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.

October 28, 1983 - Image 7

Resource type:
The Michigan Daily, 1983-10-28

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

The Michiqan Daily-Friday, October 28, 1983 - Page 7
Bloody good fun

ONE-MAN performace is often
AXmore entertaining than a show
with a cast of 50, if it combines the
talents of one of the world's most
distinguished British gentlemen and a
Nobel Prize-winning author.
For one special night only, The Sun
Never Sets, one of the many works by
Rudyard Kipling, will feature Patrick
Crean, in one performance only
tomorrow night at 8 p.m. at the
Trueblood Theater.
Best known as Errol Flynn's fencing
master, Patrick Crean's theater career
includes acting in over 300 plays and 50
films. The world-reknown stage combat
director has choreographed the sword
fights and battle sequences for produc-
tions ranging from the BBC-TV series
"Robin Hood" to Sir Laurence
Olivier's film version of Hamlet.
Crean is a Guest Artist in Residence of
* -#7 the Professional Theater Program.
The Sun Never Sets showcases the
talents of "Paddy" Crean and displays
Kipling's superb journalistic and poetic
Patrick Crean lights up the stage with his British charm in a one-man show, 'The Sun Never Sets' tomorrow night at the work. Although known as a writer of the
Trueblood Theater. British Imperialist era, Kipling shows,

to the audience, his humorous and
humane side, as well as his sensitivity,
through this play.
Crean, having starred in only one
other one-man show says "It is lovely,
but easier," performing alone. Crean
has done this two-hour show, which in-
cludes a few songs, for several years
now. Ann Arbor is just one of his many
Crean began his successful career in
1932 when he had a walk-on part in
musical production - of course he was
a fencer. Once he got a taste of the
theater, it wasn't long before Crean
became a fight and student director. As
a fencing master he doubled in several
famous sword-fighting movies while
working with Errol Flynn. He was ac-
tually in three films with Flynn, all
produced in Italy. As for working with
the untamed Flynn, Crean says it was
"an exciting period. He (Flynn) was
very nice to me."
Flynn was not Crean's only famous
student - there have been plenty more.
Some of the more notable pupils include
Sir Alec Guiness, Douglas Fairbanks,
Jr., Sir John Guilgud, as well as Olivier.
Like most teachers, Crean enjoys his
Ann Arbor Civic Theatre presen

profession. "You have to like people,"
he says about teaching. Of all his-,
illustrious students, Crean's favorites
are Olivier, Flynn and Guilgud.
Erik Fredricksen, Crean's most
recent student, stars in the lead role of
the University Player's production of
Cyrano De Bergerac, which Crean
choreographed. Crean and Fredricksen
previously worked together - their
very first production together was the
world premiere of the Anthony Burgess
adaptation of Cyrano De Bergerac at
the Guthrie Theatre in 1971. Both are
excited to be working together again as
teacher and student. "Erik is a good ac-
tor and a top fight director," says
Crean takes a short break from his.
choreographing duties to perform in his
one-man show The Sun Never Sets.
Although this show doesn't utilize
Crean's deft use of a sword, his witty
British banter will keep the audience
entertained for much longer than the
two hours that he's onstage.
Tickets are on sale at the PTP ticket
office located in the Michigan League,,
General Admission is $10. For mort
information call 764-0450.
. 4
1 um~
" a $'
-r -, ,,-, Mu,~.
a Bun , ..r~a + waA.

By Andrew Baron

ST'S DIFFICULT to be critical of the Performance
Network's production of Dangerous Times, two
one-act plays that attempt to deal with some
questions concerning nuclear war and the goings-On
in Washington. Despite all failed attempts at
achieving theatrical art, there remained in the
production a feeling of hope and a lot of good inten-
I was somewhat disappointed, at first, because
there was no appearance by the Civil Defense Family
Theater, as I was told there would be. And there were
no Tom Lehrer songs. The former group could have
helped to bail Jim Moran, the Sergeant, out of his
minute monologue, A Civil Defense Primer.
As it was, A Civil Defense Primer suffered greatly
because Moran's- impromtu performance lacked
grace. It appeared that he had only the vaguest
inkling of what he was doing. And although the piece
was improvizational, he lost all credibility as a
character because he constantly mixed up his words.
After A Civil Defense Primer came the real meat of

the show, Dangerous Times. It is the story of how
four animals meet on their way to the White House, in
search of help for their individual problems.
However things take a dramatic shift when the group
happens upon a cabinet meeting, where Nancy
Reagon, David Stockman, a Haigesque character,
James Watt, and other officials confront notorious,
corporate big-wigs in the glorious, ever-continuing
sport of political prostitution.
I felt that Dangerous Times redeemed the evening,
offering a lot of humor and charm, though it, too, had
problems. For instance, the moral tone was a throw-
back to the illustrious 60's, where equal rights and
justice for all sat first on the agenda. In one sense,
this anachronism takes the play totally out of context
in 1983. But, in another sense, we cannot be too
cynical-Dangerous Times is upbeat and strives to
encourage righteousness and responsibility.
In terms of acting, the cast as a whole was a bit too
young to portray the elder characters such as James
Watt and Jeanne Kirkpatrick. But Jack Casual did a
fine job as the John Wayne-accented Alexander Haig,

