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January 15, 1958 - Image 16

Resource type:
Michigan Daily, 1958-01-15
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- 1


.1. T


It Serves

as a Guide to both Concepts and Play(

White you relax
between exams, we hope
you wilt visit us, and browse'
for your pleasure.


Phone NO 8-6779

* 601 East Liberty

actors, Kenneth Haigh and
Mary Ure, are currently starred on
Broadway in 'a play which prom-
ises to be a lasting statement on
twentieth century youth. Look'
Back In Anger, by John Osborne,
has already created a storm of ap-
proval in England,.and has begun
to stir up one of controversy in
the United States. The entire play
in set in a shabby room in the
English Midlands. Jimmy Porter,
a young man of the working
classes, who has been educated in
one of the smaller provincial uni-
versities, has married Alison Red-
fern, a young lady of the English
upper middle classes. Having been
unsuccessful as a journalist, an
advertising man, etc., etc., Jimmy
has been helped by friend Hugh
Tanner's mother in starting-a'
small sweet shop.,
The" friends have ~grown apart,
a fact which Jimmy never tires of
recalling, including lengthy and
penetrating rantings on the evils
of Alison's class in general and
Alison in particular. As the play
opens Alison is ironing and Jimmy
and his friend Cliff, a fellow-
lodger in their house, are reading
the papers and bickering. Cliff
Lewis, as the most recent of
Jimmy's friends, all of whom he
has lost, is particularly dear to him
and to Alison, with whom he
engages in numerous suspiciously
endearing conversations. Cliff,
nevertheless, acts both as a referee
and stabilizer in the marriage. In
Act Two, Helena, a childhood
friend of Alison's, moves into this
charmingly domestic household,
while looking for a job and a room
of her own. It appears to -be hate
at first sight for Jimmy and
Helena. Her time is largely oc-
cupied with her deep concern for-
Alison's health and welfare. The
moment of crisis occurs when
Jimmy rushes off to Mrs. Tanner's
funeral alone and Alison rushes
home to Mummy and^ Daddy to
have Jimmy's baby. Act Three
opens on the same cozy scene ex-
cept that Helena is now behind
the ironing board. It is some
months later. Minutes later, Ali-
son comes crawling back to Jimmy.
Helena, in a fit of remorse, de-
parts; Alison and Jimmy are un-
happily, but permanently reunited
and the curtain comes down.

ry Ulanov. New York, 1957:
Viking Press, 239 pp. $3.50
Daily Staff Writer

reveal the artist's emotions and
impressions of life, or the cater-
wauling of immoral, illiterate mu-
sicians from dives and bordellos.
More than anything else, jazz
elicits a personal response which
is never the 'same in any two
people. For this reason, jazz does
not lend itself readily to -precise
definition such as Barry Ulanov
trys to make in A Handbook of,
Jazz. Similarly, precise criticism

JAZZ MEANS many things.
many people. It is a form
music which can be, according'
the point of view one takes,
sincere and significant attempti


of Ulanov's book is not possible
because of the many lights in
which his opinions can be viewed.
Ulanov has attempted to write
a book which in one volume ties
the history,'the schools, the mu-
sicians and the value of jazz into
a unified whole. In this he has not
quite succeeded, and indeed it
seems hardly probable that any
author, no matter how gifted,
THE BASIC FLAW in any' work
of this kind lies in the neces-
sary attempt to describe the sound
of an instrument or group of in-
struments in words. Just as it
is impossible to convey the sound
of middle C on a piano in words
to someone who has never heard
the note, it is even more im-
possible to tell the qualities of a
passage or even a sing'e note,
played by Louis Armstrong or Roy
Thus Ulanov, whether or not,
he realized it, had to pi'esuppose
some familiarity with jazz or at
least a small amount of technical
knowledge of playing some form
of music. The book, then, becomes
somewhat vague to a person who
has not had any connection,
whether passive or active listen.
ing, with jazz.

the United States, combined them
with hymns to produce spirituals,
and then trooped to Storyville in
New Orleans to bring forth Dixie-
PROPONENTS of this theory.
point to the rhythms and mel-
odies of jazz and say that only
Africa could have produced them.
Ulanov, on the other hand states,
and correctly, that native music
m Africa is not given to much in
the way of melody and that jazz
has never approached the intricate
and quite unmeasurable beats of
a corps of African drummers."
The history, as a whole, falls
short of being in any way cqm-
plete. In the few pages he devotes
to history, Ulanov can no more
than sketch an outline of jazz, in
the last 60 years. Ulanov is not
above referring to people he has
never mentioned before in his
history and often leaves gaps
which he obviously expects the
reader to know instead of at
least partially explaining his refer-
When writing what he calls a
"capsule history," Ulanov cannot
skip entire fields of jazz-boogie-
woogie for example -_and he
should'not skip through other sec-
tions of his "history" with no more

Photograph by Friedman-Abeles,
Courtesy Mr. -Sol Jacobson
Kenneth Haigh and Mary Ure in a scene from "Look Back
in Anger," at the Lyceum Theatre in New York.

case. One of the most significant
things about Look Back in. Anger
is that it gives new blood to real-
ism. This is an age so dedicated
to the cause of realism that it has
annointed a sort of high priest
whose titles are variously "the
man on ,the street," "a very or-
dinary guy" and "the average
man." So, for the past decade andf
even beyond, far too many play-
wrights, authors and script writers
have surrendered themselves, body
and soul, to the ritual of repro-
ducing, verbatim if possible, the
life of the most "ordinary guys"
they have met. True began to lose
its essential meaning and became
svnnmno with : real and real

tempers, you were already on the
road to fame. Of course, the lower
down on the wage scale these two
laborers were, and the more dis-
tasteful their work, the more in-
teresting they were to the public.
The world of literature and
drama was in serious danger of
becoming a second Library of Con-
gress record collection, but one
given over solely to documenting
the fact that the struggles of the
ordinary guy are struggles we all
know. The chief contributor to this
library, was and is the inverse
snobbery which holds that the
little guys are the best.
Hidden under the'banner of this
realism were a multitude of liter-

faults, the book does a good,
if somewhat opinionated, job of
guiding the novice through the
basic concepts of jazz and the
people who play it.
A Handbook of Jazz is organized
In four major parts-a short his-
tory of jazz, an introduction to
some of the technical points of
jazz, philosophy on jazzin gen-
eral' and information about a
number of impoetant individuals,
past and present, in the field.
Ulanov considers the most im-
portant parts of jazz knowledge
to be knowledge of the history and
development of the many fields
and schools of jazz.
He is one of the first writers
not willing to' state categorically
that jazz developed from the Negro
slaves in the South who brought
their native African rhythms to

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PLAY would .. y*s-V " y a*" iary sinsit. I. WoIlud e3 Peasant
HE PLAY would seem to end, became synonymous with average this were all past tense; it is not.
neatly and facilely, with the which, in turn, came to mean It seems that the American public,
usual hyperrealistic touch; the something like lowest common de- having lost the Aristotlian mean-
husband and wife are unhappily nominator. The upshot of all this ing of truth and/or imitation of
reconciled only because, since was that, if you could produce a life, looks first and foremost for
there is no out in this world, they dialogue that might have .been a its own concept .of reality and, if
shall become accustomed to mis- tape recording of two manual it has managed to squeeze that
ery. This, miraculously, is not the laborers discussing their wives' (continued on Next Page)
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