47 minute read
ON STAGE
Frank Zappa
F
RANK Zappa and his zany band members enthralled an Assembly Hall audience with a night of nutty antics on September 25.
The intellectual, bizarre Zappa conducted the concert while prancing about the stage in orange tennis shoes. The concert combined dancing, music, acting and comedy.
Craziness was apparent in his lyrics which included perversion and obscenity. He sang about acid, sex, education and religion. 0
By Valerie Mis
George Benson
H
IS dark eyes scanned the cajoling crowd. George Benson, tall and muscular in a cream-colored suit, enthusiastically strolled across the IU Auditorium stage on September 9. Applause, applause.
He eagerly reached for a guitar and transformed the mass of music listeners into his attentive fans for a two-hour concert effectively combining jazz, soul and rock music.
Sponsored by Union Board, Benson and his band boogied through pure instrumental tunes, such as Paul Desmond's "Take Five," and popular songs, such as "Nights on Broadway." He brought an emotional note to his repetoire by singing "The Greatest Gift of All." A sob echoed through the auditorium.
A standing ovation confirmed that there was no masquerading Benson's ability to project a professional performance. 0
By Laura Manske
The Marshall Tucker Band
Ken Titus
THE Marshall Tucker Band trucked into the spotlight. Cowboy hats flew into the air, tossed by some rowdy rabble-rousers of the 11,000 member crowd at the Assembly Hall on November 12. Fans were primed for the Tucker clan. Firefall, the back-up band, propelled the relentless, super-charged pace by weaving their AM radio hits in with a hard-core set.
The volume cranked louder as Tucker thundered on the stage, playing in their wild West image. The band blasted through "Can't You See," "Ramblin'," and "Fly Like An Eagle," along with songs from their recent "Together Forever" disc. Tucker's electrified guitar licks dug into the crowd like claws.
Three encores later, the amplification ceased, and a legion of cowboy hats (genuine or red IU facsimile) were again waved in appreciation for the trenchant tones projected by the Tucker boys. 9 By Mary Trasko
Maynard Ferguson
A
splash of bright light surrounded thirteen musicians dressed in black. Maynard Ferguson entered, his white jumpsuit glowed, highlighting his silvery powder puff of hair and middle-aged paunch that rounded his posture.
He reached for his shimmering instrument. The 50-year-old musician blew his trumpet with vigor on November 10 at the IU Auditorium.
Sponsored by RHA, the show was dominated by band members' solos. Meanwhile, Ferguson entertained the audience with his never-ending stage energy keeping rhythm to the tunes. By Barbie Chuck
Weather Report
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EATHER REPORT brought its increasingly popular style of jazz fusion music to an enthusiastic audience in the IU Auditorium November 19.
Unlike the peripheral percussionists the band used to tour with, the quartet took more room to explore and improvise musically. Most of their material come from their most recent album, "Mr. Gone," but they did play some older tunes, including their most popular song, "Birdland," from the "Heavy Weather" album.
Weather Report has become well known for their tighly knit compositions and hard-cooking style. And, certainly, their stimulating performance, playing to a near sell-out crowd, proved they are worthy of that reputation. By Jim Callaway
photos Jim Callaway
Rush
T HREE young men of slight build, who call themselves Rush, traipsed onto the stage of the IU Auditorium on January 31. They proceeded to blast out electrical frequencies that left their audience's ears ringing long after the IMUB sponsored show ended. "We're going to do a lot for you tonight," said lead singer Geddy Lee, "But right now we're going to take you on a trip to Bangkok." And he shrieked out a shrill rendition of "A Passage to Bangkok" from the 2112 album.
Caged in by shimmering chimes and shining cymbals, drummer Neil Peart added a sparkling twist to the electronically synthesized music produced by Lee and Alex Liefson.
Rush often tried to create a dreamy fantasy feeling among the very young audience. But, for every quiet, reticent solo there was an equally roaring performance to follow. The accompanying light show was excellently executed. It magnified each mood — sometimes with soft chalk-dusty colored beams and other times with harsh, brilliant lights as cutting as the poignant chords they accompanied. 9 By Katherine Hobble
Tom Cruze
A
NNOUNCING — that dynamic gentleman of the Blues — Mr. B.B. King! The short, round-figured man made his entrance amid the fanfare of the B.B. King Orchestra, an impressively proficient group of musicians.
