RTS Lost Welles footage *shows genius of creator By SCOTT PLAGENHOEF The discovery of lost Orson Welles footage is a film coup of the highest order. Too realistic, too dark, and perhaps just too damn creative for his contemporary studios and audiences, the bulk of Welles' vision and potential was simply never financed and never realized. Years of research and work SIt's All True by, amongst others, Ann Arbor native Catherine Benamou (the film's Asso- Written and Directed by Richard ciate Producer) has served to locate Wilson, Myron Meisel and Bill one extraordinary piece in the turbu- Krohn; with Orson Welles. lent Welles puzzle. One year after his creation of what is considered to be the most prolific American motion picture of all time, "Citizen Kane," Orson Welles was commissioned by the State Department to go to Latin America and make a film for the purpose of preserving "hemi- spheric solidarity" amid the second World War. The project, titled "It's All True" had perhaps too apt a name. Welles, who went to film two of the three segments in Brazil without a script became fascinated with samba music and the indigenous, poor portion of the Brazilian population. Welles studio, RKO, more interested in the stereotypical, Carmen Miranda image of Brazil, denounced the film as "too black" and refused to finance Welles. The 1985 discovery of portions of Welles' work in Latin America has been restored and packaged along with documentary footage on the production of "It's All True." The documentary portion of the film is excellently paced to present not only the degree to which Welles was attracted to the project and the culture of Brazil, but also how vital Welles was to the Brazilians. Ironically, despite the halting of the project by RKO, Welles did accomplish the United States government goal of fostering positive relations with the Brazilians. His filming of both the traditional carnival celebration and his determination to film the indigenous people of Brazil and not simply the elite made him a Brazilian folk hero. The highlight of "It's All True" however is certainly the newly edited, Welles-directed work, "Four Men on a Raft." Despite being shot without financial support, the piece is a beautifully photographed celebration of the simple life-style of the native fishermen, the jangaderos. The film is a dramatization - the true story of four men who sailed on a raft of six logs for 61 days to the Brazilian capital in protest of their conditions. Shot without a means of recording sound, the power of this silent work is a testimonial to the talent of Welles. Despite the significance of this discovery it may be unlikely that an audience disinterested in Welles, Latin America or film history will enjoy the work. The documentary part of the film does explain the conditions with which Welles had to make the film. His lack of equipment and monetary support, and the frustration of RKO in a sense ruining the statement Welles was trying to make in "The Magnificent Ambersons," is better understood and appreciated with previous knowledge of the subjects. However, for many this landmark work will not only satiate but frustrate when one considers what may have been had Welles been able to continue to create not only this project but continue to realize his cinematic vision. "Tommy," now playing at Detroit's Masonic Temple Theatre, is an amazing journey through a rock 'n' roll world. See, hear, feel the world Of 'To1my By MELISSA ROSE BERNARDO You are about to enter into a new world. You will be shaken. You will be jarred. You will be moved. This journey is non-stop save one 20- minute intermission. Passengers with heart trouble should take care, as the experience is so stirring, The Who's TOMMY Masonic Temple Theatre January 20, 1994 and is not for the flabby of heart. Oxygen masks are located under your seats. Make sure to famil- iarize yourself with the nearest exits, just in case it is too much for you. Fasten your seatbelt, and brace yourself for an amazing journey. The journey is "Tommy," the new rock opera by The Who's Pete Townshend, playing at Detroit's Masonic Temple through February 6. "Tommy" assaults your senses, grabs hold of you and doesn't let you go for two hours. Quite simply, it is the story of a young boy who is rendered deaf, dumb and blind by a series of traumatic events in his life. He witnesses a mur- der, is molested by his uncle and is abused by his cousin, all of which causes him to regress even further into his near-autistic state. He discovers his talent at pinball, and when he breaks free of his state struggles to handle his new-found fame. The story is the only simple aspect of "Tommy." The stage space is visually aligned to Tommy's life - fragmented and abstract but vivid and colorful. Throughout the show, scenes are repre- sented and enhanced by projections (designed by Wendall Harrington) onto the back wall or onto a scrim. They enable us to see, for example: the church in which Tommy's parents are married, clouds, London flats, Tommy's warped percep- tions and pinball machines. Projections, of course, are easier, quicker, cheaper and more exciting than big set pieces. In some cases, the projections and actual scenery combine for an even more vivid image; Tommy's father's airplane, for ex- ample, is created with a hollowed-out interior of a plane and the projection of an exterior. (Warning: The sets are spectacular, and you will probably be compelled to applaud them. Please remember that the sets are merely frames for the action and the music.) John Arnone's "less is more" scenic design theory pays off; his use of door and window frames, for example (rather than extra walls) indi- cates no attempt at realism, and that is appreci- ated. Townshend's score adapts well to the conven- tions of musical theater. ("Tommy" began in 1969 as a rock opera which The Who themselves per- formed on numerous occasions. Die-hard Who fans will thumb their noses at the reworked musi- cal theater score, but Townshend did supervise and/or write the changes from the original.) Sir Andrew Lloyd Webber, pay attention - this is how to write a rock opera. Call up Townshend; surely he'd be happy to give you lessons. The show is a procession of one powerful song after another, each of which hits you in a different spot - from the stirring "I'm Free" and the stormy "Acid Queen" to the intensely poignant "See Me, Feel Me" and the lamentable "I Believe My Own Eyes." And then there are the total knock-you-out blockbusters, "Listening to You," "Sensation," "Amazing Journey" and "Pinball Wizard." With