The Michigan Daily - Tuesday, April 21, 1992- Page 9 THE UNIVERSITY CLUB COMMENCEMENT BRUNCH 1992 Saturday, May 2 9am to 4pm 763-4648 Reservations taken Mon. - Fri., 8:30am - 4:30pm Muffins Breakfast Pastries Bagels with Lox Fresh Fruit Platters Herbed Scrambled Eggs Potato Pancakes with Applesauce Broccoli Mushroom Cheddar Quiche Caesar Salad Broccoli Bacon Salad Tomatoes & Feta with Orzo Fresh Asparagus Rice Pilaf Stir-Fried Vegetables Fettucini Alfredo Honey Mustard Chic,:;: Spinach Lasagna Shrimp & Scallop Newberg Carved Roast Beef Au Jus French Bread Beverage Delicious Dessert Buffet Adults, $12.95 Children, $5.95 THE UNIVERSITY CLUB in the Michigan Union 530 SOUTH STATE STREET tom, Q 0 Dancing to their own beat by Alexandra Beller W hat type of dance concert do you get when there is no one j udg- ing content, no guiding theme, no prize at the end, and no restriction on who choreographs, performs, or designs? You get an offbeat, eclectic and contemporary show with a medley of different styles, forms, ideas and flavors. The Young Cho- reographers Concert, based on the above principles, will, no doubt, be stamped with many different artists' signatures. The Young Choreographers Concert fills many of the gaps that remain between faculty-choreo- graphed, audition-only concerts like the American Masterworks, and the many student chore- ographed concerts such as the re- cent No Fat Added. For those who have not had many chances to be on stage, this concert provides an opportunity. Dancers who want to perform in the more familiar style of their own choreography can have their wish in this forum - a low-pres- sure setting in which students may "try out" old or new repertory. The concert will be a mixture Pirates makes a swingin' journey into the 1920s The Pirates of Penzance, choice went a bit too far was in the ing his first entrance with a life pre- dir. Eric Gibson first act, when it seemed that every server around his neck) won the Mendelssohn Theater musical number had a Charleston; crowd over. April 17, 1992 the sequence including "Climbing Comic Relief came in the form of Clayborn of varying styles, techniques and themes. Although most of the ten artists who have submitted work are in the Dance Department, the avenues by which they are choos- ing to express themselves are vastly different. From Wendy Light's violent and passionate "Nightfall," based loosely on the myths of the bac- chantes, to Kevin Clayborn's "Anima," about the stereotypes that exist in gender relations, the program promises to be diverse, expansive and surprising. THE YOUNG CHOREOGRA- PHERS CONCERT will play Thursday, at 8 p.m. in Studio A of the Dance Building Admission is free. Call 763-5460 for more in- formation. The program of the University's Gilbert and Sullivan Society produc- tion of The Pirates of Penzance began with a director's note that read: "However well-loved, repe- tition of the Gilbert and Sullivan standards without variety can stifle creativity. The actors and designers, as well as the audience members, need to be challenged. New approaches foster creativity. Some V. , man S 4e new ideas work, some fall short, but without the freedom to try we will stagnate ... With this in mind, our production of The Pirates of Penzance takes place in the year 1925." Now if you're like me, you look at this note with respect for the di- rector's views - but also with a de- gree of skepticism. Many people resist to change, especially when tradition is involved. In this case, however, the change didn't really affect the play that much, and, most importantly, it didn't detract from the enjoyment of it. Since this is so, I couldn't find fault with the decision to set it in the '20s. The only instance in which the Over Rocky Mountain" was the best example of Charleston overkill. The dance and changed time setting seemed to hit the audience over the head repeatedly. The choreography by Susan Fili- piak was appropriate and fun to watch. Perhaps the strongest part of the production, as far as choreog-. raphy is concerned, came with the song "When the Foeman Bares His Steel"; the integration of a large part of the cast was well-planned and ef- fective. The actors' singing was outstand- ing. The principal parts - Frederic (Robert Mirshak) and Mabel (Lisa Romero) - were very strong in their roles. Romero's vibrato was so emphasized it seemed often to poke fun at the operatic form itself. Perhaps most notable, though in a small part, was Kevin Casey as the Chief of Police; his deep bass lin- gered in your mind long after the show ended. The acting was also fine - a bit exaggerated at times, but Gilbert and Sullivan productions seem to have been created for the ham in all of us. Major-General Stanley (Bev Pooley) was the audience favorite. His ges- tures and expressions (besides mak- the bungling police force. Filipiak's choreography definitely helped to deliver highly comedic results in their sequences. Pirates was simply a good time. The only aspect of the play that was noticeably affected by the changed time setting was the costuming. The 'Climbing Over Rocky Mountain' was the best example of Charleston overkill. The dance seemed to hit the audience over the head repeatedly. '20s garb was stylish and sometimes laughable, but it didn't distract the audience's attention from the story itself. Gibson not only maintained the play's comedy, but emphasized it. For this reason, you needn't look scornfully upon a new adaptation of a traditional work in the future; if nothing else, Pirates proved that you can make some changes in a script without detracting from its original content - or intent. - Jenny McKee i. d t } t 3 i Life doesn't suddenly become calling from payphones easier and you don't have to re- easy when you get out of college. place it when you move. There are the challenges of You'll also have the opportunity to save on AT&T starting a career, getting settled in a new long distance calls with the AT&TReach Out*America apartment and doing it all within your budget. Calling Plan. So to help you out, we put together the a ca Even our MovingAhead newsletter can help. 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