ARTS Saturday, December 3, 1983 The Michigan Daily Page 5 Passing study time with Godot Early musicalfun By Barb Schiele SO AFTERl typing your term paper til 4 a.m., and after worrying about the seven chapters you have to catch up on in Econ before you even consider studying for the final, you're really up for an enjoyable evening of light theater... something different just to fill two and a half hours of your night so you can finally give your brain the relief it's been aching for... you're just ready for a non-thinking evening of en- tertainment... Well, then don't bother with Waiting for Godot. Sure, it would be nice to just sit back and laugh at the slapstick routines and Vaudevillian humor that the two men in oversized suits present to the audience. But that would mean ignoring the philosophical impressions that Samuel Beckett conveys in his play, Waiting for Godot. And who could ignore these im- plications which question the meaning of happiness in life, the perception of hope, when they are shoved right under your nose by a few very strong charac- ters? The setting, at the Performance Net- work, consisting of a large rock upon which the two men sit, awaiting Godot's arrival, and an aluminum tree, from which the two men considered hanging themselves, definitely set the mood of the performance. The barren area focused on the concept that how you perceive something is more important than what you're actually perceiving. Deep thought, huh? Not really, com- pared to the other ideas Beckett tries to get across in this play. Didi and Gogo, who the audience assumes are old friends, spend the first act waiting for "Mr. Godot." By the beginning of the second act, they await "The Godot." Is it a dream; a hope, or an idea that Didi formulated and Gogo accepted matter-of-factly? Actually knowing who or what Godot is is not a crucial concern by the end of play. Contribute to arts *F YOU HAVE ever eaten at a restaurant, seen a play or movie, listened to an album or engaged in any other sort of divertissement and wanted to share it with others, the Daily's Arts section would be pleased to give you the chance. We want competent and skilled critics for the many varied hap- penings that Ann Arbor boasts'. Writing for the Arts section will provide practice, in writing and analysis, and can be an enjoyable ex- tra-curricular activity. Have fun and share it with others, write for Arts-call 763-0379. David Bernstein, who plays Didi, convinces Gogo and the audience that there is a reason to wait, just as Linus convinces Sally to wait in the pumpkin patch until the Great Pumpkin appears. Bernstein, who held his aching genitals as he laughed, was both energetic and serious as he performed several slapstick routines. Bernstein's fine performance had the audience un- derstanding and feeling Didi's im- patience. His sense of humor added to the sad note carried out during the show. Bernstein's and James (Gogo) Moran's timing heightened the humor and entertainment of the play. Moran, with the innocence and pudginess of a lrge teddy bear, gives an excellent performance. Bored with the situation, Gogo finds various ways to keep Didi and himself entertained. His non-chalant manner towards the anticipated arrival of Godot strengthens the question of the actual importance of Godot. Several times, Gogo apathetically mumbles "Nothing happens. Nobody comes, nobody goes..." His naivete. and sense of humor keep the audience laughing while also driving at the philosophical undertones of the play. When a well-dressed gentleman hollaring commands and a white- haired tramp carrying a stool and bat- tered suitcase enter the scene, the lat- ter leading the former by a rope which is tied around his neck, Didi and Gogo wonder if he, the gentleman, is Godot. Pozzo, played by Larry Rusinsky, in- forms them he is not, and exclaims, "Godot has your future in his hands!" Rusinsky's acting is suitable for his part as a confused master, but not as convincing as that of his "slave" Lucky. Rick Sperling plays Lucky as a "mute" servant who has been maimed by years of catering to Pozzo's needs. Yet later in the show, one wonders who has maimed whom. Sperling gives an outstanding per- formance with a constant bewildered look on his face as he simultaneously gasps for air when Gogo persistently questions him. Given the chance to speak, Lucky goes off into a monologue of inconsistent thoughts and ex- pressions which keep the audience en- tranced for 10 minutes. His costume of old battered tails and top hat enhances his performance. After watching the strange interlude between Pozzo and Lucky, Gogo decides that "all are born mad - some just remain so." After watching the whole, show, I decided that all are born mad and all stay that way. Despite the off-beat storyline and the absurdity of the play itself, the Perfor- mance Network, an alternative per- forming space in downtown Ann Arbor, presented a fine show. The show con- tinues for the next two weekends. The cost is only $4 for students - so take a break and think a bit (?). For more in- formation call 663-0681. By Anne Valdespino A DRAMATICALLY different inter- pretation of some Baroque favorites will be rendered at the School of Music's recital hall when the Early Music Ensemble performs an entire evening of Bach on Monday December 5 at 8 p.m. Admission to the concert is free. The program will include Can- tatas 39 and 122, Kyrie, and Concerto in D minor for harpsichord and orchestra. The ensemble consists of 18 singers and an 11-piece orchestra. Unlike most early music groups, students holding authentic Baroque recorders and oboes play alongside students using modern instruments, some of which are fitted with Baroque strings and played with Baroque bows. This diverse instrumentation is of lit- tle concern to conductor Edward Par- mentier, who is more excited about per- forming the music than re-creating an 18th-century scenario. "Historic facts prove that cantatas happened at 7:30 Sunday mornings and parts were being copied on Saturday night. To have a completely authentic performance, which is