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J .r .. x l ....................... .? .r ..... .. .J,{Y r. ::. .... .. . ...,x F. f frW t7. r. J.. .. fi:. .. r:..... n.. ..: .. .Y r.$.. ...-r ......... .. :.. r. ... .: ......... .r... r:...v.vn.f.. ri}...f; .r .....:... COVER STORY Silver screen Page 1 Long the movie mecca for cinemaniacs everywhere, Ann Arbor seems to have narrowed its screenings of small, hard-to-find pictures and con- centrated instead on sure money-makers. THEATER Playing around Page 3 W5 Productions, the latest in a long line of theater companies in the area, intends to start off with a bang, performing Bent this weekend. FILM Windy City Page 6 Tempest, Paul Mazursky's re-working of the . classic Shakespeare play, gets reviewed. THE LIST Happenings Page 7-10 Your guide to fun times for the coming week in Ann Arbor. Film capsules, music previews, theater notes, and bar dates, all.listed in a day-by-day schedule. Plus a roster of local restaurants. RESTAURANTS Kana Page 11 The city's newest Korean restaurant-did I hear someone say "only Korean restaurant"-is critiqued. MUSIC Previews This weekend you have your pick of concerts. Joe Jackson plays Hill, Rita Marley follows, and Lords of the New Church hold service at the Chance. BANDS Monster Page 14 Destroy All Mbnsters is back and better than ever. Although you may not have noticed they were gone, now that they're back, you'll never be the same. CLASSICS Baroque Page 15 There's no need for classical fans to sit around the room and listen to Dvorak-there's plenty going on in town. The Ann Arbor Chamber Orchestra starts its season this weekend and Itzhak Perlman comes to Hill Auditorium Tuesday. BOOKS Ghosts Page 16 John Gardner's last work, Mickelsson's Ghosts, gets the cover-to-cover treatment. Harping in town 0 Weekend Assistant Editor .......... . ............Ben Ticho sity year and is available for free at many locations Vol Issue 2 around the campus and the city. ndav. October 1, 1982 Weekend is edited and managed by students on Weekend, (313) 763-0379 and 763-0371; Michigan the staff of The Michigan Daily at 420 Maynard, Ann Daily, 764-0552; Circulation, 764-0558; Display Ad- Magazine Editors...........Richard Campbell Arbor, Michigan, 48109. It appears in the Friday vertising, 764-0554. Michael Huget edition of the Daily every week during the Univer- Cover photo by Deborah Lewis. F ~20%/ OffIati -,Ule£wqw ARMY'all SWEATSHIRTS U - and SWEATPANTS I WIV4I3IIJRjX WITH THIS COUPON . E. Washiogton at Fourth rep iems) OPEN M-SAT, 9-6 Selected Merchandise up to 50% 2EW hngt at Foff in our new bargain basement. OPEN FRI. 9-8 wo 994-3572 (Expires Wed, Oct. 5, 1982) MDf GR&SSARTAENON GYROS F G F GYROS & SHISH KA BA B SCARR Y OUT SER VCE ,,rf t MON -SA T 1 1 AM - 1OP M l~l } SUN 1 2 NOON - 1 OP M MOUSAKA PASTITSIO * DOLMADES * SPINACH PIE hg GREEK SALADS &'PASTRIES COMBINATION PLATES CALLL4 226 S. MAIN at LIBERTY * ANN ARBOR 2 Weekend/October 1,-1982 By Susan Makuch Ann Arbor Chamber Orchestra Featuring Jane Rosenson on harp Michigan Theatre 8:30 p.m., Saturday, October 2 Tickets: $5-$10 ALTHOUGH conductor Carl Daehler considered it "sheer lunacy" to create a new orchestra in the height of an economic recession, he did just that in 1978. The punchline is, he has suc- ceeded in building the Ann Arbor Chamber Orchestra Society into a nationally respected group. The company, which consists mostly of University of Michigan music graduates, began on a tiny $2,000 budget. The odds were great that such a scantily-funded organization would fold almost immediately. And with what Daehler terms "sheer determination," they were able to "buck the odds and survive." "The students and the Ann Arbor community rally around the arts," Daehler explains. "Their en- couragement and ticket purchases have allowed us to grow to the size we are now," he added. The 28-member troupe now operates under a $150,000 budget. Much of that funding comes from the National Endowment for the Arts-a program which has been slashed drastically by President Reagan. The Ann Arbor chamber group was able to idiabout By Lauris Kaldjian Itzhak Perman Hill Auditorium 8:30 p.m., Tuesday, October 5 Sold out ARARE AND splendid pleasure it is when an audience and musician become one. Only a cherished handful of artists have been able to accomplish this almost unattainable feat, and one of these is violinist Itzhak Perlman. Tuesday, Oct. 5, this brilliant violinist will share his music with a sold-out audience at Hill Auditorium. As the , dulcet tones pour out of Perlman's Stradivarius each listener will begin to latch on to him like his bow hugs the strings, with warmth and appreciation. A response from an audience is a matter of reciprocation. When one hears and sees an artist opening