ARTS Sunday, October 16, 1983 Page 59 Luck o' the Irish By Deborah Robinson RELAND IS FINALLY joining the space age, with a rocket called "Civil Servant." It won't work and can't be fired. If the Comhaltas Ceoltoiri Eireann tour group, the am- bassadors of Ireland's cultural movement are any indication, Irish music can also claim dubious worth in modern times. Paddy Fallon, the master of ceremonies at Friday night's Michigan Theater show, cleverly spouted such anecdotes as the aforementioned Ireland's government workers. Rather too cleverly, unless it is the aim of Comhaltas to promote "Paddy" jokes as fervently as they work to preserve traditional music and dance. It was my understanding that the "Gems of Ireland" per- formance group toured America with the intention of presen- ting authentic interpretation of their culture. The show sparkled with authenticity provided by the very talented ar- tists, including Fallon. But the producer demonstrated a lack of confidence in the ability of the performers, to carry the show themselves. All are winners of competitions in dance and music. Each of the instrumentalists affirmed their designation as champions without a doubt. The harpist played several lovely tunes, including a wistful baroque-like piece which twisted into itself delightfully - dispelling my notion that most harp playing has to be sappy. She also plucked lively counterpoint to the numerous dance tunes of the evening. Solo tunes on uillean pipes, flute, fiddle, accordion and ba jo provided small tastes of the varying regional styles represented. Jigs, reels and hornpipes played by the entire group were well executed, though each tune was seldonm played through enough times to build up the energy of which the players are capable. The group tunes also suffered badly from a sound mit which nearly deleted banjo, fiddle and squeeze box. This was especially unfortunate for the accordionist, one of the rare breed of subtle players of his instrument, who was allowed only one solo. 1 The two singers did fairly well, though their traditional, unaccompanied style would carry better in a pub or besid4 the fire. The four dancers, au contraire, roused the audiencl to great excitement. Overall, the dancing stood out quite favorably. Comhalta; did have the good taste not to dress the dancers in customary pretentious sashes and pinafores. They sported more oi dinary clothing. One set-dance was also performed, a nick change from the usual focus on the individual pomp of step dancing. The performers, all virtuosos, were allowed too modest-h display. A bit of chat about the tunes, or between the player' in fun would have added interest to the show and furtheied the edification of the audience. I can't remember the jokes anyway. Daily Photo by DAN HABIB The finest Irish champions perform magic Friday night at the Miochigan Theater. Marcus O'Murchu (left) of Belfast, is joined by emcee Paddy Fallon, playing the bodhran. Addition problems for the Gang Pained youths !. a By Jay Dorrance /'t HE BAND THAT played Grand 1 Circus Theater Friday put on a ery efficient show. The problem was that they were billed as Gang of Four, instead of the Andy Gill/John King band. Gill and King are the only remaining charter members of a band known for its exciting, almost avant-garde style of rock -- the once radical personality has now been discarded. The result of this new credo has been Gang of Four's conversion into a plain rock mortality. That's not to say it wasn't a good how - it was. Unfortunately these guys aren't as special as they used to e. The effect here was more like wat- hing a human jukebox, a feeling I get from watching bands sleepwalk through songs they could care less aboit. After seeing what this band is, apable of in past shows, I was somewhat disappointed. The show was structured more around the "new" Gang of Four, with a eavy funk feel overlaid with Gill's iercing guitar lines. The last two albums Songs of the Free and Hard provided the base on which the set was developed. In an attempt to set a funky pace, the band kicked off with a trio of tunes rooted in dance rhythms. "We Live as we Dream, Alone" last year's hit, "I love a Man in his Uniform" and "Man with a Good Car" (off the new album). The reaction to the new material was at best polite with the crowd not knowing just how to react to the Gang's soul groove. As the show progressed more of their pre-funk tunes were worked in, mat- ching the new softer tunes like "It Don't Matter" and "Silver Lining" with old classics "Paralyzed" and "Would I Be Happy." The biggest surprise was the new light show. These guys used to spit in the eye of corporate and glamour rock, now they're begging to join them. In showcasing their new single "Is It Love?" - a drippy, ordinary semi-funk tune - all stops were pulled. With spin- ning disco lights, a wall of flashing strobes and rotating spotlights we could see just how far down Gang of Four has come. It was only on the last song "To Hell with Poverty" that the crowd in front of the stage showed any signs of life. Out of this response the band managed to. justify a pair of encores. This was a surprise as well since the crowd's eac- tion had been decidedly lukewarm all night. The choice of tunes was a treat, with a special rendition of Lou Reed's classic "Sweet Jane.'' It was a nice finish for the concert. The fans had gotten their money's wor- th, with some of the called-for oldies satiating the crowd. Gang of Four is good, you can't argue with that, but without Dave Allan and Hugo Burnham they have lost the heart of the band, reducing it to just. another band. I wish they would change the name to Gang of Two. By Emily Montgomery. D AVID AND