Scanned image of the page. Keyboard directions: use + to zoom in, - to zoom out, arrow keys to pan inside the viewer.

Page Options

Download this Issue


Something wrong?

Something wrong with this page? Report problem.

Rights / Permissions

This collection, digitized in collaboration with the Michigan Daily and the Board for Student Publications, contains materials that are protected by copyright law. Access to these materials is provided for non-profit educational and research purposes. If you use an item from this collection, it is your responsibility to consider the work's copyright status and obtain any required permission.

January 28, 1983 - Image 16

Resource type:
The Michigan Daily, 1983-01-28
This is a tabloid page

Disclaimer: Computer generated plain text may have errors. Read more about this.

w w w w w w w w











. . . . . . . . . . . . . . . . . t,,: X, ... . . .... . . .. ..
... ........ .
.............. . ........

...... ..
.......... .............
. ........... .. . .... ...
. ....... .. X X 1,::-
............. .... .................
........... ..
. ............. ........

Marcel Marceau
Power Center
8 p.m. Saturday, January 29 and
3 and 8 p.m. Sunday, January 30
By Julie Bernstein
M ARCEL MARCEAU, master of
mime, will begin his 1983
American tour in Ann Arbor. Presented
by the University Musical Society, the
great artist will debut a program of
pieces to American audiences after a
recent run of European premieres.
Born Marcel Mangel, he grew up in
Strasbourg, France. He initiated his ar-
tistic commitment at the. Charles
Dullin's School of Dramatic Art in the
Sarah Barnhardt Theatre in Paris,
where Master Etienne Decroux served
as mentor to the creative protege. He
first came to the United States in 1955;
he performed for the University of
Michigan's University Musical Society
for the first time in 1971, by which he
has been engaged a half dozen times.
Marceau has undoubtedly proven his
genuine versatility. As teacher,he is
the founder of the International School
of Mime, where students study classic
and modern dance, fencing, poetry,
theatrical history and acting. As a
visual artist, his aptitude and passion
for painting developed from his
childhood where he modified iden-
tification papers for those needing to
flee from the Germans. Utilizing his
By David Kopel
The Bald Soprano! The Lesson
Ann Arbor Civic Theatre
Main Street Theatre
338 S. Main
I N A BOURGEOUIS British living
room sits a bourgeois British couple,
the Smiths. The clock strikes seventeen
"Goodness! Nine o'clock," exclains
Mrs. Smith. "This evening for supper
we had soup, fish, cold ham and
mashed potatoes and a good English
salad, and we had English beer to
drink. The children drank English
water. We had a very good meal this
evening. And that's because we are
English, because we live in a suburb of
London and because our name is
This is The Bald Soprano, Eugene
Ionesco's satire of the emptiness of

talents, he has successfully written and
illustrated a book in which the central
character, "Bip," the top-hatted clown,
portrays Marceau's understanding of
man's day-to-day tribulations against
his increasing awareness of the won-
derment of the world.
In addition to showman, teacher,
painter, and writer, who can forget his
priceless performance in Silent Movie
where the film's only spoken word,
"NO," rang with such comic truth that
only Marceau's sense of dignified sim-
plicity could make that moment of
theatrical irony possible.
Last year in Ann Arbor, Marceau
found time within his busy schedule to
dine with the French Co-op over in Ox-
ford Housing. An intended 90-minute
meal evolved into a 4-hour evening of
inspirational thought and conversation.
The students were exceedingly im-
pressed with this multi-faceted in-
dividual. He appeared gracious, ar-
ticulate and personable.
In response to students' questions, he
eloquently spoke on international
communication and the inherent unity
of heart and mind. His universal ideals
are not only transcended through his
body which communicates to audiences
all over the world, but through his
proficiency at eight verbal languages
as well. One Oxford resident noted that
his accompanying gestures contained
all the appropriateness and beauty of a
choreographed ballet.
Don't miss this sensational evening of
silence on January 29 at 8:00 p.m. and
January 30 at 3:00 p.m. and 8:00 p.m. in
The PowerCenter. For ticket infor-
mation, call the University Musical
Society at 764-2538 or 665-3717. 9

S t ati o n
Gandy Dancer
401 Depot
Hours: 11:30 a.m. - 3 p.m. Monday-
Friday; 5 p.m. - 11 p.m. Monday
Thursday; 5 p.m. - midnight Friday;
3 - 10 p.m. Sunday

By Fannie Weinstein

passenger or cargo train to come
roaring past the restaurant two or three
times during a meal. There are even
those patrons who commute to grab a
bite to eat.
The best view of the trains, whose
arrivals arouses applause and cheers
from diners, is from the Gandy Dan-
cer's garden room. Because of its
popularity, however, the restaurant
won't take reservations for the room,
but will do its best to honor requests
when it's time to be seated.
The Gandy Dancer offers a different
menu daily; its house speciality,
"Charley's Bucket" (Maine Lobster,
Dungeness Crab, Steamers, and
Mussels) is always available. The
same goes for the paella and the Boston
Blue Plate (oysters, clams, scallops,e
Dinner entrees consist of a wide
variety of seafood dishes ranging from
Norwegian Salmon to Fried Smelt. The
Cape Scallops Primavera, served with
sauteed fresh vegetables and rice pilaf,
was recommended, but turned out to be
a disappointment. The scallops ($11.25)
were not meaty and a bit fibrous, often
a curse of frozen fish.
For non-seafood lovers, lamb and
strip sirloin are also available. the
steak ($12.75) is lightly seasoned,
although not as well trimmed as would
be expected.
All entress include a choice of
Charley's Chowder of the salad bar,

. ............. .........

