ARTS Friday, November 5, 1982 .The Michigan Daily Page 7 I: ? ;: z By Larry Dean T HE PSYCHEDELIC Furs are a British quartet whose latest album, Forever Now-which was produced by veteran studio maestro Todd Rundgren-is an excellent compilation of pop tunes with a visceral bite. Fronted by vocalist Richard Butler, whose gravelly voice has been likened to everyone from Johnny' Rotten to David Bowie, the Furs have achieved some degree of success in America on the strength of their prior two LPs and their flashy live shows. After the departure of three members, the remaining Furs decided to continue as a group; they recorded Forever Now with the help of Rundgren and some studio musicians, including Flo and Eddie (from the Turtles) who contributed back-up vocals on a few tracks. One of the three still-active band mem- bers, guitarist John Ashton, phoned from New York City recently to talk about their current tour (they're ap- pearing tonight at the Royal Oak Music Theater in Detroit), the ex- perience of working with Todd Rundgren, and life as a member of the Psychedelic Furs. Daily: How did you come to join the band? Ashton: Well, I heard a demo tape that Richard (Butler, vocalist) and Tim (Butler, bassist) did with some drum- mer whose name I've forgotten. I think it was "We Love You" (from their debut album). Anyway, I really liked what I heard, so I went by Richard's one day to hear them rehearse. I was amazed-they really blew me away! I had been in London for about a year then-the punk thing was well over by that time (1979), but you could still hear traces of it in the music that everybody was playing. I was really into what you might call "head music," and this stuff they were doing-it was something else. I'd been playing guitar for a while-just me in my living room. I hadn't been in a band before. They asked me to sit in on the rehearsal and by the time the night was through, they asked me if I'd like to join. Daily: Why did Roger Morris (Guitar) and Duncan Kilburn (sax) leave the group? A: Roger and Duncan left because.. . In the studio we try to put the songs together as a group. Richard might have a melody he worked up on the piano or that he hums, and we work from that-most of our songs start from a simple little riff and build from there. They left because they weren't putting in enough input. . . They were sort of standing around waiting for things to do. D: What about (drummer) Vince Ely? A: He's in Boston. He has it in his head that he wants to be a producer, work with some local groups. D: Who's the new drummer? A: Phil Calvert. He used to be with the Birthday Party. D: What are you doing live for the saxophone parts? A: Gary Windo is touring with us-he did the Forever Now sessions. We also have a friend of mine on keyboards, Ed Buller-I met him in a music shop in Soho. He's not officially a member yet but we're considering adding him. D: What about the celloes? A: Ann Sheldon is playing cello. She did the album, too. She's from Wood- stock, where Todd's studio is located. D: Tell me how you came to pick Todd Rundgren as producer on Forever Now? A: We were in the middle of our U.S. tour for Talk Talk Talk (their second album). Todd came backstage at one of our gigs and expressed interest in producing us. Later he got with our management and record com- pany-they were quite pleased that he was interested, not to mention Vince- Rundgren is his idol. We made arrangements to meet him in Wood- stock, listened to some demos and stuff he'd done for himself and other groups, and decided we'd like to work with him. D: I was a bit leery when I heard he was producing your new album. A: Yes, a lot of people were! But a band without enough ideas-one that isn't strong enough-will end up soun- ding like Todd Rundgren and not themselves. D: So you're happy with Forever Now? A: Very pleased, I had some doub- ts-the usual frustrations during recor- ding-but they were all pretty invalid. We secured a good working relationship with Todd. D: Do you think you'll ever get the chance to work with David Bowie (he'd been mentioned as a possible producer in a past interview)? A: Sure-we'll give it strong con- sideration. At the time he spoke with us about it he was busy doing The Elephant Man. Just having him offer was quite a compliment. D: What are your future plans? A: My heart is with the Psychedelic Furs. Working with a band in a produc- tion capacity-like Vince wants to do- is an intriguing notion, but writing with this group provides so many different avenues. The nucleus is the same-Tim and Richard and me-and I'm happy doing what I'm-doing. D: Like to make a final comment? A: Yeah ... Look but for something drastically different next time. UNISEX Long or Short Haircuts by Professionals at... DASCOLA STYLISTS Liberty off State ........668.9329 East U. at South U........ 662-0354 Arborland ..............971-9975 Maple Village ...........761-2733' Margaret (Lundeana Thomas), and Luke (Michiael Shane), confront their true feelings in James Baldwin's 'The Amen Corner,' a University Players Showcase production running through November 6. A mnCorner yen tures -to arle andbe yond By Mare Hodges JAMES BALDWIN'S Amen Corner opened Wednesday evening at the Showcase Series. Mikell Pinkney, a successful actor, director, and choreographer, returned to the Univer- sity, his alma