The tone of the February 2, IUSA
B.B. King
sponsored evening was proud and professional. The B.B. King Orchestra led with two fast-moving instrumentals.
King's optimistic air defied the down-and-out Blues lyrics that he sang. Explaining why he always sings about women, he said that they are the "Creator's greatest creation." But then, with a wink and a shrug of his shoulders, he added that -men are the Creator's gift" to women.
King's superbly entertaining show came as a relief to many who were disappointed after watching Roy Buchanan stumble through his warm-up set.
Buchanan is used to playing his rough brand of guitar music to raucous crowds in smoky bars and clubs — not to a controlled college group in the elegant old IU Auditorium.
The act wasn't polished and few could justify paying $6.50 to see his mis-matched band half-play a show. But the open-minded listener could sense that this man has what it takes to be good. Buchanan and music are like the school boy about whom every teachers says, "He could do so well . . . if he would only apply himself. - E
A
S the woman ran down the B section aisle, an IUPD officer pulled her from the makeshift $6.50 seat. Elvis Costello was opening his first American Auditorium, Elvis sang the songs of emotional fascism from his third album, Armed Forces and "Green Shirts" as the IUPD picked off audience members at
Elvis Costello
photos Bill Warren college appearance ever — singing the refrain of "Accidents Will Happen" as the officer escorted the woman from the IU Auditorium.
Accidents will happen
But only hit and run
You used to be a victim
Now you're not the only one
On March 11, Elvis Costello, the cutting edge of rock's New Wave, played in the home of the Travel Series, Dennis James and Founder's Day ceremonies. Within the Thomas Hart Benton mural-covered walls of the IU the strike of a match. Elvis sang "What's So Funny About Peace, Love and Understanding?" as the audience tried to dance within the confines of its seats, in fear of being nabbed by the IUPD. Elvis sang "Goon Squad" as a sign in the lobby announced "This Program Will End at Approximately 10:30 p.m."
Looking as innocuous as a computer software salesman, Elvis, behind his concave glasses, played for about an hour, did two encores, and the program ended at 10:28 p.m.
by Laura Emerick
Heart
A
NN WILSON projected feelings of a male soul, plus a wired femininity when she and the rest of Heart rocked Bloomington with fantasy imagery on February 17. Her wide-eyed cooing and frenzied screams captivated the crowd of 8,600 which seemed delighted when she revealed any insights about Heart or their songs.
Heart, sponsored by Union Board, kicked it out from the start with cuts from their newly-released "Dog and Butterfly" album. They painted sensual dream images with "Magic Man," "Barracuda," and "Crazy On You."
The Wilson sisters were visions themselves, as were the male elements of the group. This was definitely the most physically attractive band to hit Bloomington in a long time.
The first few rows of fans could feel the heat scorch their faces from the fires of "Devil Delight." The flamepots backlighted Nancy Wilson, Steve Fossen, and Howard Leese as they unleashed gripping guitar licks. Ann's screams of "I saw the DEVIL! the DEVIL! the DEVIL!" echoed through Assembly Hall.
Ann, the vanishing point of Heart, mesmerized the crowd with her intoxicating flute entry to "Love Alive." All eyes were drawn to her as she moved through the autobiographical "Magazine."
Then it was time for "Mistral Wind," the song Heart once revealed to be "the most sweet of all the songs we're sweet on." Ann wailed, "Misstraaaaal!" then moved back into an ethereal, smoky wind which quickly enveloped her.
All too soon, Heart vanished, but their "magic space" remained. The erotic spell they cast on both the male and female audience lasted throughout the night. Ej By Mary Trasko
Vicki Buckner
photos Phil Poehlein
Yes
Y
ES offered Bloomington an exquisite performance on April 10, but only 5,200 persons took them up on it. Despite the rock bottom attendance, the group sent off legendary favorites mixed with some older, more obscure songs, each brilliantly executed and a joy to view as well as hear "in the round."
The revolving stage treated concert-goers to a lengthy look at all five of the incredibly talented musicians. Lead vocalist Jon Anderson dominated the center pedestal, creating a most sensual stage presence. He relenquished his space to Rick Wakeman as Wakeman moved through a medley of keyboard delights and to guitarist Steve Howe as he played "The Clap."
Anderson, dripping in Quiana, shimmered like an orchid, male butterfly. He sang from the microphone suspended from the ceiling or strummed his acoustic guitar. His voice, a strange mixture of high strain and perfect clarity, captivated the crowd throughout "Heart of the Sunrise," "All Good People" and "Long Distance Runaround."