LISA are ordinary enough names - but in the play David. and Lisa those characters are anything but ordinary. Adolescence is a difficult time, and this play tells the touching story of the pain and fear in- volved in growing up. David and Lisa, just by its nature, is a very challenging play. It is an im- pressive undertaking by such a young group of actors. In order for it to work, the play must be presented in such a manner that its serious tone is always evident. One slip up and the theme is lost to total ludicrousness. The Young People's Theater, with the help of two very talented performers, manages this with little, if any, problem. Most impressive is Anne Morton as Lisa, a 15-year-old schizophrenic who must rhyme all her thoughts in order to keep her true identity. An example of the amount of conviction and control this role demands can be seen in Lisa's first appearance on stage when she greets David, a new student at her school. She comes on stage skipping toward David chanting, "Foo, foo. You're new foo. Foo, you're new." Mor- ton executes this scene perfectly. One other crucial scene involves Lisa's making faces at herself in the mirror. Only, the way it is staged, the audience is the mirror, so Morton must stand, staring into the audience and pretend that she is seeing her own reflection. This, also, she accomplishes with ease. Lisa's complementary counterpart is played by Mark Ligeski. Ligeski por- trays David, a slightly older boy, who is new to the school. David has two major problems which keep him from at- taining the status of a "stable human being." First, he doesn't accept any kindness from others and secondly, he doesn't wish to give any kindness away. Lisa's task is to change this. Ligeski masters this part fairly well. Although his solo scenes are a bit rough, his scenes with Lisa are moving and tender, something that shouldn't be missed. One definite distraction which kept me from enjoying the play to its full potential was the questionable decision of having the actors who played the other children in the school sit along the back of the stage, in plain sight, even when they clearly aren't involved in the scene. This happens throughout the play and is annoying. Although admittedly inherent to the auditorium itself, more consideration should have been given to the seating plans -of the audience. Action takings place downstage cannot be seen from the back rows, so early arrival an front row seats is suggested. Tickets for David and Lisa, which runs next weekend also, are availablet at the door and cost $3 for students and $4 for adults. Since seating is limited atY Community High School (401 N. Division), advanced reservations are suggested by calling 996-3888. Grou rates are also available by calling this number. POETRY READING with Richard E. McMullen and Liz Cores Reading from their works MONDAY, OCT. 17th, 8 PM GUILD HOUSE 802 MONROE Join the Daily Arts Staff Numbers can be deceiving - should only be a twosome. this foursome, which is really a fivesome, T" Actor Pat O'Brien dies of heart attack I LOS ANGELES (AP) - Actor Pat O'Brien, who used his broad Irish face and gift of gab to portray cops, priests and football coach Knute Rockne to Ronald Reagan's "Gipper," died Saturday of a heart attack. His publicist said. He was 83. O'Brien, who would have been 84 on Nov. 11, underwent prostate surgery on Wednesday, said his longtime publicist, Jewel Smith. She said the good-humored actor told her: "Everybody at the hospital knew I was there, because the president called." Miss Smith said O'Brien and his one- time co-star had talked almost every week by telephone since Reagan has been in the White House. Assistant White House press secretary Mark Weinburg said President and Mrs. Reagan were informed about the ac- tor's death and were "deeply sad- dened." He said that both of them had spoken with O'Brien since he was hospitalized, and the president had spoken to him within the last few days. O'Brien's films included Angels With Dirty Faces, Knute Rockne, All American with Reagan, and Fighting 69th. Born William Joseph O'Brien in Milwaukee on Nov. 11, 1899, his most memorable job was the title role in Knute Rockne, portraying the famed Notre Dame football coach of the 1930s. Reagan portrayed doomed halfback George Gip, "The Gipper." Another of O'Brien's most memorable roles was as the slum priest in Angels with Dirty Faces who tried to keephis parish youngsters from ad- miring a hoodlum, played by long-time friend Jimmy Cagney. At the end of the movie, the priest begged his old friend to go screaming to the electric chair so the children would think he died a coward - and the hoodlum did, despite his pledge to the contrary. His last movie appearance was in the recent Ragtime with his frequent co- star Cagney, but he had seen little screen action in his later years. He once said that in 1950, after two decades as a star, "Suddenly, I couldn't get a foot in- side a studio gate. I couldn't figure out what happened." He never did. But his spirit didn't break and he kept working, much of it at night clubs, lecturing, toast- mastering and summer stock. JOSTEN'S White Lustrium Rings for. AN THE £EVENING WITH. K Jim Morrison & D $ 7 Featuring Two Unforgettable Hours Of Rare and Exciting Film Footage of JIM MORRISON and THE DOORS! O'Brien, ... dea at83 " 1 ,, .. ~ ~ i ..--s.. a ti '*; . l 7 ; n 4 2 / " 1 , JOHAN VAN DER KEUKEN FESTIVAL OF FILMS I" with director von der Keuken in conversation with writer Bert Schierbeek oct.17 herman slobbe, blind child lucebert bert schierbeek, the door Ioct. 18 the reading lesson 17 See your Jostens' representative during ring week I i I I I ._ ' ,IU e o Jotn'rersnaiv uig igwe