ARTS The Michigan Daily Monday, April 14, 1986_ Dance disp McEwen's "Take Two;" a typical modern dance piece By Noelle Bro wer utilization of movement and Performed to Philip Glass' CLECTIC is a word that is used much too often these days, but eclectic is aptly applied to the mixed bag of talent that presented itself this past weekend at the School of Dance. The show was Young Choreographers in Concert, a concert comprised of six individual dances by various un- dergraduate dancers/choreographers. The evening opened with Joy "Floe," McEwen's choreog complelmented the fluidity of music. The dancers moved q catching all the rhythms, eve creating a nice layered effect. The second'presentation was Alexander's "Take a Little Tri hodgepodge of old and new creatively blended together ti the backdrop for the piece. Byrne's Music from the Kne lays var rather provided the bulk of music used. in its Though the piece became jumbled in style. parts, the originality and clever use of piece, music, slides, speaking over music, graphy and eclairs, combined with the Glass' psuedo-cool of the performers, made quickly, it the most entertaining piece of the ntually evening. Doug Engebretsen's "Sampler" s Alison was a simple solo piece that ip." A Engebretsen danced himself. music Engebretsen acted out a sort of o form pastoral using Rachmaninoff's David "Vespers" as Gothic mood music. e Plays Like Alexander's piece before it, iety "Sampler" was part theatre, but on a much m level. Dancing was existent here, which w piece. The little d Engebretsen did do see an afterthough. B Engebretsen's earnes through presenting his o Americana. Kimberly Abell's "5 was reminiscent of "Tak use of the convention Modern Dance. The da ted well with one anoth andorigi dance, part rapport among tnemselves that pore personal culminated with a nice ending. almost non- Abell's choreography blended well weakened the with the music, Prokofiev's "Five ancing that Sarcasms." med more of "Field of Vison," choreographed by 3ut overall, Joy Elena Grad, was another stness came highlight of the evening with its sim- wn version of plicity. Everything was kept to a minimum: the movements, the 5 Sarcasms" costumes, the atmospheric music, ke Two" in its "Sheltering _ Joy" of King Crimson. al forms of Grad worked within the boundaries ncers interac- she set for herself in a deft manner er, building a eschewing anything that wasn't Page 5 nality needed. She met all of her goals. Ronna Rochell's "Elemental Rhythms" closed the evening's per- formance. This piece was especially interesting in Rochell's manipulation of her five dancers, including herself. At first, the dancers were entangled together in a breathing lump, slowly moving in rhythm together. Then, they each broke away practically hurling themselves at each other. Of- ten, a dance piece involving more than one or two performers can become disjointed, but Rochell used her dancers in a clear and forceful manner. Anatol catches a healthy case of Spring fever By Dave Turner T iHE UNIVERSITY PLAYER'S production of Anatol, which ran this past weekend, gave its audience a variety of glimpses into the various aspects of the play without revealing the whole; because of the episodic nature of the play, the production proved successful. The audience was presented with enough doses of uproarious humour, brilliant acting, and a tangible message that kept them involved in a play which didn't exactly reach out and demand their continuous atten- tion. ANATOL is about love, and a central character who through seven different episodes, pursues a wonder- fully romantic but sadly naive vision of a relationship. As Anatol moves from a young country girl to a sultry actress or two, a married society woman and several others, the message is clear: love in a strictly romantic and passionate manner is a pleasure to pursue, but im- possible to keep. Anatol is no more enlightened at the end, when on the eve of his wedding day he sleeps with an old flame and must then confront her with the truth of his impending marriage. The failure of the main character to progress cements the episodic nature of the work, allowing the audience to view each scene independently, and the scenes on their individual merit since they contribute to the whole. In this sense the play depends upon the acting ability in each scene, and that is what made this production work. The title character, played by Leif Olson, was plagued with mouthfuls of lines which were incoherently rushed together. These were usually psychological ramblings on the nature of love. A failure to emphasize them broke the only connection from scene to scene. Olson, however, was wonderfully antagonized by Andrew Shotland in the role of his friend Max, who sardonically pointed out Anatol's failings in a hilarious manner. The seven women were the real gems of the production, and they allowed Anatol and Max to play off their per- sonalities from scene to scene. Each female role was played well, and Jennifer Graham's Ilona provided a splendidly dire warning for Anatol's future in the final scene when she promised to return to avenge his marriage. Director Patricia Boyet- te is to be congratulated for these very strong perfor- mances. Set designer Amy Glenn's skeletal and over-sized gazebo provided a constant reminder of the light and airy quality of the play. The lace patterns on the top emphasized the feminie aspects of the action, and they added a colorful