up his heart it is only natural to receive it and return the favor. Itzhak Perlman is acutely aware of this and gladly keep their grant because, Daehler con- veys, "our audience has increased, we program primarily American music, and because of our overall musical quality." Only one other small or- chestra has also kept its grant. "It really makes us feel good to know we survived the budget cuts because of our quality," Daehler admits. The quality is likely to increase this season, with the impressive list of guest soloists the company has lined up. The new series includes Detroit Symphony Orchestra harpist Jane Rosenson (Oct. 2) and pianist Panayis Lyras, silver medalist at the Van Cliburn Inter- national Piano Competition (Jan. 22). Two of Daehler's favorites, Stephen Burns on trumpet, and soprano Kathleen Battle will also appear. Burns is "so good, as soon as I saw him per- form, I immediately asked him to play with us," Daehler says en- thusiastically. Since Burns has studied at the University, his decision to appear develops an intimate rapport with his listeners. Jascha Heifetz, a violin virtuoso with bedazzling technique, believed people came to hear him with the hope that they would catch him making a mistake; in spite of them Heifetz proudly denied them the pleasure. Such a defensive attitude is diametrically opposed to Perlman's approach: to share and communicate the joy of music. Born in Israel in 1945, Perlman's parents supported his early desire (at the age of three) to play the violin. Only a year later he was stricken with polio that since then has debilitated the free use of his legs. The need of leg braces and crutches, and sitting down while performing, has hindered neither his - ability nor his impact, in fact, it has probably helped audiences see him as a genuine person instead of an un- touchable violinist. After he patiently walks with his crutches to centerstage and is handed his violin, he sits, and seems to invite those present to partake of the musical wonders he is ready to reveal. His en- tire character, his facial expressions, everything about him suggests his desire to recreate music in a form that is tangible and chock-full of sincere warmth. Initial amazement at Perlman's im- peccable technique eventually fades was a quick one, Daehler reveals. Daehler considers all the guests this season "stars of tomorrow," and an- ticipates a successful schedule. The orchestra does not limit itself to its subscription series at the Michigan Theater. The group recently travelled to Detroit's Fox Theater where they ac- companied the silent movie version of Robin Hood. "It was a very interesting assign- ment," Daehler says. "The score was discovered in a library somewhere-we were only the second orchestra to play it," he explained. The response was so encouraging, "we're hoping to bring both Robin Hood and D.W. Griffith's Broken Blossom to Ann Arbor this spring." Another activity the company found itself involved in was an educational concert for children. Daehler explains that he "wanted to do it for a long time, and we finally got the funding last spring." He is quick to point out that "a Ann Arbor Chamber Orchestra: Baroque-ing away local orches to present t have the p response wa certs will be Daehler p sity of his year along classical, bi he says. "O the music o it's easy fo: areas. One have the gr stops in the For now, "selling out 1,800 tickets the audienc will bring th ce told by a orchestra 'w Ann Arbor. premier, ho out. and is soon taken for granted as a necessary facility to transport the musical meaning behind the technical wizardry. One can not help but put complete trust in Perlman's ability, he simply commands it. Perlman often combines his efforts with fellow musicians and friends. He collaborated with Vladimir Ashkenazy in the Beethoven Piano-Violin Sonatas, and they produced some of the most pure and lyrical music ever recorded. Perlman firmly proved himself worthy of Mstislav Rostropovich's company in their recording of Brahms' Double Concerto for Violin and Cello. Perlman is versatile; he is not con- fined to the realm of classical music. With cohort Andre Previn, he has recorded different types of jazz and even Scott Joplin ragtime numbers. It is difficult-if not impossible-to detect any pretention in his music. Perlman, like a good writer, knows and speaks to his audience regardless of its varying composition. Unfortunately, Hill Auditorium has not been able to accommodate the many, too many, people who wish to hear what promises to be a special con- cert. For those who painfully realized their misfortune at the ticket office, let Perlman's numerous recordings, for the present anyway, suffice. To the privileged ticket holders, I need say no more. Perlman: 1 15 A I,