;, ARTS The Michigan Daily Friday, November 16, 1984 Page 6 Tony Bird flies: By Joe Kraus In his Tuesday night performance at The Ark, Tony Bird proved one thing for sure: he is a paradox. He takes contradictory elements and weaves them together to make them something more than their parts. Now if you think you know what that means, you're worse off than ILam. His songs are filled with beautiful images of his South African home but at the same time hold onto the specter of Apartheid that casts a shadow across his jungle paradise. In one example, he introduced the song "Cape of Flowers", about a beach he knew as a child, by saying, ". . . a song that describes the tremendous beauty of the cape area ... but in a land of legalized racism, it's really hard to relax and emjoy it." His voice shows the same strange mixture of beauty and darkness. Almost impossible to describe, his singing voice sounds nothing like his fluid English accentuated speaking voice. It seems, if possible, a sweet blues voice-Cat Steven's with vinegar added-but his varied phrasings (calypso/blues/folk) made it even more complex. Well aware of the peculiarity of his voice, he remarked after his first song, "If that was the first time for you, I hope it wasn't too much of a shock." Later, after singing the refrain to "Mango Time", a song that repeated the same lines differently, he quipped, "It's amazing what you can get away with when you have a weird voice, isn't " " " 0 " " " " " " " " ._. $300 THIS ENTIRE AD GOOD FOR TWO TICKETS AT $3.00 EACH * Alan Bird is getting * nothing he wants this Christmas * From Bill Forsyth, the Director/ " Writer of "Local Hero" and "Gregory's Girl' " FRI. 1:00, 7:00, 9:00,11 PM. " SAT. 1:00, 3:00, 5:00, 7:00, 9:00, 11 P.M " SUN. 1:00, 3:00, 5:0 7:00, 9:00 future conter * i " " " S 3 " " " " s (PG) s :my Award Winner Giorgio Moroder its Fritz Lang's classic vision of the now beautifully restored and with a nporary music score. Songs Preformed by Pat Benatar " Billy Squier Adam Ant " Lover Boy & More! FRI. 1:00, 7:20, 9:20, 11:15 P.M. SAT. 1:20, 3:20, 5:20, 7:20, 9:20, 11:15 P.M. SUN. 1:20, 3:20, 5:20, 7:20, 9:20 at Ark it?" His stage personality fluctuated from seeming to be totally at ease between songs to a nervous intentsity when singing. On one song in particular, "Athalon Incident", about walking in a black section of the city, his face grew red almost to purple and his ex- pressions seemed to etch themselves across his forehead as he leaned over the edge of the Ark's stage. Although billed as a topical singer- songwriter when he recorded for Columbia Records in the mid 70s, his music is more lyrical than protest- oriented. He paints a picutre of his world-usually a world of beauty-an- d then only hints at the darkness out- side. Unfortunately his show was under at- tended. No more than 40 people showed up, and in the Ark's new larger room, his performance took on more the aspect of a traditional stage show than the come-on-into-the-living-room feel that made shows at the the old Ark, or perhaps at a fuller new Ark, charac- teristic. The small crowd was particularly un- fortunate taking into consideration Bird's recording history. Although Columbia pushed him as the next big singer-songwriter of the '70s (timed unluckily simultaneous to Saturday Night Fever), he claims they didn't promote him sufficiently and his com- merical success never materialized. His last album, Tony Bird of Paradise, was released in 1978, and since he has written a sizeable number of new songs, the only way to catch him is to see him live. But no matter the crowd, Bird gave the show his all. Playing two sets of about an hour each, he came back for an encore even though he had virtually lost his voice. Throughout the show he encouraged the audience to sing along, hum along, or even to make the noises of the animals in the African bush, and - in spite of having more empty seats than full - he got them going with him. Appropriately he closed with "The First Fall Snow", a song that showed his at his very best, mixing beauty and darkness into a compelling result. Although he was quite hoarse by the time, he got what was left of the audience to join him in the chorus: 'Twas the first fall of snow/Lying white on the ground/Shining so brightly as it lay all around/The fir- st fall of snow/Softly kissing the Earth/Come all and rejoice/Let us join the rebirth. Get ; 16 Bagels; iFor$1.00'o Expires 12/31/84 * Buy 1 Bagel I 1 Get 1 Bagel I FREE I Limit 1 Dozen Expires 12/31/84 Buy 1 Sandwich I j Get 1 Sandwich I FREE I Expires 12/31/84 ' Buy1 I PIZZ Bagel Get 1 Pizza Bagel a I FREE 'e Expires 12/31/84 3, immmmmmmmmmmmi l * Buy1 Package of I. * Bagel Thins 1:. Get 1 Package of * Bagel Thins U' I I FREE i Expires 12/31/84 . 