the possible exception of "Chess," no other musical in history contains this many indisputably great numbers. . Undoubtedly, a great portion of the songs' appeal lies in performance. Steve Isaacs does well in the role of Tommy; his voice lacks the training of a musical theater performer, but he possesses the voice of a rock musician. And this is, after all, rock music. Jessica Molaskey is a lovely Mrs. Walker, and has a very flexible voice, though a little husky in the lower range. Roger Bart plays evil Cousin Kevin to perfection, and each ensemble member attacks his/her minor roles with energy and enthu- siasm. Director Des McAnuff does a superb job in managing the endless stream of characters who move in and out of Tommy's life. McAnuff has trimmed all the fat from this production - there is neither a second of silence nor an inch of stage space that is wasted. Wayne Cilento's choreogra- phy blends well with McAnuff's direction; every movement, every step is choreographed. Of course, in the real world, doctors don't dance through their everyday duties, but this is a rock 'n' roll world, and here they do. Between McAnuff and Cilento, we are not allowed to fall out of this world; even through abrupt time and scene changes, we remain inextricably tied to "Tommy" until the end. Barring a few minor distractions - difficulty with Isaacs' microphone in a crucial spot and Uncle Ernie's (William Youman) cheap plug for applause-"Tommy" is unquestionably an amaz- ing journey. It is packaged spectacularly, and since modern theater is so concerned with pack- aging, it is great theater. It will carry you into a world like no other you have ever known. See "Tommy." Hear it. Feel it. TOMMYplays at Detroit's Masonic Temple Theatre (500 Temple Avenue) through February 6. Performances are Tuesdays through Saturdays at 8 p.m., Saturdays and Sundays at 2 and Sundays at 7.30. Tickets range from $25 to $47.50. Call 832-2232 or 645-6666 (or any TicketMaster) for tickets. .\ Too Bad to be True "One Track Mind" single Warner Brothers If the single "One Track Mind" is a taste of what this group of child singers and rappers can do, -then I can't wait for the full course meal. These boyz are coming straight out of the Janet Jackson school of hip-hop, and they have the potential to make it. Each of the song's mixes - from the hip-hop mix to the R&B vibe mix, to my personal favorite, the How Ya Jingling mix - is fresh and different. These boyz also got vocals, and al- though some may find the rapping inserts wack, ya gotta admit it's kinda cute to see these boys with single- digit ages trying to sound like Dre Jr. The single also includes the song "Throw Your Hands In the Air," which, while not as good as "One Track Mind," is still good enough to show that these kids got it goin' on. The single is worth the money and the entire collection probably will be, too. -- Eugene Bowen The Wooten Brothers Put Love to Work . A&M Records Although these brothas should consider a name change, their singing is solid and backed so well by a di- verse collection of fresh beats, I am forced to concede that this album is slammin'. The group name leaves room for skepticism as to how cool their music could be. However, from the very first song, the music leaves you on the edge of your seat restlessly wondering what the next song will be. "Nothing is Stronger (Than True Love)," leads this record off in a way that few first songs do. It's semi-fast paced beats correlate well with other, more slow, yet equally rhythmic, songs like "I.O.U. Love." The group includes varying musical types in their work, from deep bass to others which defy description. This album is good. There's no doubt about that. Although I still get somewhat nauseous when I mention the group's name ("Wooten" just doesn't get it, ya know?), the music's lyrics and rhythm - its combination of variety and uniformity - make this CD well worth its weight in gold. - Eugene Bowen E, VOLUNTEERS SOUGHT FOR COLD SORE TREATMENT STUDY The University Health Service seeks volunteers to participate in a medical study evaluating an experimental antiviral cream as a treatment for cold sores (herpes labialis). To be considered for this study, candidates must: Donald J. Munro Professor of Philosophy and Chair, Department of Asian Languages and Cultures 1994 Warner G. Rice Humanities Award Recipient The Distortion of Inquiry in China January 25 Consequences of an Elite Disease DANCERS * MUSICAL THEATRE PERFORMERS* SINGERS WHO DANCE " SINGERS WHO MOVE WELL DANCERS WHO SING WELL FOR SUMMER INTERNSHIP PROGRAMt At Walt Disney Worki Co., we produce eight spectacular shows for performers with expertise in the talent categories above. Add 10 elaborate convention shows created for our many resort hotels, plus special events, and you can see there's a lot happening at our world! There are 130 opportunities for you to become a cast member. Performance styles include a hip-hop dance troupe, musical theatre format, western-style vaudeville dinner show, and everything in between. Contracts begin May to August 1994. Full-time performers receive an annualcontract, relocation and benefit package, and a weekly salary ranging between $364 and $508". Our talent search doesn't end there. Summer roles are available May 29 to August 27, 1994. Twelve aspiring dancers who sing well to cast in the Disney Entertainment Work Experience Programt. This program is designed to cultivate professional skills through daily performances, dance classes, and workshops led by Disney staff and guest artists. Participants receive a weekly stipend of $300, and share furnished apartments provided by the company. College credit is possible, however, college student status is not required. You must be at least age 18 by May 1, 1994 to audition. You will need a non-returnable resume and headshot for registration at the audition site. No appointment is necessary. Singers who move well, singers who dance, dancers who sing well, and musical theatre performers' are to prepare 16 bars of two songs (up-tempo & ballad), and bring sheet music in proper key. Accompanist is provided (no tapes). Dancers are to be strong in jazz, ballet, and tap; have dance attire and shoes (character heels are suggested for women), and be prepared to learn our dance combinations. Detroit, Michigan Marygrove College Alumni Hall 8425 West McNichols Road Wednesday, February 2 10am Eligible & Open Call MALE Musical Theatre Performers & MALE Singers Who Dance/Move Well 11am Eligible & Open Call FEMALE Musical Theatre Performers & FEMALE Singers Who Dance/Move Well m