Master of the Keyboards Rick Wakeman, sans his familiar cape, unleashed a series of dizzying keyboard chords which transported the crowd far from Assembly Hall. Dressed like some rhinestone captain, he deserved a title transcending any ordinary rank as he produced cosmic keyboard effects during his solo.
The pitifully small crowd in attendance was brought to its feet as Yes began "Starship Trooper," and rose again for the encore, "Roundabout."
Jon Anderson seemed to reach each individual in Assembly Hall when he said, "It's such a joy making music for people, really. I think we've all learned something tonight about getting together for the sake of music." El
By Mary Trasko
Backstage with Bloomington's best . .
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ITH New Wave raves and the deluge of disco, conditions were right for an exodus among Bloomington musicians. The East and West coasts, both meccas, drew bands with hopes that their tunes would be more "sellable" there. Those who remained here, primarily artists combining jazz and rock, took shelter in some smoky oasis, settling for a fickle following whose tastes spanned the spectrum from Bonnie Raitt to Village People.
Last Fall, Caroline Peyton, the songbird who had been in Bloomington's limelight the year before, left town, complaining that it was no longer the cultural oasis that it was in the 1960s.
Not only Peyton, but Bloomington's with an Elvis Costello jungle rhythm. "We drew our following from the large bluegrass community in town and the punk rockers, too," Haney said.
In addition to winning a spot on the Karma/WFBQ Home Grown album for their song "Ruby," the group won the highest yield award for landing three of their tunes in the top 50 selected from the 1,017 tapes submitted to the project.
The diverse listening tastes in Bloomington did not bother Frank Haney in the least. "The audiences have enough of an open mind that we can play original material somewhere like the Bluebird, and not have people heckling we country rockers to play straight Charlie Daniels," he said.
Those who remained here . . . took shelter in some smoky oasis . . . tastes spanned the spectrum from Bonnie Raitt to Village People
two punk bands left for more appreciative audiences. The Gizmos are in New York. MX-80 left for San Francisco — Bloomington wasn't their kind of town either.
So just what did Bloomington-ites want to hear? Drawing from the diverse listening audience, one group did their best to corner as many listeners as possible — Frank Haney and the Farmers struck up a bluegrass/New Wave sound which they called "rural space music." The Farmers found this town's audiences quite receptive to their mixing fiddles
Lead singer for Street Wise entertains guests at the Bluebird during the Halloween Party (top left). It was the year of Duke Tomatoe and his All Star Frogs (bottom left).
While the Farmers used the year to catch on, not many would dispute that it was the year of the Duke. Duke Tomatoe and his All Star Frogs blew away capacity crowds wherever they unleased their sizzling jazz/rock show.
No one can predict when or if the disco phenomenon will die down and take a back seat to a different form of music. Perhaps someday listening to jazz/rock will become the national pastime and this area's musicians can shoot for the stars instead of shuffling for the coast. 9 By Mary Trasko
Photos by Phil Poehlein
David Bromberg plays to a rowdy crowd at the Time Out (left). Our favorite local Frank Haney and the Farmers plow the audiences at the Bluebird with a sharp mixture of country, rock and jazz. Haney's crazy, witty monologues and Lisa Germano's mean fiddling definitely deem the Farmers one of Bloomington's best bands (below).
Abba Eban
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HILE President Carter was wining and dining with Isreali Prime Minister Menachem Begin and Egyptian President Anwar Sadat, Israel's former Foreign Minister Abba Eban spoke about the Middle East to a crowd of approximately 2,000 people at the IU Auditorium on September 7.
Sponsored by Union Board, Eban stressed the necessity of the United States as a mediator between the two countries. Ell By Patty Ward
Kathy Anderson
Bella Abzug:
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OMEN'S rights crusader, anti-war leader, civil rights activist and former New York Congresswoman, Bella Abzug told students at the IU Auditorium on September 21 that the ERA Amendment is necessary to use America's full potential. Abzug, 58, said women have been fighting for equal rights since the Constitution was written. Abigail Adams begged her husband, John, to include women in the Constitution. He didn't. "Obviously our forefathers didn't give a hoot about our foremothers," Abzug said.
In her speech, sponsored by Union Board, Abzug pointed out, "There are several things that the amendment will not do. ERA will not require public restrooms and dormitories to become unisex. It will not require both husband and wife to work."
