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July 18, 1986 - Image 8

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Michigan Daily, 1986-07-18

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Page 8 - The Michigan Daily - Friday, July 18, 1986
Copley: Evening of contrasts

In "Spawning," the first piece of the
By Craig Varterian evening, the metamorphosis and
evolutionary process meant to be por-
trayed was achieved by the dancers
M ONDAY'S performance by the with their amphibian-like motions
J. Parker Copley Dance Com- that created an image of sea life,
pany at the Power Center was an tidal pools and regeneration through
evening of contrasts. On one hand the prolific, movement images. The only
dedicated dancers performed up to problem was that the props used in
their leader Copley's visions, but in staging the piece got in the way of the
the same breath there was a sense of dancers' fine work. The over-use of
dissappointment in the audience. props seemed to hinder the dancers all
evening, when in fact they should
Because Monday's show marked have helped. For example, one could
the first time the group has had a definitely see the theatrical qualities
truly good stage on which to perform, the pool of water brought to "Spawning,"
the anticipation was running high for but the bad side-effects it created in
them that evening. Copley, the many other cases made one think
Group's leader. choreographed all the they could have done without it.

exoticism and mysicism. The
movement was a tense, building
evolvement of slow, somber
movements to the final, more frantic
ending. At times throughout the work,
many were left with the feeling that
the dancers were going to slide off the
stage from the water at any moment.
"Ricochet . . . and other Games"
was the last piece performed and it
was fantastic. There were no props in
this piece, only the floor and the dan-
cers coming alive. One had to wonder
why it could not have been this good
the entire evening. The troupe moved
in an exuberant, fluid torso to floor
fashion, with incredible spiraling and
swirling motions from all directions.
Although not a premiere, this piece
exhibited the group's true spirit and
capabilities better than any of the
others; a promise we will all be
looking for when the group returns to
the stage in Ann Arbor again in Sep-
tember.

Cherrypits
By Elizabeth Block "parade" of money on the French
Riviera. The result is an excuse for
THE REVEALING moment in Prince's childish preening in a
Under The Cherry Moon is when flagrant, aristocratic world.
Christopher (Prince) declares, "I The costumes are, however, a
don't do anything professionally, I redeeming asset to the movie. Here
only do things for fun.'" This seems to Prince's (and costume designer
be Prince's entire philosophy, Marie France's) imagination works.
creating an empty, predictable Prince advertises everything from a
storyline. birthday suit to elephant jewelry. Any
Conceived and directed by Prince, costume goes in Under The Cherry
Cherry Moon places himself in the Moon, where Prince captures the
hub of a banal love-game plot. He decadent 1940's spirit mixed up in fast
tries to retool the stale "poor boy 1980's funk.
meets rich girl" routine with the The black and white
machinery of sleezy, adolescent-like cinematography of Michael Balbhaus
narcissism. Christopher, a gigolo, is also a bonus, adding a touch of style
plans to seduce Mary Sharon (Kristin to the land and architecture. He
Scott-Thomas), an heiress of 50 seems particularly interested in
million dollars, and accidentally falls overlapping images between scenes.
in love. Of course, Under the Cherry Moon is
Their relationship is a game of not an expressionistic documentary,
"hard-to-get," sarcasm, and lust, un- so the photography hardly compen-
til Christopher decides to give up sates for the lack of quality acting,
hustling for Mary. Of course, her song, and dance.
billion dollar daddy (Jerome Benton) Prince could not have expected
doesn't approve, and in this movie Nice, France to camouflage his an-
only the wealthy triumph. Yet, Prince tics, could he? On the contrary, it
hopes to render Christopher's innate stands only as a public breeding
"goodness," suppressed by the ground for his own frivolous parade.

pieces for the evening including two
premieres, "Spawning" and
"Prophet Dance." The tedious
choreography was at times too much
for the young group to handle. The
movement of the individual dancers
was good, but when they performed
as an ensemble they did not mesh
well.

In fact, the props caused some very
real problems, such as the remaining
water left from "Spawning" in
"Prophet Dance," the major work of
the evening. "Prophet Dance," a
work inspired by Kahlil Gibran's
writing, drew on other-worldly

Records-
Saccharine Trust-We snakes,hissing the secrets of virtue Guadalcanal Diary - last album's "Watusi Rodeo") on the Occasionally, however, a lagging
and worship with their outrageousyJamboree esilly blues riff "T.R.O.U.B.L.E." as beat and lukewarm lyrics conspire to
Became Snakes (SST) performances.J br (Elektra)well as on the frenzied throwaway, "I drag a tune into the ground. After
On We Became Snakes, Saccharine Saccharine Trust use their poetic Things are going smoothly for See Moe - dedicated to the famous hearing Morrissey croon Oh
Trust successfully torch all precon- lyrics to the best advantage, never Guadalcanal Diary, and deservingly stooge. And the band kicks upa storm Mother, I can feel the soil falling
ceived notions of what or how music sounding as if they are merely ram- so Their first major label album, on "Dead Eyes," where the drummer over my headfor the umpteenth time
should be, leaving smouldering singe bling or teasing the listener with no Jamboree - their follow-up to their furiously pounds away like a splut- ("I Know It's Over"), it's easy to wish
marks on one's nervous system - if real direction intended. The only successful debut LP Walking in the tering pan of popcorn. that it would. Also, the album's
not one's speakers. possible exception to this formula is Shadow of the Big Man - is a char- While some of the rowdiness that cohesiveness is somewhat weakened
The Saccharine Trust "thing" is "Belonging to October," where one ming assemblage of more guitar- made their last LP so wonderful is by a few flat and flighty country/blues
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opens Snakes with an exciting, jagged somewhat overly serious significance Jamboree is also a bit more refined suffer for energy. Jamboree is a very the more ambitious efforts.
fusion of jazz and rock meets biblical of congenial genital stains. Other in some ways. The songs take on a enjoyable second album from this But despite some flaws, The Queen
poetry. The music soars to a sinful wise, Brewers half-sung, half-read more noticeably spiritual quality, band; and will hopefully win them a Is Dead revives enough of their past
climax with Jack M. Brewer's vocals take on a frightening charac- which is rather becoming given few more fans, efforts' driving energy to let some
shouting above the ruckus of the in- terization as the psychotic flasher in Murray Attaway's earnest tenor and -Beth Fertig great pop sounds ring out.
sane guitar and sax solos. The song's "Drugstore Logic;" a tormented the sweet quality of "southern" guitar -Sue Misencik
theme is he ancien Gtheesweetdequalitya ofu"southern"n guitarn
theme is the ancient Garden of Eden soul, a bought soul. And "Longing sound (ie: the jangle made famous by The Smiths - The Queen Is The Blow Monkeys
story, about snakes smooth, subtle, for Ether" is a brilliant juxtaposition R.E.M.). "Fear of God" is a haunting Dead (Sire) Tia M g (RCA)
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longing to be precious, oniy toe We Became Snakes is the record is a drop-dead pop song along a The Queen Is Dead definitely merits Glossy, slick, pleasant Brit pop
Trust band members are musical that could securely prove Saccharine similar bend. The vocal harmonies looking into. Of course, Morrissey is band adores soul - with the emphasis
--Trust is a band to be reckoned with. o laat notntlta'
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S yas a m , t uh This record also stands as yet another chime along beautifully. It's a song about everything from the tortures of about as interesting as it gets. Dr.
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