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 -SPECS HOWARD SCHOOL OF BROADCAST ARTS Training in Radio, Television & Broadcast Electronics CALL . 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'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 OPEN TO THE PUBLIC 9 TI The University of Michigan Gilbert and Sullivan Society presents Habitats! 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