mater, to direct this production, and a fine production it tur- ned out to be. The play is strongly tied to Baldwin's own experiences as a young man. It follows a black woman's struggles as a preacher in a Harlem gospel church. This women, Margaret Alexander (per- formed by University student Lun- deana Thomas), is torn between her love for God and her dissolute husband, while attempting to keep her son and herself protected from the harsh realities surrounding their own lives. .Margaret's constant denial of these realities couses serious problems throughout the play from which her "Amen Corner" can no longer protect her. Margaret's attempts to deal with her problems sets the dramatic storyline that Baldwin has created as a message to the audience about the stuggles facing black families. The play opens on a rousing scene in the small gospel church that comprises two-thirds of the stage, (all action takes place on a unit set which is the church and home of Margaret). Margaret's congregation sings in praise as she stands preaching her sermon against the evils of the world. In this first scene we experience just a taste of the mar- velous gospel music that resotinds throughout the play. Thomas' execution of Margaret Alexander, from the 0 .eelipse faol beginning, proves her abilities as an accomplished performer. From the church we move down the Margaret's kitchen, where light humor is tossed around by Sister Moore (Anna C. Aycox), Sister Boxer (Patricia John- son), and her husband Brother Boxer (Steve Dixon). These three present refreshing humor throughout the entire play that balances the dramatic episodes facing Margaret. In this kitchen scene we meet the principle characters of the play: David, Margaret's son who is suffering under her overbearing protection (performed by John Fluker), Luke (Michael Shane), who enters as Margaret's husband who returns after ten years of absence, and Odessa (Carolyn Lewis- Stone), Margaret's sister and advocate. Any uncertainties that were facing the audience up to this point were definitely washed away by Michael Shane's (Luke). His dynamically realistic performance settled the audience into the story and from this point on the play progressed wonder- fully, leading the audience through laughs and tears. John Fluker's performance as David grows as his character does. What begins as a seemingly uneasy effort develops into a dramatic release of emotion and ultimately an overall good performance. Lundeana Thomas' performance throughout the play makes a definite statement about her wonderful abilities as a dramatic actress. When the audience recognizes Margaret's falacies about her life and her religion they go through a similar realizations moves the audience to tears. The story climaxes in the final scene when Margaret recognizes that she can no longer hide from the truths that were revealed in the opening scene. Margaret cres by the side of her dying husband's bed and the audience is cap- tured in the excellence of Thomas' per- formance. In this, her most dramatic scene, Thomas displays her ability to make the audience suffer along with her character, further signs of her ac- complished acting. The play closes in. this third act, leaving the audience with a positive feeling aout Margaret's triumph over her crushing problems. Each character also has a personal triumph over their characters and all succeed in delivering a touching, delightful, dramatic performance. 'Madcat' Ruth returns ANN ARBORITES are in for a treat tonight and tomorrow night when local favorite Peter "Madcat" Ruth appears at The Ark. This resident harmonica -master is practically a legend in the area. When he performs his blues, it's not unusual for his audience to immediately get into the music by cheering, clapping, and swaying as he walks onstage. The one standout aspect of his concerts is that Madcat gets better as the show progresses. He just never lets up, and neither does the audience. Madcat's affair with the audience would be understandable even if he just played the harmonica, but he doesn't stop there. While his lips are sliding across the metal instrument, his foot is squeezing the pedal of an electric drum while his hand beats a wooden object attached to his chest. His energy literally lights up the crowd. Madcat appears at The Ark at 9 p.m. Tickets are $5 at the door. -Susan Makuch ANI'AROR 2 INDIVIDUAL THEATRES 5th Ave or tUb"ry 761.9700 SAT " SUN only $2.00 shows btfors 6:00P.. -. FRI-6:40, 8:30, 10:20 SAT., SUN.-1:10, 3,4:50, 6:40, 8:30, 10:20 1982 -) i WENDELL HARRISONh Iwith Special Guest LEON THOMAS SATURDAY, NOVEMBER 6 8:00 P.m. UNIVERSITY CLUB, Ann Arbor TICKETS: $5.00 Advance, $6.00 at Door THE MOST P1 AND LOVED R( FILM OF THE S "GO SEE IT A MOVED TO AND TEA k6- ART ENSEMBLE ~ "GREAT BLACK MUSIC OF CHICAGO ANCIENT TO THE FUTURE" FRIDAY. NOVEMBER 19 TWO SHOWS-5:00 and 10:30 p.m. MICHIGAN UNION BALLROOM TICKETS: $8.50 General Admission DAVID EYGES David Eyges (cello) Sunny Murray (drums), Byard Lancaster (saxes) SATURDAY, DECEMBER 4 8:00 p.m. UNIVERSITY CLUB, Ann Arbor TICKETS: $3.50 General Admission RAISED DMANTIC SEASON! 4ND BE CHEERS NBC-TV DEBRA WINGER (R) , 7:10, 9:20 RICHARD GERE AN OFFICER A"DA GENTLEMAN FRI-6:30, 10:15 SAT., SUN 12:40, 2:50, 5:00, SNEAK PREVIEW FRIDAY NIGHT AT 8:40 pm OR SEE BOTH "OFFICER" AND "PERSONALS" AT I N 16 I