and the coke-snorting, incoherent David Stockman
added subtle humor.
As for the animals, Robert Douglas' mule and Greg
Dilone's street-wise dog were particularly enter-
taining, although every character had at least a few
golden lines.
The city scenes, which gave a cliched portrayal of
the disrespect and antipathy of urban dwellers were
clever and fast-paced. And the cabinet meeting,
where Haig and Freddy Silverman plot a new TV
series, "War of the Week," was absolutely precious.
The performances were marked by enthusiasm,
even if they were frequently disorganized. Clearly, A
Civil Defense Primer needs a face lift, while
Dangerous Times deserves a good deal of polishing.
The fact that the audience barely filled a few seats in
the ample theater contributed to the somewhat stilted
performance. After all, Dangerous Times was up
against the real Haig, and Joan Baez last Thursday
night. With a bit more work and a larger turnout,
Dangerous Times might just blossom into good
theater. Performances continue this weekend. Call

S 4,t
ar+.'. +1


. Cy w
n'. Mxx1
ux Its.,
LZ !o WW q
y S
5 , 1 .M.5T d
3'-,xE""'ek s

Eu hmics 'Sweet Dreams'-
( CA)
The Eurythmics' first LP Sweet
Dreams, is an excellent example of in-
novative rock. The Eurythmics are
Scotswoman Annie Lennox and
Englishman David Stewart. They have
taken a lot of synthesizers, a few horns,
and created some of the best new music
Judging only from their blockbuster
single "Sweet Dreams (are made of
this)," the British pair sound much,
snore traditional than they actually are.
Sweet Dreams sounds more like old
Jefferson Airplane while Grace Slick
could still sing, than completely syn-
thed pseudo-new wave. Annie Lennox,
indeed, does sound like Grace Slick, or
maybe Pat Benatar when she isn't
screaming, but the Eurythmics are
more akin to Soft Cell than Jefferson
The pure synth sound that David
Stewart uses on Sweet Dreams is the
musical child of Soft Cell's David Ball.
IBall and Stewart both rely solely on
percussion and synthesizers - yet the
Eurythmics have succeeded where Soft
Cell failed.
Sweet.Dreams is their first album to
be released in the United States. The
success of this debut LP in both Europe
and America is evidence of their poten-
tial. The first single, even though more
commercial than almost anything on
the album, is an excellent introduction
to the Eurythmics' interesting style.
This cut, however, is not at all typical of
the rest of the record.
A much better song, and not yet over-
played on the radio, is the soon-to-be-
second-single "Love is a Stranger."
These two songs are by far the most

commercial tunes on the album; both
have a great deal of charm. The
pseudo-cello sound of "Sweet Dreams"
is interesting without being shocking,
and the lyrics of "Love is a Stranger"
are just wierd enough to call attention
to themselves. It's savage and it's
cruel/Ani'it shines like destruction/
Comes in like the flood/And it
seems like religion. Lennox's voice
makes the semi-poetic, semi-intellectual
lyrics seem deep, heartfelt, and with
the help of an echo machine, somewhat
angelic at times.
Other stand-out tunes on the album
include the haunting "Jennifer." This
song has six lines of lyrics on the sheet,
but the percussion-synth work done by
Stewart is overwhelming. Reminiscent
of "I'm not in Love" by 10CC or "O,
Superman" by Laurie Anderson, the.
heartbeat percussion and low
background voices make "Jennifer" an
interesting and innovative song.
Another highlight of the album is
"This City Never Sleeps," probably the
most meaningful song on the record:
You know there's so many
people/Living in this house/And I
don't even know their names.
"The Walk" utilizes horns in an unusual
combination of Soft Cell and almost
Diana Ross-like singing. The third
single, already top-10 in England,
"Somebody Told Me," is a viciously ob-
sessive song about love. Much less
commercial than "Love is a Stranger"
or "Sweet Dreams," its fate should be
The songs on the album have become
popular with the help of MTV. The
Eurythmics' videos are excellent, and
both Lennox and Stewart look as
unusual as their music. It is difficult to

place the duo in any category - Annie
Lennox has very short, very orange
hair and is fond of wearing men's suits.
David Stewart has a short beard, dark
pilot's glasses, and two-tone hair.
The Eurythmics are one of those rare
groups that seem to have large
followings on both sides of the Atlantic.
Sweet Dreams has done very well on
the charts in America and England.
The singles have fared even better,
with a number one song here and three
top-40 hits in Great Britain.
The music on Sweet Dreams is not

made for mass appeal but it is highly
original, eccentric, and innovative.
Lennox/Stewart use a very intelligent
approach to lyrics and music - they
write only what they want to write.
The Eurythmics are two people doing
exactly what they want to be doing.
Like Laurie Anderson or David Byrne,
they truly don't care what the public
thinks of what they produce. But if
their debut album goes platinum, it
probably won't bother them much
either. -Eli Cohen

November 2-51983
curtain Spm Sat. 2 pm
Michigan Theater
tickets 662-7282

5th Ae o lb 7 00**S
-Newsweek Aiy
FRI. 7:25, 9:40
SAT, SUN, 12:45, 2:55, 5:10, 7:25, 9:40 (R)
FRI. 7:00, 9:30
SAT. SUN. 12:00, 2:20, 4:40, 7:00, 9:30 (PG)

The Professional Theatre Program




A one man show based on the
works of Rudyard Kipling

Back to Top

© 2022 Regents of the University of Michigan