not my goal, we'd need to xerox the music the night before the concert, get everybody up at 6:00 and go grubbing around - it was very 'last minute'." Parmentier's enthusiasm for ex- ploring new approaches has inspired him to break with the traditional for- mat of conductor being the ultimate authority in rehearsals. Violist Bonnie Rideout describes the new situation as "very open. We try different ways of playing and then decide as a group on the best and most exciting way to do things." This new procedure and the smaller size of the group result in a highly per- sonal involvement rarely found in non- professional ensembles. "In a large group," Rideout explain- s "you're just part of the orchestra. You don't know what the tuba player is doing. In this group we're more aware of each other." The intense sensitivity of the E.M.E. is a joyful experience for each audience member. Singers and instrumentalists move together in graceful gestures throughout the performance. "All players are very alert," says' Rideout. "I've never played in an en- semble whose members are conscious of one another the way we are." Their special effort to communicate extends to the audience. A large part of rehearsal time is spent developing early vocal techniques that make the text easier for audiences to understand. Singers work for a clearer sound characterized by the absence of the wavering vibrato used by opera stars. On this issue Parmentier is insistent, "I try to make the text as strong an element-in a chorus member's mind as the music; not just the general feeling that this movement is a sad or happy one, but that each German word has a certain effect or emotional punch that needs to be brought out." Tom Paxton has been a legend in the folk music field ever since his days at the Newport Festival. He performs some of his folk magic at the Ark this evening. What becomes a legend Most? The Ark doe By Joseph Kraus F OLK MUSIC has many legends. Going back to Woody Guthrie and Cisco Huston, it has just seemed natural to make a great folk singer into a legend. Legends, though, have a way of becoming clouded and obscure, like any second hand story. What can we do about that? The best advice is to see the legend yourself. And your chance to see a real honest- to-goodness legend, in person, is tonight, when Tom Paxton comes back to the Ark. Paxton first became a major figure in folk music during the Newport Folk Festival days of the mid-'60s. Headlining festivals alongside such greats as Bob Dylan, Phil Ochs and Joan Baez, Paxton and his songs were heard and felt by thousands. Originally a Chicagoan, Paxton moved to the small town of Bristow, Oklahoma when he was 11 years old. He went on to college at the University of Oklsahoma where he learned that he'd rather write and sing songs than study. He claims to have written his first songs during Shakespeare lectures. Some of his early well known songs include, "Ramblin' Boy," which Pete Seeger popularized in the early '60s, and "I Can't Help But Wonder Where I'm Bound," a soft, beautiful ballad of life on the road. Despite the fact that folk music isn't as big today as it was in the Newport days, Paxton has continued to write and record songs. Although he is no longer signed by a major record label, he has still had current success. His song, "Wasn't That a Party," was a hit for the Irish folk band The Rovers. Tonight's show promises to show many of Paxton's different sides. He's learned quite a bit in his two decades as a performer - from his days as a young rambler, to Newport to now - and he has become a folk legend. Tickets for Tom Paxton at the Ark are $6 for each of his two shows. Showtimes are 7:30 and 9:30. BIBLE NOTES Believers in the first century have four main activities: And they continued steadfastly in the apostles' doctrine, and fellowship, and in breaking of bread, and prayers (Acts 2:42). One of the least understood of these is "fellowship." "Fellowship" in the New Testament means "sharing" or "partnership." A related word describes the partners in a fishing business in Luke 5:10. People in fellowship with one another are not casual acquaintances mingling at a party, but joint members of a venture which requires their commitment to it and through it to one another. Acts 2:44,45 describes one way that fellowship worked in Jerusalem: All that believed were together, and had all things common, and sold their possessions and goods, and parted them to all men, as every man had need. In other cases, believers did not pool their goods, but were still responsible for one another's needs (I Cor. 16:2; II Cor. 8,9). John desired that you also may hove fellowship with us, and truly our fellowship is with the Father, and with his Son Jesus Christ (I John, 1:3). Christians attain close fellowship with one another as they first draw close to "the Father and . . . his Son Jesus Christ." They seek to emulate the Lord Jesus, who though he was rich, yet for your sakes . . . became poor, that you through his poverty might be rich (11 Car. 8:9). His selfless incarnation and death guides them, and his resurrection empowers them, to deny themselves in their care for one another. BIBLE NOTES is a ministry of Washtenaw Independent Bible Church. For more information call Van Porunak (996-1384) or Dave Nelson (434-9734). THE DAILY CLASSIFIEDS ARE A GREAT WAY TO GET FAST RESULTS CALL 764-0557 Scandinavian Studies presents MICHIGAN UNION BALLROOM 9 P.M., Sunday, Dec. 4 FREE Dramatic by actress presentation es direct from Stockholm's Royal Theatre ANITA BJORK VIVECA SERLACHIUS ...WELL GIVE YOU A DEALI Our special price on -Kodak's Developing and Printing of KODACOLOR Films... 12 EXP........ $1.00OFF 24EXP....... $2.00OFF F F Get your career off the ground with an Air Force commission. Graduates of accredited health care administration programs may apply for openings in our worldwide health care system. We offer an excellent starting salary and many other outstanding benefits such as: A A:- rrmnir nn fin nic i nn ~rin 36EXP... . Hurry! 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