Page 8-The Michigan Daily-Wednesday, October 21, 1987 'Contrast' explores America' spast By Debra Chesnin Ask any of the people strolling through the Diag today, and they will probably know that this year is the 200th anniversary of the United States Constitution. But how many are aware that this year is also the 200th anniversary of the first performance of The Contrast ? The number of people who have even heard of The Contrast is very small. The school of Music hopes to shed some enlightentment with its upcoming presentation of it, the first published American play. The Contrast was first performed in May, 1787 and it is no coincidence that both The Contrast and the Constitution were written in the same year. "The Music Deptartment wanted to salute the bicentennial of the Constitutuion in some way, " says director Richard Klautsch. "They thought the play was a g o o d showcase of American values." These values are portrayed by the "true-blue yankees" and the "affected, pretentious, and rougish Americans who emulated the worst European habits," says Klautsch. The contrast between these values is t h e inspiration for the play's title. The play is a love story that praises the truthful and straight- forward ways of the Americans. Lawyer and Army officer, Royall Tyler, wrote the play in an effort to get the audience to give up their European ways of life and try to act in a uniquely "American" style. University Players explains that they have produced the play in an effort to convey its uniquely 18th century style of acting and stage- craft. "We only have certain ideas of what they did in the 18th century," says Klautsch. "It would be difficult to try to copy it. Rather, we are adapting some of the conventions used at the time." According to Klautsch, the acting style of the 18th century was much broader and less naturalistic than the style used in today's theatre and films "The style is almost melodramatic." In addition to the early American acting style, members of the cast will also be performing authentic early American songs during the show. Director Klautsch, a lecturer of theatre and drama, admits that aside from a performance at the University in 1940, he has "never even heard of the play being done. " Because The Contrast is not widely known, Klautsch says that he had no preconceived notions of how the play should be staged. "It is definitely a different kind of performance," says Klautsch. The audience that expects a performance based on the usual psychological motivation found in today's plays will be suprised, according to Klautsch. Although the 18th century style of acting is realistic, it is based on more easily recognized and broader emotions. "There is a lot of interaction between the actors and the audience, " says Klautsch. While in most modern theatre pieces it is uncommon to have actors participating directly with the audience, it was standard procedure at the time that The Contrast was written. Although the audience will be unaccustomed to the amount of interaction that goes on with the cast members, according to Klautsch,"we are actually using less audience participation than was normal for that day and age." Today's audience will also be unacustomed to the music which is performed on stage by members of the ensemble. "It was a little difficult to find musicians who can act," says Klautsch. None of the musical performers in the play are regular music School students. "The musicians are students who have backgrounds in classical music, but who haven't kept it up. " Klautsch thinks of The Contrast as an "adventure." By performing this. first distinctly American play, the Music School hopes to do more than celebrate the constitution and the development of an "American style" of playwriting. Says Klau'tsch, "We're trying to allow the audience to have some fun in the theatre." THE CONTRAST will open tomorrow night and run through Sunday, and will also be performed next Thursday through Sunday (October \29-November 1). Show- times are 8 p.m., with 2 p.m. mat- inees on each Sunday performance: Tickets may be purchased at the Michigan League Ticket Office, Monday through Friday from 10 a.m. until 5 p.m., or at the Trueblood Theatre before each show. Ticket prices are $6 for the general public, and $4 for students. Call 764-0450forfurther details. Join the Daily Arts Page Call: 763-0379 I I (Left to Right) Christopher Murray, Nancy Bishop, and David Wilcox star in the University Players' bicentennial production of 'The Contrast' at the True Blood Theatre tomorrow night. Air NORTH CAMPUS LUNCH FORUM N at the North Campus Commons Valley Room October22at noon: "University Ethics" Speaker: Dr. LaRue Hosmer, Professor of Corporate Strategy, School of Business and Director of the international Office - of Entrepreneurial Studies Sponsored by: ,The International Center The Office of Ethics and Religion Lunch and other Campus Ministry Groups Available 995-8600 M oo w/d Expire.s 1,5W CLASSIFIED ADS! Call 764-0557 r GET INVOLVED IN MSA Students needed for university wide committees Records Board of Student Publications Advisory Committee on Minority Affairs Student Liaison Officer Undergrad Admissions Development and Communications Minority Office Education Program University Council Civil Liberties Board Research Policies Financial Affairs Honorary Degrees Residency Appeals Privacy Committee Applications Deadline: October 23, 5:00 p.m. Pick up applications at 3909 Michigan Union or Call 763-3241 for more information Contact Chair: George L. Davis II Vice Chair: John D. Villaneuva Depeche Mode Music for the Masses Sire Yes, the long awaited release from these heroes of our generation is finally in the stores and never in the history of recorded music has there been a more aptly titled album. The sales of Music for the Masses will be similar to Depeche Mode's previous albums in the respect that sales will be inversely proportional to talent and innovation. Depeche Mode have become true martyrs for their music, selflessly sacrificing artistic integrity and self respect so that they could produce a work that would please their public. There is nothing played on this album which did not have to b e plugged in and probably nothing that did not have to be processed through a computer. Gone are the old sounds of banging pipes, chimes, and sheet metal that made their characteristic techno sound. On this album, we are blessed with MIDI and over- production. Not that there would be anything wrong with the use of the latest technology if this album were to create an interesting final result but it does not. The album is a cliche of drum machines, digitally processed strings, and over repetitive keyboard melodies. From the initial guitar like synth noise and electronic bass drum on the first track "Never Let Me Down Again," it is apparent that this al- nbum will have little new to say. The song becomes tiring as soon as the obvious chorus is introduced and the verse does not prove any better; "I'm taking a ride with my best friend/ I hope he never lets me down again/ Promises me I'm safe as houses as long as I know who wears the trousers." Lyrics like these are very typical for the album. More lyrics about driving than the Cars and as much energy as cardboard. The overall effect proves to be that of depressed dance music recorded inside of a twelfth century monastery. Depress- ing monotone vocals and hard slow beats are most characteristic among the songs. Borrowings from releases by Yaz/ Erasure, Cabaret Voltaire. Dead or Alive could also be seen if they were to be played on 33 instead of 45. The conglomeration leaves images of men in robes mulling about dark dank passage bored with life and looking for something to inspire them, which they will not find on this album. Almost ironically or self depreciating, there is a song about a missionary copying down scripture. Henrietta CoI and the Wife B Child Haters Drive By Shooting Texas Hotel Ilins Beating Seekers of high energy dance music will have to look elsewhere as will those who are simply looking for an enjoyable album. Appreciators of new music and Eurodance should look elsewhere for a new edge. -Jon Casson I Henry Rollins, who waves a Black Flag as that group's lead singer, has released a solo album, Drive By Shooting, under the pseu- donym of Henrietta Collins. Thy title track, a parody on the general state of affairs on the California freeways, is indicative of the rest of the album: slightly warped, highly satirical, and intensely funny. "I Have Come to Kill You" is an ingenious take-off of Queen's "We Will Rock You," even matching the latter in meter and rhyme scheme, verse for verse. "Can You Speak This?" is a nonsensical, rambling quasi-story about nothing in particular, much in the lyrical mode of Zoogs Rift. "Hey Henrietta" is a wildly bizarre exercise in the macabre, and funny to boot. See RECORDS Page 9 U Munch, munch, munch... The munchies are after I I r _ I I TWO 10" PIZZAS I -- -TWO TOPPINGS I I -J =sTWO PEPSIS I $7.95plus tax I DOMINO'S Save $1.52 I PIZZA Customer Pays Deposit I DELIVERS@ One coupon per order I DAnn Arbor Locations Only I DOUBLES Expires 10-31-87 I Michigan Daily fEfKFEdA I fA ENF1 It R1t1DTU tlA 8AD1 1C uCrt IN I I ML L,5IlIEILJI NUMIJ1 Ihri L,5&VIELE")