4 ARTS Sunday, July 8, 1984 Page 10 The Michigan Daily Los Lobos don't cry wolf a By Byron L. Bull TRYING TO come up with the words to praise Los Lobo's Friday night concert at the Union Ballroom, I find myself unable to grasp any adjectives that could do this wonderful L.A. quar- tet justice. With an overabundance of energy and heartful soul, Los Lobos delivered its exotic blend of rock in grand, eminently dancable form. The evening got off to a stilted start. The opening act, the local King Kong and the X-cons, started over an hour late, and though they played with ear- nest enthisiasm, they never generated enough excitement to set the proper mood for the main act. They were all very competent musicians, but their repertoire of Carribean and ska songs sounded a bit white washed and a little overly sweet to be anything but an- noyingly cute. The scene quickly improved when Los Lobos mounted the stage, and in only a few songs succeeded in elec- trifying the audience with their unique synthesis of fundamental rock-and-Tex- Mex sensibilities. The pure infectous joy of the band magnetized the audien- ce, which spilled out of their chairs and packed the space immediately in front of the stage for the entire length of the ballroom. Los Lobos is a band that clearly has learned to fashion music with craf- tsmanship and soul. They are musicians who hold a reverential love for music. From their cover version of Richie Valen's classic "Come on Let's Go" through "Let's Say Goodnight", ONE NIGHT ONLY DETROIT CENTER FOR THE PERFORMING ARTS Presents "TAMBOURINES TO GLORY" A Musical Comedy by Lanston Hughes Featuring a Cast of 25 Singers and Dancers in a LIVE ON-STAGE EXTRAVAGANZA SATURDAY, JULY 21 8:00 P.M. Michigan Box Office Theatre 668-8480 Reserved Seating: $7, 8. Students & Seniors: $5, 6. THE DAILY CL ASSIF IEDS ARE A GREAT WAY TO GET FAST RESULTS CALL 764-0557 every song of the set was a gem of the essence of unbridled dance music, and all without the cumbersome high-tech embellishments so in vogue today. The material, which heavily featured adjunct Steve Berlin on saxophone, were particularly engaging. A love song entitled "A Matter Of Time" had some marvelous basslines by Conrad Lozano, and the sort of catchy lyric and melodic hooks that once personified popular radio music many years ago. An instrumental called "Soul Twist", with its throbbing rhythm and driving beat, was nothing less than hypnotizing. Assorted songs in Spanish were sprinkled throughout the evening, for tasteful spiciness. Another Mexican blues number was good enough to give any Mississippi legend a run for his money, and a definitive cover of "La Bomba" sent the crowd into an ecstatic frenzy. While all of the bandsmen were first rate musicians, two in particular stood out. The towering, barrel chested David Hidalgo was a master vocalist, and played mean electric and slide guitars. Even more surprising was his use of the accordian, which added such flair and color to the sets that one wonders how the squeezebox ever got relegated to mere polkas. The band would also do well to fully integrate saxophonist Berlin, whose work more than enliven the songs-it dominated many of them. Berline stayed to the far end of the stage as if to avoid intruding on the ensemble, when he should have been brought to the forefront of the activity. The sound system was for the most part adequate, though perhaps a little I I I Los Lobos put on a hot show, chock full of dancing tunes, at the Union Ballroom Friday night. too loud for the ballroom, and ended up spaciousness of the place. Until they're a little muddled by the halls toilet bowl a little bit more prominent, Los Lobos is acoustics. And while the audience was better off in more intimate surroun- fair sized, it was less than capacity and dings. seemed swallowed up by the cavernous Repertory production is scandalously well done By Joseph Kraus YOU EXPECT the best out of the tap professionals, and A.R.T. delivered. The American Repertory Theater is the country's foremost touring reper- tory company, having just appeared at the Olympic Arts Festival in Los Angeles. In Ann Arborfor a briefnthree days, the company concluded its stay with presentations of Richard Brinsley Sheridan's School for Scandal Thur- nn rbor miner Estilal sday and Friday nights. The play concerns a group of aristocrats in 18th century England. The central figure is Sir Peter Teazle, an elderly bachelor for all but the last seven months. His young, disobediant wife stands in contrast to his ward, Maria, a wealthy heiress willing to obey her guardian in every way, with the single exception of marrying a man she despises. The man Sir Peter has chosen for her to marry is Joseph Surface. Joseph's uncle was Sir Peter's good friend who entrusted him with the care of his two nephews while he went to make his for- tune in the Indies. Problems arise, though, when Maria prefers the other nephew, Charles, who has wasted the money sent him by his uncle. When the uncle returns from the In- dies, he decides to put each of his nephews to a test by disguising himself alternately as a creditor and im- poverished relation. Joseph, who ap- pears to the world to be a young man of high moral worth, turns out to be an un- charitable womanizer while Charles, the wastrel, turns out to be generous amidst whatever other faults he may have. Throughout the play, a group of gossipers, led by Lady Sneerwell and including the likes of Mrs. Candour, Mr. Crabtree, and Sir Benjamin Backbite, continually spread malicious rumours with the intent of completely ruining Charles' fortunes and forcing him to marry Lady Sneerwell for her money. Done in a spirit of large stage comedy, School for Scandal is a well- paced show with quite a bit of laughs. Featuring outstanding direction and several fine performances, it is solid evidence that repertory theater can- not be allowed to fade away as trends seem to suggest it will. Director Jonathan Miller was probably the star of the show, although he never once stepped foot on stage. His characters moved across the set in ways that seemed almost choreographed. Ordinarily he saw to it that the performers used the entire stage, but occasionally he would desert center stage and focus the audience's attention on some corner of the room. More subtly than a spotlight, he was able to underline what he wan- ted the audience to be seeing. See TIME, Page I1 I I q