LEGEND HAS it that in the late 1800s
when the country's railroad system
was being built, an Irish railman
named Gandy kept his workers' ham-
mers and pick axes swinging in rhythm
with his songs. These men became
known as Gandy's dancers.
Thus, the Gandy Dancer earned its
name - and its widespread reputation
for offering a rather unique dining ex-
perience. Since Gandy's time, unfor-
tunately, the restaurant has gotten a lit-
tle off-track.
Situated next to the Ann Arbor Am-
trak station, the Gandy Dancer gets its
atmosphere and its floor show right off
the rails. It is not unusual for a

Gandy Dancer: Lobster every day
which is chilled to keep the vegetables
crisp. Oven fresh bread with a twist of
garlic is also served.
Desserts ($2.00 and up) are treated
like destinations. Each patron gets to
tear a ticket off an engineer's ring for
whichever they would like. Choices
range from strawbery shortcake to ice
cream drinks. The cheesecake is
Enhanced by train memorabilia, the
Gandy Dancer would be a nice surprise
to stumble upon. Unfortunatley, it does
not live up to its reputation.
The food is overpriced, the eating
space a little cramped, the noise level a

bit too loud,a
people who
credit card
below par.
If you dec
cer a trys
vation, esI
evening. Fr
available w
ween 6:30 an
The Gand
"the place'
parents or
make sure tl

space a little cramped, the noise level a make sure t.


* Hi Q Game " Pente * Chess Games
* Pig Mania * Diplomacy * Dragon Hut
"The Friendly Family Store"
514 E. William St.


Marcel Marceau: Show without words

modern life. The Bald Soprano and The
Lesson, another Ionesco play, are en-
joying a two-week run at the Ann Arbor
Civic Theater (338 S. Main). Perfor-
mances are Jan. 28 and 29, and
February 3-5, at 8 p.m. Tickets go for an
affordable $3.
Eugene Ionesco, a Rumanian-born
Frenchman, took much of the opening
dialogue from his English textbook,
Assimal Manual. Thus, the characters
in The Bald Soprano have the names of
the characters from Assimal Manual.
They utter witticisms such as, "The
ceiling is above, the floor below."
Asthe play progresses, the audience
begins to understand that the Smiths,
and their guests - the Martins - have
nothing to say to each other, but con-
verse nonetheless. Eventually, normal
conversation collapses in a bizarre and
hilarious orgy of non-meaning.
Initially, audiences expecting an
evening of normal theatre may be
frustrated by the play's absurdity; the
characters are more like hollow shells
than full human beings. But
amusement soon replaces the
frustration, as the audience laughs at
the silly shallowness of turn-of-the-
century petite bourgeoisie life in Britain.
But Ionesco was doing more than
poking fun at one social class in Britain.
As he explained, "There probably was
in my plays some criticism of the petite
bourgeoisie, but the petitie.
bourgeoisie.. . was for me a type of
being that exists in all societies. . . The

petit bourgeois is just a man of slogans,
who no longer thinks for himself but
repeats the truths that others have im-
pressed upon him ready-made, and
therefore lifeless. In short, the
bourgeois is a manipulated man.''
lonesco's point is how much we are like
the Smiths and Martins; listen
carefully at the dinner table some time,
and ask how much people really have to
say to each other.
Appearing with The Bald Soprano is
another Ionesco one-act, The Lesson.
Law students especially will be able to
identify with this tale of domination and
control. Larry Rusinskiy, by day an
Ann Arbor computer programmer,
plays the timid little professor, a shy
and highly animated man. He tutors an
attractive young woman in
mathematics and linguistics. Although
initially intimidated by the woman's
sexuality, the professor gains power
and authority as his lesson progresses.
The result, both disturbing and
comical, takes the traditional student-
professor relationship to its logical con-
Steven Stuhlbarg, a University
graduate student in philosophy, directs
both plays. His enthusiasm for the
production stems not only from the
lessons the plays teach, but from their
worth as pure entertainment.Despite
the gloom of lonesco's message, one
cannot help laughing the whole way
Stuhlbarg feels that the small size of

the Main Street Theater (also at 338 S.
Main) - seating for 170 - and the
thrust setting of the stage will make in-
tegration of the audience into the
production easy. For example,
Stuhlbarg plans to have his performers
use the entire theater space, not just the
stage. After all, the theme of theater of
the absurd is not that what is going on
on stage is absurd, but that the world
and the audience are absurd.
Students interested in joining in the
planning and production of future
shows, and in contributing to the Ann
Arbor theater community, can join the
Ann Arbor Civic Theater for $8. For fur-
ther information, call the Theater's
business office at 662-9405, from 1-5
p.m. Monday through Friday.

Bulkoki BAR-B-Q Sandwich .......... $2.50
Veggi Tempura .................... $1.50

Battle of the I
The event will take place
March 1 0th-1 2th
in the U-Club
Applications for all types of ,b
are now being accepted at the
office, 2105 Michigan Union.
questions should be directed t4
Terri Grumer or Rich Lesser, c
the University Activities Cente
at 763-1107.
Applications will be due
no later than February 14.

Egg rolls................
buy 4 and getl1 FREE!
Fried Rice .............. .
Tak Chim................


. . . . . . . . . . I

less than $4.00

1133 E. Huron

M-Sat 4-9

Bald Soprano: Strange stage song

6r- -eekend!ary-28 4983-.-----------------------.--- - - - - - --. . .

- - - -.--- -

Back to Top

© 2020 Regents of the University of Michigan