The Michigan Daily
Friday, October 23, 1987.
By Amy Koch
Unknown to most, University
Productions is the collective title for
the Power Series, Project Theatre,
Mendelssohn Productions, and
Trueblood Performances. These
venues offer the uninitiated diverse
cultural activities that are an exciting
Aside from the University's rich
tradition in theatre, the unique
structure of the departmental and
University programs consistently
provide diverse material th at
correlates to many students' studies.
Primarily, in light of t h e
University's conviction to focus
ticipants and audience because its
productions are generated to students'
interests. Opening the series will be
Giacomo Puccini's La Rondine, a
rarely performed, bittersweet opera in
the Viennese style (November 19-
22). Next, Thornton Wilder's
modern American theatre classic The
Skin of Our Teeth will be
performed December 3-6.
Project Theatre, on the other
hand, consists of professional actors
and a core production staff. Though
many classics are performed,
"experimental" theatre is commonly
featured. Aside from being Associate
Director at the National Theatre of
Great Britain since 1973, Artistic
Director John Russel Brown has
directed Antique Pink, The Daughter
In-Law, Oedipus, and Waiting for
Godot during his stay here. Project
Theatre features at least one work
relevant to introductory English and
theatre courses. This term, Brown
has directed the classical masterpiece
Don Juan, which will be at the
Mendellsohn theatre starting October
The Trueblood Theatre is pri-
marily a performance venue for
University Players and students
studying drama and theatre. The
flexibility of the auditorium allows
many types of productions to take
place there because the seating can
accord with the needs of the
production. Though many Uni-
versity Productions take place at the
Trueblood, such as The Contrast
(currently in production), other
performers take advantage of this
auditorium as well. For example, the
Hill Street Players will be
presenting the wonderfully human
play1000 Clowns on November
With such opportunities just a
short trot away, every industrious
Michigan student should be able to
find some "escape" in the
pro-duction resources to benefit
students, the drama department was
recently transferred to the School of
Music. Here, there is much more
freedom to create the diversity of
productions that the Ann Arbor
Paul Boylan, Dean of the Music
School, states that there are distinct
objectives for both the students and
the faculty in making this move. "It
is not enough to just study 'drama.'
Instead, within the training of
dramateurs, theatre critics, and
theatre historians, it is crucial to
know all of theatre; from acting to
backstage." Boylan adds, "When
people approach art intellectually, it
doesn't work. We want them to
know the realities of theatre by
working backstage, etcetera."
By creating independent factions
under one core structure, Boylan has
attained a "broad palette of
experience" whereby each section,.-
though having its boundaries, has
independence to express creativity.
Boylan feels that such a n
arrangement "won't compromise
artistic integrity; it will enhance it."
The Power Series, mostly a,
student production premier for the.
School of Music, is dedicated to
featuring a variety of students in the.,
performing arts. Such a program is
advantageous in that it enables
students to work with nationally
prominent directors, conductors, and'
choreographers. The Power Series
has a widespread appeal to par-.
Freckelton adds twist A
By Lauren Shapiro
In her new exhibit at the Alice
Simsar Gallery, Sandra Freckelton
has combined highly detailed still
life in a somewhat surrealistic
fashion to create extraordinarily
unique and beautiful prints.
Freckelton's paintings come
directly from her environment and
life experiences. In her prints, she
weaves together plants, fruits,
flowers, quilts and other objects
from her home and garden.
Freckelton lives with her husband,
artist Jack Beal, in an old mill near
Oneonta New York which the two of
them converted into a beautiful
home and working area.
Her husband comments, "Sandra's
art is her life and her life is her art."
She chooses colors which are bright
and will radiate throughout the print
moving the viewers eye back and
forth over the selected work. She
explains that one benefit of using
silkscreen and other print methods of
production is the intricate com-
binations of color and light created.
Freckelton combines her com-
position in a complex manner,
balancing the objects, patterns, and
colors in her prints. In "Openwork,"
a print com-pleted in 1987, light
cascades over fruit, glass, and the
delicate decor upon the tablecloth
transforming soft surfaces into hard,
creating an engaging arrangement.
She uses glass as a method of
reflecting and distorting images in
the print. Sandra Freckelton forces
the viewer to take an active role in
perceiving and interpreting her work.
Freckelton enjoys her work not
only for the great beauty she creates,
but also for the contribution she can
make towards society. One of her
prints in the Simsar Gallery was
created to celebrate an anniversary
occasion in the Young Women's
Christian Association. S h e
combined her wooden table, chairs,
and flowers with a hammer and nails
to represent women's changing role
in society. She wants the print to
express a re-evaluation of women's
lives. Freckelton says, "Women are
no longer only home makers, they
are builders and designers, growing
Sandra Freckelton was born in
See FRECKELTON Page 8
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