People have found the absurdest anti-ERA arguments, Abzug commented. A Congressman once said that women should not be granted the ERA because they were not at the last supper. Abzug retaliated, "We may not have been at the last supper, but you can be damn sure we'll be at the next one." By Nanci Hellmich
Dr. J. Allen Hynek
E
VEN in this decade of scientific advancement, many people are disbelievers in alien planet animal life forms. And the somewhat speculative crowd in the IU Auditorium on October 24, came to hear someone who believed otherwise — Dr. J. Allen Hynek. A Professor of Astronomy at Northwestern University, Director of the Center for UFO Studies, editor-in-chief of the "International UFO Reporter," and scientific consultant to the film "Close Encounters of the Third Kind," Hynek drew large applause.
Hynek admitted he was skeptical about UFO's once, but when he became an Air Force consultant, freakish sightings caused him to change his mind.
Hynek explained that it is difficult to prove encounters or sightings because "all of these things depend on human testimony. Hynek asked the audience how many had seen a UFO or knew someone who had seen one. About 40 per cent of the crowd raised their hands. However, when he asked them how many had reported the incident, only five people responded. Hynek shook his head. "It's your scientific duty' to report these things." 9 By Patty Ward
O
Ralph Nader
A
RE we doing enough about consumer problems? Ralph Nadar, consumer crusader, doesn't think so. Sponsored by the Indiana Public Interest Research Group, Nadar attacked student apathy and corporate control at the IU Auditorium on November 3.
Leaning his lanky frame against the podium, the Harvard Law School graduate said Americans are unable to avoid corporate influence. "For example," he said, "You may not want anything to do with General Motors, but you can't get away from General Motors because you are breathing General Motors air." Nadar said the individual is expected to meet one standard and the corporation another. "The Detroit River for years has been polluted. You can prosecute an individual who relieves himself in the Detroit River, but if a corporation relieves itself, that's called production."
Nadar insisted that people can combat these inequalities and inefficiencies. For example, Nadar told the audience to make their classes and lives more meaningful. "In a congressional course offer your professor a compromise. Promise to read your text book . . . if he will let you study your Senator. The minute you write Senator Lugar and say, 'Dear Senator, our course this semester is entitled Lugar 101. We are studying you,' then you are the most important group of people in Indiana in his life."
Before Nadar left, he asked, "Do you ever have sessions like this with President Ryan?" "No," someone screamed, "Ryan is visiting the People's Republic of China." "Oh, he's in China," Nadar said, a smile appearing on his face. "Do students in China see more of him than you do?" [J By Kelley Hibbett
J.C.:
Ineffective?
A
MERICA'S peanut farmer President has not always been an effective leader. This was the consensus of the six members of the public forum brought together by IU's Poynter Center. The panel discussed "America and the Carter Presidency" before approximately 250 people in the Whittenberger Auditorium on Wednesday, December 6.
Members of the panel included James Fallows, former chief speech writer for Carter; E. Brooks Holifield, associate professor of American Church History at the Candler School of Theology at Emory University; William L. Miller, director of the Poynter Center; Reynolds Price, novelist and professor of English at Duke University in Durham, N.C.; Charles Hamilton, professor of political science at Columbia University in New York; and Nicholas Von Hoffman, syndicated columnist and author. "Twenty-four months ago, there was enormous expectations that this man could set a new tone for the country," Fallows said. The President's biggest problem is his inability to persuade the public to his views, he stated.
Holified said John F. Kennedy had more impact on the nation's morale than Carter because he was better able to communicate with the public.
The time is right for Carter to exert moral leadership upon the nation, Miller said. "He's the President with the least ideological formation since Eisenhower," he added.
By Nanci Hellmich
James Fallows, former speech writer for President Carter, has his tie straightened before he appears on television for the forum to discuss Carter's Presidency.
Gregory speaks:
I N '63, Dick Gregory was arrested in
Mississippi for helping blacks to vote — a controversy which sparked a Justice Department investigation. He competed for the U.S. presidency in '68. A few years later, Gregory protested the Vietnam conflict by running from Los Angeles to New York. In addition, he fasted (without solid food) for five years. Dick Gregory, comedian, humanitarian, civil rights leader and writer believed in causes and fought for them vigorously.
However, when we walked into the IU Auditorium on January 29, he faced a crowd that had been in junior high school when this political activity occurred. He attempted to bridge that gap.
