ARTS Ahe Michigan Daily Saturday, April 2, 1983 Page 5 i lompr--- 11 -- - - ---- - ---- ----------- . ... .......... Ultravox rocks By Jeffrey W. Manning SO I WALKED into the Michigan Theatre and it was dark, almost *11. On the stage were four guys: The Messengers. They started playing their instruments. I sat in my seat and star- ted tapping my foot. I really wanted to dance to these guys because they weren't your average get-off-the-stage- and-let-the-real-band-play warmup band; the lead singer thumbed a funky bass. I didn't get up and dance because everyone was sitting.. After the third song, a real tragedy occurred. The drummer thumped his *lectronic bass drum with too much force and it broke. A divine comment on the state of pop music? Possibly. Anyway, soon the roadies fixed the drum and the show went on. A bit later, the lights dimmed a second time and the Michigan Theatre's large, red curtain raised to reveal a huge chalk-white set on which Ultravox began playing. Dry-ice fog abounded and the audience cheered. The first odd thing I noticed were two of he Messengers singing back-up vocals next to drummer Warren Cann. Then there were the thick, bass vibrations emanating from the three synthesizers. Even my chair rattled. I knew this would probably cause per- manent ear damage, but at the time it didn't bother me. The band played a few songs from Rage In Eden and then a couple from Vienna, conciously avoiding the new material. The large white set gave the show a theatrical quality lacking in most performances. Birthday boy Billy Curie - the keyboardist and violinist - was the group's showman. Midge Ure (vocals) and Chris Cross (keys; no relation to that California mellowist) didn't oppress their presence (with one exception: Mr. Cross tossed his bass halfway across the stage after a song. I felt sorry for the guitar, but it was a smile for Cross). Throughout all this, I was still thinking about dancing - especially withkthatbrutalizing bass. Andas I thought, so it happened! Ure made a comment about people dancing in the aisles and seconds later, they were packed with swaying hips. I stood up and bopped. Then they played "Vienna: " ecstasy. I interviewed Warren Cann after the show. As I made my way to a small in- terrogation room, I heard Ultravox and Wichigar co. sing "Happy Birthday" to Curie. It was a (not The) birthday party! Some of the interview went like this: Daily: How do you react to the criticism that the idea of a synthesizer is cold and sterile? Cann: Some people don't like the idea of the car...we tried to do parts of 'Vienna' with the London Philharmonic (?) but we couldn't do it because there was nothing that could reproduce or even fulfill the same function as elec- tronics do. Daily: Your music varies with each album; do you have any ideas for the next album? Cann.: -...(pregnant pause)...something incredibly off the wall....we don't stop on something and go back to try to rework it. We have an idea and carry it out. Only after do we listen to it and decide: is it a single? is it danceable? Daily: Ultravox seems to be on the verge of an American breakthrough, so are you experiencing lots of corporate pressures? Cann: Yes, we have to fight it...Visions in Blue' (latest U-vox single) was a very calculated move on the band's part. Daily: What's your opinion of MTV? Daily Photo by ELIZABETH SCOTT Warren Cann of Ultravox exhales backstage at the Michigan Theatre Thursday night. Cann: I think it's going to save the North American music scene... MTV's going to change all that...your Lynyrd Skynerd, .38 Special is going to be wat- ching MTV and see Duran Duran or Ultravox and say 'Whuthefuckisthat- shit?' but eventually the visuals will get to his imagination. At least he'll be watching what's going on even if he doesn't know what the music's about - he thinks he hates it - it'll chip away all these videos because English bands still make the best music. (Amen) Cann has recently been working with Han Zimmerman on a recording of syn- thesized classical music, though a release date has not been set. The North Americanttour, which consists of twelve dates before the band flies to Japan, then possibly back to the states, if there is a concert demand, or to the desserts of the American Southwest, where Cann told me he likes to go and 'shoot things'. One of the last things he said to me in answer to a question about politics and pop, "I don't like it when a group in- cludes a lot of personal politics in their music. For me, my job is to play music and make people dance." That's justr what Ultravox did, so I guess it was a good concert. 