glow under David Bowling's soft lighting plot. On the whole, Anatol provided some excellent oppor- tunities for fine characterization, and for the most part these were more than obtained. Its episodic nature allowed it to work without much continuation from scene to scene, and let the audience enjoy each comical situation as it came. Record! Green on Red- No Free Lunch (Mercury) A rock and roll band like Green on Red should have a bit of grit to their sound. Not to say that they should be sloppy (especially with an amazing guitarist like Chuck Prophet) - but gritty. You see, Green on Red write about those (gritty) aspects of life which are not so pleasant. They've seen it all, those boys. Dan Stuart may still only be less than three decades of age, but he sure as hell wants you to realize he's been around. On the band's last album, Gas, Food, Lodging, you knew what Dan and the band were singing about. Whether it was a dad telling about how his 16 kids died, or an old boozer's whelping, Green on Red told of American life from their roadside view, slithering through this nation belly-down. A band like Green on Red should not sound slick. This is the main flaw in their latest EP, No Free Lunch. The record kicks off with "Keep on Moving" - and you just know something's up as soon as you hear the snappy drum beat. Glassy- smooth piano parts weave into the tune. But Dan Stuart's vocals, on the other hand, are as harsh as ever. In fact, you might even say he's a lousy singer - but on the band's old material (and especially as a live act) this never mattered. The stuff was raw and gutsy, and everything found its place. On spots of this record, however, Stuart's grating vocals stand out like a cactus in a meadow. "Honest Man" and Willie Nelson's "Funny How Time Slips Away" are both songs which would have worked much better within the context of the last record, where characters were really allowed to develop with the music. But among the smoother, fuller production of this EP they just seem pathetic. Stuart's got the soul in his voice but the arrangements are just too neat and clean. Fortunately, there are a couple of songs on No Free Lunch that do work well. "Jimmy Boy" kicks up a Chuck Prophet-led screaming guitar storm, and "Ballad of Guy Fawkes" is a fierce piece of material where Stuart wails in character, Ghandi's just a dreamer, and Lennon he's a fool, 'cause you gotta kill to eat. The most ironic statement on this EP is clearly in the title track, which recounts the band's history. To a western romp they hash out: Well we moved out to L.A., city of hope and sin. But all our friends were Republicans, or on heroin. Then we made a record for a local company, and we traded our souls for guaranteed misery, and all together now, No free lunch today, I'll buy a steak but I'll take it out of your pay. Yea, Green on Red certainly know what's up. They're no fools. But in light of this new record, maybe we should assume that they got a little hungry and left that "local company" for a good, free steak? -Beth Fertig John Fahey - Rain Forests, Oceans, and Other Themes (Varrick) John Fahey is the high priest of folk guitar. Albums like Blind Joe Death and Of Rivers and Religion reveal a deliberate spiritual quality that is hard to mistake. He often seems to play at two speeds: slow, and dead slow. Yet he creates a velocity as if by sleight of hand. But let's not slight such beautiful hands! This new LP is Fahey in fine form even by his high standards. His own compositions here are stately and slow; rife with ideas. "Rain Forest" is a steady rolling sound stream of tropical lushness and moisture where the bright sun oc- casionally peeps through the thick greens. "Ocean Waves" is infused with a touch of bucolic. But the real highlights of this LP are found in Fahey's interpretations of an astonishing array of great com- poser's works. Luis Bonfa's "Samba de Orfeo" from the Black Orpheus soundtrack is tailor made for Fahey's timings. A thing of rare beauty and poignancy. And who but Fahey would dare to match up Jimi Hendrix and Furry Lewis? Who indeed? His brilliant medley of "May This Be Love" and "Casey Jones" is as amazing as you would think, and the seague betwixt the two a piece Af magic. As if these ventures are nbt daring enough, Fahey tackles the "Lullaby and Finale from the Firebird" by Igor Stravinsky like it had been fair game for folkies all along, This is regal springtime in- spiration suggesting new genesis. --Marc S. Taras POE S THIS WEEK AT GUILD HOUSE 802 MON ROE A ANN ARBOR, MI 48104 GUILD HOUSE WRITERS SERIES Monday, April 1 4 8:00 p.m. NICHOLAS DELBANCO & LEMUEL JOHNSON READING FROM THEIR WORKS *Cosponsored by the Michigan Student Assembly FOR MORE INFO CALL 662-5189 '/ Zlb. HAMBURGERI * e COOKED TO ORDER LB. FRESH GROUND CHUCK STEAK ON KAISER ROLL WITH FRENCH FRIES with this coupon : AND COLE SLAW $1.00 OFF MONDAYS 4:30 - 10:00 p.m. (expires April 21,1986) _e ( m a s a e ess m a e xpiraes A1,986 April 18 Noon Forum TOM WEISSKOPH "Economics- Reagonomics -is It Working?" April 16 6-7 p.m. RICE & BEANS NIGHT $2 requested Proceeds for material aid to Central America. U I W~ANTED Major anthology now seeks poems: love, nature, haiku, song lyrics, reflective, free verse, religious - all typesd Beginners are welcome! Our editors will reply within 7 days. Send ONE POEM ONLY, 21 lines or less, to: WORLD OF POETRY PRESS Dept. 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