ARTS
The Michigan Daily Monday, December 8, 1986
Page 5
Acting tames
'Shi
By Noelle Brower
This past weekend's production
of The Taming of the Shrew by
the University Players, was an
example of a director making the
most out of what he had at hand.
The director in question, Philip
Kerr, utilized all of his resources to
shape his entirely undergraduate cast
into a unified and consistent
ensemble. Unfortunately for Kerr,
the cast responded only in part to
his apt and, at times, inspiring
direction.
When approaching a text by
Shakespeare, even as uncomplicated
a text as Shrew , two distinct
problems arise. First, the director
must decide whether or not he or
she should 'update' some of the
more obscure words and or phrases
of Shakespeare (purists would balk
at the suggestion!). Secondly, and
this was especially true of the
young cast in last weekend's
production, Shakespeare's dialogue
and onomatopoeic phrasiology are
at times so complex that only a
handful of actors have ever
conquered their difficulty with the
text.
Certainly, anticipated difficulty
in a production, any 'production,
should be looked upon as a
challenge to be conquered and not
an insurmountable obstacle.
Therefore, Kerr scattered substi-
tution of various words and sayings
of Shakespeare for more
contemporary ones was inconsistent
and sounded out of place while the
actors' diction, when intelligible,
was slurred.
Shakespeare is wonderful not
only because of the wisdom in his
sayings but because of the lyrical
resonance of his language. The cast
of Shrew, especially the principals,
whipped through their lines at such
a clip that at times it seemed as if
they were trying to see who could
finish his or her lines the quickest.
This could be partially because of
Kerr's coaching or the desire on the
part of the actors to get through
their lines (at times the actors did
seem relieved at the end of long
passages).
However, through the confusion,
Kerr's even-paced and subtle
direction shone in this up-dated,
1930's version of the play.
Especially inspired was the lazzi he
choreographed with the minor
characters, who really carried the
play on their shoulders. Sharon
Rosin, as Luchella, was outstan -
ding considering the fact that she
didn't have any lines until the last
act. Her portrayal of the drunken
widow completely upstaged the rest
of the cast; after her first bit, the
audience perked up every time she
came on stage. Kerr also worked
comedic magic with his
interpretation of Petruchio's house
servants as soccer-crazed
ew'
manservants. They also helped
change sets. Best of all, however,
was the bona fide feast at the
climax of the play that felt so real,
so Italian, that many mouths in the
audience must have been watering.
It was this attention to details that
lifted Shrew from mediocrity.
IIOL
Mark The Date For December's
HOLIDAY FASHION SI
Wednesday, December 10
12:00-2:00 pm
at Tivoli Restaurant
Featuring Fashions 'n' Things
and
Young World
Hair and Make-up by Audi Hay
RlOW
,es
63-7877
Fri. 9-3' Sat 7-3
Sunday 9-2
sed NMond~ay_
& Holiday,
Tom Gallup (Petruchino) and Christine Mourod (Katherine) appeared in
the University Players' production of 'The Taming of the Shrew.'
McFerrin inspires holiday spirit
Michigan Daily
ARTS
763-0379
KERRYTOWN
Between E. Kingsley
and Catherine St.
415 N. 5th Ave.
4?
Q) *
6(
Tues.-1
(c
By Marc S. Taras
Ho! Ho! Ho! Just in time to'
relieve shopping angst and severe
cases of final exam nerves! Bobby
McFerrin is back in town to offer a
timely dose of his inspiring
improvisational singing. This is
certainly the finest holiday treat that
Eclipse Jazz could hope to provide
the busy citizens of Treetown this
December. Tonight the Power
Center will be made cozier than
your own living room when Bobby
McFerrin takes the stage. The fire
will be lit at 8:00 p.m. and the
chestnuts will be roasting and the
-marshmallows toasting shortly
thereafter.
Bobby McFerrin knows what he
wants to dp, and does it well. He
will make you laugh and cry and
simply sigh with wonder at his
amazing vocalise while, quite
obviously, having a great time,
himself. He may come by his vocal
abilities naturally; both of his
parents were classical singers. His
father was a baritone for the
Metropolitan Opera (heard dubbing
Sidney Poitier's vocal parts in the
great film version of Porgy and
Bess ).
By the time he was in high
school McFerrin was playing piano
and leading "lounge-type" instru -
mental groups. When his ears were
inverted and his head turned around
by Miles Davis' Bitches Brew LP
in 1970, McFerrin began to chart
new terrain. He found the concerts
of the Davis ensemble to be
particularly exciting and was
attracted to the music of pianist
Keith Jarrett (then a Davis
sideman). McFerrin would later
acknowledge Jarrett's influnece
upon his decision to approach solo
improvisational concerts.
McFerrin continued his studies
at Sacramento State University and
Cerritos College and worked as a
keyboardist in a variety of lounge
rand show contexts through the.
:middle seventies. In 1977 he heard
fan inner voice telling him that he
should be singing. He isolated
himself artistically and after some
woodshedding successfully honed a
remarkably original vocal style. He
's singer, percussionist, instru -
metalist and more. His perfor -
mances arc spontaneous and convey
,his warmth and congenial nature.
He presents songstyling for the
moment, expressly tailored for the
time and the audience.
Along the way Bobby McFerrin
has received kudus and props from
fellow performers and friends. The
legendary father of vocalise, Jon
L Hendricks hnlnnr1 McTerrin to take
guest on numerous records with
other artists. He has been heard
with Weather Report and received a
Grammy for his work with
Manhattan Transfer. He sang the
trumpet-style lead on the title track
from the film Round Midnight
(which must be heard more than
once to be believed). And he has
worked all the major clubs as well
as being in demand for festival
appearances.
I recall Bobby McFerrin's first
Ann Arbor engagement with a
special glow. It was Valentine's
time, two years ago at the Ark.
McFerrin captured the crowd's
hearts and ears with his special
grace and humor. He made all
things new; imagine 200 people
singing "the itsy-bitsy spider..."
repleat with hand gestures, or
joining in the chorus of the Beverly
hillbillies TV theme. His reading
of the Beatles' "Blackbird" can
make you cry.
And now Bobby McFerrin is
back in town with tidings of
comfort and joy. Comfort and Joy.
Tonight at the Power Center all
things will be made new anew.
Bobby McFerrin will amazeand
delight you. He will set the child
inside of you free. And that's just
what Bobby McFerrin wants to dd.
Enjoy!
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