow
melodies along powerfully and
gracefully.
These reflective ballads are set in
strong contrast to the album's out-and-
out rock tunes, "X-Ray Eyes," "You
Said It Wasn't Me," and the thundering,
hook-filled "Heartbeat," on which
Peter Frampton plays lead guitar. Un-
fortunately, these are relatively plain
rock exercises which detract from,

rather than add to, the warmth
produced by the LP's more folkish
songs.
Which Way to Main Street is a good
choice for Wendy Waldman followers
who have been wondering what the Los
Angeles-born singer has been up to sin-
ce she recorded her last album, Strange
Company, four years ago. Waldman's
failure to master her inclinations
toward rock may prevent her from
garnering many more avid fans.
-Mark Fischer


F R.
&- SOL or Bunthorne's Bride
U O fT presented by
The University of Michigan
Gilbert and Sullivan Society
April 14, 15, 16, 17 1982
Lydia Mendelssohn Theater,

'

Former Byrd is booked


' ~ For ticket information call 763-1085

.mb-


DALLAS (AP) - Singer David
Crosby was arrested early Tuesday
when two policemen found him with a
.45-caliber automatic pistol in a room
adjacent to a nightclub stage, police
said.
Police also recovered a substance
believed to be cocaine. It was to be
tested by the Dallas County Institute of
Forensic Sciences, officials said.
Crosby - formerly of the Byrds and
the Crosby, Stills, Nash and Young rock
groups - was not charged but was
booked for investigation of violation of
the controlled substances act and in-
vestigation of unauthorized carrying of
a weapon, police spokesman Bob Shaw
said.
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Crosby, 40, of Mill Valley, Calif., was
arrested about 12:45 a.m., at Cardi's, a
nightclub where he was performing. He
was ordered to appear in court May 6,
Shaw said.
The arrest was made by two patrol
officers who were making routine in-
spections in the nightclub.

- I

-Imm