11 operetta at Mend MANN ARBOR EXTRA SHOWS FRI. & SAT. NIGHT - REGULAR PRICE. Guatemala explored The Ann Arbor Film Cooperative will present the local premiere of "When The Mountains Tremble," which explores the civil war in Guatemala that has caused so many to flee their homeland. The film will be shown at 7 and 9:30 p.m. in Auditorium A of Angell Hall. A panel discussion about the current situation in Guatemala will be held following the first screening. PTP presents Strauss By Ted Moncreiff Johann Strauss' masterpiece Die Fledermaus (The Bat), which will be performed by the Professional Theatre Program and the University Orchestra tonight, tomorrow and Sunday, at the Lydia Mendelssohn Theatre, promises to be one of this season's most delight- ful productions. This Viennese operetta, conducted by Gustov Meier and directed by David Morelock, is a festive production which allows its audience a brief intermission from reality. Die Fledermaus is an The Guide to the One Thing Everybody Does- and Nobody Dares to Admit! operetta, the forerunner to our modern musical, concerning infidelity, revenge and, above all else, champagne. Con- fusion, mistaken identities and a little bit of slapstick make this a very funny, light-hearted and entertaining produc- tion. The original production of Die Fledermaus has been adapted slightly in order to accommodate the rather small stage 'of the Mendelssohn Theatre, said Robert Libcke, general manager of Die Fledermaus. The Viennese operetta, traditionally a lavish production, has been scaled down to some extent to meet the confines of the stage. Nevertheless, the cast and crew of Die Fledermaus have done a fan- tastic job of creating a sense of the lavishness of the original production { Lelssohn through both the sets and the fabulous costumes. Tuesday night's dress rehearsal in- volved mainly fine tuning the or- chestra, although some refining was done on the performance itself. There will be two casts alternating each performance, and those present Tuesday night seemed to believe that each cast has its strong points and th each performance was going to be su cessful. With the final bugs worked out, Die Fledermaus' opening night does indeed seem destined to success. With a fine cast, and the festivity of the sets and costumes, as well as the enthusiasm of the performance itself, Die Fledermaus is one show you will not want to miss this season. " AT 11:00 P.M. "COMFORT AND JOY" (PG) " 0 0 0 " " " " 0 " 0 0 0 T AT 11:15 P.M. "METROPOLIS" *OOSSOOOSOS* , , , , Place "low- o.. Tray Catering " 8 Varieties of Bagels Homemade Salads '; i o .Ot s id e 4 C r u s t 21lnSide 5aTeethrmwkls 3.ite Fide vauet9a ' Ths GU ZhciSm e ~r tbo ° 1leY.5r0o 0 ' S 7 Condiments. . Cmrnbs 9Arrow reshly released, this ground- reaking report blows the lid off a :zen explosive issues: the history, iology, lore and legend, acoustics nd ballistics, jokes and limericks, raffiti and games, etiquette and nvironmental impact of the biggest >cial "no-no" you can pull. nzcIudes hilarious and abso- tely true pieces on: The "Swamp Gas Factor" What Ben Franklin said about it The incredible Frenchman who played tunes doing it How Hitler and Stalin were famous for it immortal words from world literature on it "Flamethrowers," "bench- wam~c" iln~htr~ lic GESHIE CARLIN Eastern Michigan University Office of Campus Life presents George Carlin LIVE IN CONCERT! Sunday, November 18, 1984 8 p.m. Bowen Field House Tickets $1 0.00 reserved, $8.00 general admission. 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