'Figaro' Humor .gets center stage By Lauris Kaldjian I OVE AND DEATH, not to mention taxes, are universally discussed facts of life, and Woody Allen was not *he first to realize this. Ever since Mon- teverdi introduced the form of the opera composers and librettists have collaborated to produce musical drama that revolves around such pertinent themes. At times when deathis temporarily put aside, love, with its humorous' caprices, takes center stage. Mozart's comic opera The Marriage of Figaro is a marvelous case in point, and on Thur- sday night the members of the ichigan Opera Theater gave an en- joyable performance of this work which invites the audience to laugh and par- ticipate with conspirators and victims alike. The efforts of music director Johan van der Merwe and stage director Jay Lesenger resulted in a coordination of music and drama that made sense and communicated its message. Though not recognized by the spotlights, those responsible for the work done behind the scenes (literally) deserve their due appreciation for providing the necessary clothing and shelter which opera cannot do without. The modest set fulfilled its purpose and did not run the risk of detracting at- tention from the performers. Though its receeding linear design created stage depth it also contributed to rigidity caused by the absence of more geometrical cariation. Nevertheless, it highlighted its occupants so much the *more, and was conducive to smooth set changes and backdrop lifts. Surpassing the set were the costumes, whose appearance granted additional credibility to the drama; they were attractive and convincing. The costumes and wigs of both har- psichordist and conductor added a nice touch without being pretentious. The handsome costumes adorned a worthy group of singers. Though *double-casting the opera decreased in- dividual rehearsal time, Thursday's cast performed solidly and were well matched. Alan Brown splendidly played a vengeful, befuddled Count. With singing that naturally accompanied his flexible dramatic ability, he expressed moods in song that varied from the con- founded to the resentful. An underlying sense of wit served his vacillating character ironically well. " The Countess was played by Maryann Lambrecht, who seemed to bear the melancholy of her first aria throughout the rest of the performance. Though her voice was comparatively forceful, her duet in Act III with Susanna was well- balanced and pleasing. Carla Connors' performance as Susanna gave her opportunity to exhibit spirited acting and a graceful voice. She sang consistently with a beautiful tone that soared lightly, but not thinly, 'Hair' lets some By David Kopel D ESPITE Jerry Falwell's best ef- forts, neither Hair, nor Peace and Love are nostalgic relics. The Musket's version of Hair won't go down in theater history as the most brilliant production ever, but it will be remembered by its audiences for quite a while. Only James Watt could walk away from a show like this without a song in his heart. The major problem with Hair is that it is set in the Power Center. Almost none of the cast has the vocal power to project to the back rows of the audien- ce. As a result, words are sometimes drowned out by the band, and the audience misses the subtleties of the soloist's voice. When singing ensemble though, the cast is unstoppable. Favorites such as "I Got Life," "I Believe in Love," and "Where Do I Go" bring out the spirit that makes Hair a celebration of life. The cast also explores the non- celebratory side of life. As Berger's unrequited lover, Katy Cavanaugh displays a touching combination of hope and hurt. A moment after she makes love with Berger in a bed made form a parachute, he tears up a shirt she gave him. She sings "Easy to Be Hard," and melts the hearts of the Tribe and the audience. Nafe Alick starts slowly as Claude. At first, he doesn't seem to really believe that he is "Aquarius, destined for greatness - or madness !'" day of his draft induction in nears, his quiet despara more intense, and unifies act. Unfortunately, Claude's tribal