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April 11, 1984 - Image 7

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The Michigan Daily, 1984-04-11

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ART
The Michigan Daily Wednesday, April 11, 19

i84 Page 7

I

'Terms'

endears itself to

five

Oscars

HOLLYWOOD (UPI) - Terms of
Endearment, the bittersweet story of a
domineering mother and her indepen-
(dent daughter, won five top Oscars
Monday night during the 56th annual
Academy Awards ceremony.
The Paramount film won best direc-
tor, best supporting actor and best
actress, as well as best film
and best adapted screenplay.
Shirley MacLaine, exhausted trom a
night of jubilant merrymaking, basked
:Tuesday in the glory of winning the first

Oscar in her 26-year movie career.
"It's nice waking up in the morning to
see that you've got the Oscar for com-
pany," MacLaine said sleepily.
MacLaine triumphed Monday night
in winning the best actress Oscar for
her performance as the over-protective
mother in Terms of Endearment,
. "I've put a lot of pressure on myself
for the month of April," MacLaine said.
"Today I have to rehearse my one-
woman show, which opens at the Ger-
shwin theater in New York April 19."
The actress danced the night away at

the post-Oscar party at the Beverly
Hilton Hotel where she received ap-
plause from some 3,000 celebrants
when she made a belated appearance.
Jack Nicholson, who won the award
for best supporting actor as MacLaine's
amorous ex-astronaut neighbor, said he
hoped to return to Colorado to ski, a
pastime he interrupted Monday to at-
tend the awards.
James L. Brooks, who collected three
awards for Terms of Endearment -
best director, best picture and adapted
screenplay - planned to spend

Tuesday relaxing and enjoying his vic-
tory.
The two major Oscars not captured
by Terms of Endearment went to
Robert Duvall for best actor for his por-
trait of a broken down country singer in
Tender Mercies, and best supporting
actress honors to Linda Hunt for her
portrayal of a male photographer in
The Year of Living Dangerously.
But Sweden's Fanny and Alexander
romped off with four awards, including
best foreign language picture, the most

Oscars ever won by a foreign language
film.
The Right Stuff, the saga of the
American Mercury astornauts, won
four technical awards.
"Flashdance . . . What a Feeling"
won the award for best song while Yentl
won the Oscar for best adaptation of a
musical score and The Right Stuff took
the award for best original score.
The three-hour, forty-five minute Los
Angeles Music Center awards
ceremony hosted, by Johnny Carson

was a winner in the overnight Arbitron
ratings, although it did not attract as
many viewers as last year's presen-
tations.
-toot W;-
/t l I
~ZJ

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Terms of Endearment,' starring Debra Winger and Shirley Maclaine, picked-up five top Oscars on Monday night
including Best Picture and Best Actress for Shirley MacLaine.
'Cinderella'takes a bad step

By Ellen Rieser
B ALLETS ARE interesting because
they display a unique artistic
vision or reveal something about the
human condition. Sometimes, as with
such enduringly popular classics as
Swan Lake or Giselle, they manage to
do both.
American Ballet Theatre's newly
mounted Cinderella, which premiered
Friday night at Detroit's Masonic
Temple Theatre, falls short on both
counts. Choreographers Peter Anastos
and Mikhail Baryshnikov have given us
a production with gaudy and froufroued
costumes, wigs of every color, ar-
ticifical - fog, a clever set that
rearranges itself into different rooms,
an exploding fireplace, and a
Disneyesque life-size house cat. What
they have left outf is the ballet.
Anastos and Baryshnikov have ob-
viously tried to emphasize the humor in
Cinderella. From their personal
predilections, this might have been ex-
pected. Baryshnikov shines in playful
and comic pieces such as Push Comes
to Shove and Three Virgins and a Devil,
while Anastos cut his choreographic
teeth as artistic director for the
ballerinas (ballerinos?) of the all-male
Les Ballets Trockadero de Monte Carlo.
In moderation, humor does work in
Cinderella. However, in their push for

laughs at the expense of pathos, the
choreographers have given their
audience a poor bargain. Cinderella, I
submit, is not a ballet about two ugly
step-sisters (played to hideous perfec-
tion Friday night by David Cuevas and
Thomas Titone). Neither is it a ballet
about an icky-poo sweet cat (played to a
cloying hilt by Michael Langlois).
Cinderella is about Cinderella and
her Prince; it is about virtue and love
being rewarded, the wicked being
punished, and the search for true
romantic love. ABT's Cinderella slights
the very elements that make the
fairytale so powerfully compelling.
With the exception of the
choreography for the season and the
final pas de deux for Cinderella and the
Prince, the Anastos/Baryshnikov
choreography is not particularly
distinguished. The grand waltz is
classroomy, the mazurka is not dif-
ferent enough from the other dances,
the orange dance looks like circus
juggling, and the long variation for
Cinderella and the Prince at the end of
the ballroom scene, aside from looking
like watered-down Ashton, is actually
boring. As for the music by Prokofiev,
it has been rearranged and rescored to
such a degree that in many parts it is
almost unrecognizable.

At least the dancing was excellent for
Friday's performance. Due to injuries
and illness, there were numerous sub-
stitutions for the performance, perhaps
the most notable being that of Kevin
McKenzie for Patrick Bissell as the
Prince. McKenzie gave a strong
characterization as the handsome
Prince. He was a little weak for the tur-
ns in some of his solos, but in general he
danced well. Cynthia Harvey danced
the part of Cinderella beautifully. With
supple fluid arms and long legs, she is a
dancer who seems to float through
everything.
In the seasons variations for Act I,
scene II, Deirdre Carberry, as the lead
dancer for Spring, was dynamic and
coquettish; she also displayed excellent
technique.
Peter Fonseca thrilled in Autumn
with effortless multiple tours and spit-
fire leaps. In fact, the whole Autumn
variation was wonderful with seven
men cutting through the air at in-
credible speed, hardly ever seeming to
come down.
Other notable performances were by
Lisa de Ribere as the Masked Lady and
by the company's men in general for
the bourree militaire of the opening
ballroom scene.

THE 1984
AWARDS
The Kasdan Scholarship in Creative Writing
The Jeffrey L. Weisberg Freshman Poetry Award
WILL BE ANNOUNCED
Wednesday, April 11,4 p.m.
Rackham Auditorium (mnfo
(min flor) .

I

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