leader Berger, relies swagger and not enough authority. Berger is a irresponsible character; w without charisma, he beco cold and repellant. Singing "Frank Mills" f Angels boyfriend, Susan S the vast Power Center, an( self to be clearly the strongest soloist. While the Power Center obstacle to the soloists, many opportunities for production crew to show of The lighting is among the 1 bor has seen for a while against a white back-drop the band, a variety of lig set psychedelic moods. An( by a multitude of configur, tors, the lighting always h sunshine in 'But as the just right. to the Army The 12-piece band is equally tion grows good. From the chaos of "Walking in the second Space," to the simple good vibes of "Let the Sun Shine In," they propel the best friend, show. An excellent sound system helps too much on out too; one wishes that the soloists on genuine used the available microphones more selfish and often. when played The music is not the only highlight of mes merely the show. Among the audience's favorite moments were Claude's con- or her Hells frontations with his parents, Dionne's mela fills up discussion, of her pregnancy with d shows her- Apollo, and Claude's stroboscopic acid 3 evening's trip. With a cast of 23, Hair demands is a major imaginative choreography. Director it provides Todd Edward uses the multi-level set r the huge adroitly, presenting a diverse collection ftshtent of stage pictures. its talents. Despite a few week moments in the b. Projected second act, Hair ends brightly. The that covers Tribe singsa joyful "Let the Sun Shine ting effects In," and the audience claps along. At d challenged the curtain call, the audience instantly ations of ac- rose to a standing ovation. Hair continues at the Power Center its eah one tonight at 8sand Sundavat 2. Julia Pedigo (Cherubino) and Stephen Morschek (Figaro) in the School of Music's production of Mozart's 'Marriage of Figaro'. less her equal; the two performed im- pressively together, reciprocating in both song and character. Morscheck's powerful voice could also be tender, and his varied ability, both musical and dramatic, rightfully allowed him "to set the tempo and play the tune." The amorous role of Cherubino was played convincingly by Julia Pedigo. She performed her masculine role with alternating spunk and bashfulness which was complete with shuffling feet and lugubrious expressions that evoked their due laughter. Elizabeth Elvidge effectively por- trayed a jealous and crass Marcellina. Eventually, aside from unexpectedly losing her derriere support, she also lost her spite when her maternal relationship to Figaro was revealed. After a brisk overture the orchestra supplied receptive accompaniment throughout the opera. Though a few sections verged on dragging, com- ANN ARBOR INDIVIDUAL THEATRES 5M Ave at Lberty 71700 $2.00 WED. SAT. SUN SHOWS BEFORE 6 PM 5 ACADEMY AWARD NOMINATIONS INCL ... BEST ACTRESS MERYL STREEP FRI MON - 6:50 9:40 SAT SUN- 1:10 3:55 6:50 9:40 (R) A FUN ACTION FILM IN THE TRADITIONAL HOLLYWOOD STYLE! munication between the stage and the pit was not strained. Exposed scoring in the otherwise solid string section oc- casionally revealed some intonational uncertainties; after warming-up, the principal winds played very well, with sensitivity and lucid tones. With most all University dramatic productions there always exists the inherent lack of age. In Shakespeare, for an extteme example, it severely strains the mind to imagine a per- suasive King Lear in his twenties. Despite this reality the Michigan Opera Theater presented a Marriage of Figaro that did not presume the wisdom that only age breeds; instead the performers fully exploited their energies and successfully displayed the fruits of their long-cultivated talents. 10:00 12:15 2:30 4:45 7:10 9:30 THIS IS A HELL OF A WAY TO MAKE A LIVING. Toots e DUSTIN HOF'FMAN A COLUMBIAEE PICTURES RELEASE .' SP-NG BREAK 1:00 3:00 5:00 7:15 9:30 Fri. & Sat. ti 1i i 10:00 G 1:30 The 5:00 thet 8:30 PG No$1 Tues. or Discounts ANDHI Man of Century. COLUMBIA ICTURES RELEASE Savannah Smiles - 11:30 1:00 3:00 5:00 7:15 9:30 PG EE1 G 1982 EMBASSY PICTURES 10:00 12:15 2:30 4:45U. 7:00 9:15 L e s 1:00 of the (3:00 L0 7*/7R 5:00 7:15 PG 9:30 9:15 10:00 12:15 2:30 5:00 7:00 9:00 !MAX DUGAN RETURNS CPJ~ The Outsiders 1:00 3:00 5:00 7:15 9:30 \L . __J _.__. _.