First, he made them laugh. "You know it must be bad in Chicago when the crime rate drops 80 percent," Gregory said, referring to the city's worst winter. "The last time it dropped that much was when the police went out on strike."
Then, he made them think. "The way this country manipulates your mind, it keeps most Americans behind themselves," he said, pounding the podium with fists. "When you (women) have the power to spit out new life, yet can't control your own lives, then you are being manipulated."
Gregory pointed out that we are manipulated in many subtle ways. For example, he is concerned about chemical additives in foods. "When they don't know what to do with something, they feed it to you. That's why I'm worried about those nuclear plants. You'll go to the store one day and read 'High Energy
Bar.—
The audience chuckled, but Gregory was serious. "There's something wrong here. You have to change this thing. We have the power to turn this around." E By Todd Wilson
Stempel stirs students
F
ORMER resident John Stempel returned to Bloomington March 14 and received a reception of jeers, shouts and heckles. As the deputy chief of the political section in the U.S. Embassy in Teheran, Iran, he spoke about that country and the events that led to the overthrow of the Shah's regime. "What the leaders of the Iranian government face now is a sizable organization problem," Stempel said. "All groups are being given a chance to be heard," the embassy official added.
And some groups exercised their freedom of speech. The International Socialist Organization and a group calling itself the IU Iranian Students Association distributed anti-speech sheets. About 25 Iranian students and their sympathizers delayed the Union Board-sponsored lecture about 15 minutes with vocal disruptions.
Among the capacity crowd of about 450 in the Union's Whittenberger Auditorium, vocalized protests continued through the question and answer session. "Stempel's hands are in the blood of the Iranian people," said Hushang, one of the Iranian students protesting the "biased lecture." al
By Brad Farb
Terry John
Jim Rider
Iranian students and their supporters attend Stempel's lecture. Disagreeing with Stempel's policies and performance, students react with their thumbs down. Stempel attempts to explain the situation in the troubled country of Iran. His arguments did not convince the
protestors, however.
Second City
C
HICAGO boasts one of the sharpest improvisational comedy troupes in the country. The Windy City has every reason to blow about "The Second City," a crazy cross between the '60s looney "Laugh-In" and the '70s scintillating "Saturday Night Live."
The talented troupe was certainly alive on September 15 and 16 in the IU Auditorium. They infiltrated the chuckling crowd with satires about a school board, a soap opera about the birth of Jesus called, "The Guiding Star," and an embarrassed man infected with a venereal disease who faced a judgemental, angry nun. The audience roared and clapped constantly at the adult comedy sketches which ended in witty punch lines and quick fade outs.
The two hour entertainment adventure ended much too soon as the troupe temporarily "died" on stage after contracting Legionnaires disease from their stay at the Indiana Memorial Union. E By Laura Manske
California Suite
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NCE again, the IU Auditorium was the setting for exciting professional comedy-drama when award winning Neil Simon's "California Suite," a Broadway box office smasher, appeared on September 18.
Starring the talented Carolyn Jones from televisions "Adam's Family," and James Drury from "The Virginian," the play was about three groups of people who stayed at a Los Angeles hotel suite on different occasions. The stage walls seemed to talk, as the audience was drawn into the characters' troubled, humorous lives which involved custody rights, an extramarital affair, and an Oscar nomination. D
By Laura Manske
Blood Wedding
S
TARK, surrealistic staging and hauntingly beautiful music made IU Theatre's production of "Blood Wedding" a chilling success. "Wedding," a 1933 folk tragedy by Federico Garcia Lorca, was presented in the University Theatre on November 10, 11, 13-18.
As the title suggests, "Blood Wedding" is a fateful tale of matrimony and murder involving two proud Spanish families and a jealous lover.
The surrealistic set, which reflected the passionate, violent atmosphere of this play, consisted of a tilted circular stage and two abstract sculptures in the background.
Adding to the surrealistic world of "Wedding" was the plaintive flute and guitar music composed by senior Gary Schneider.
Director Jon Farris is to be commended for this superb production of Lorca's classic play. 9
By Kathy Bock
The Norman Conquests
A LAN AYCKBOURN, "The British
Neil Simon," was represented on the University Theatre stage October 13-21 with two plays from his comic trilogy, "The Norman Conquests." "Round and Round the Garden" and "Living Together," were set in the garden and living room, respectively, of a British country house. The main character, Norman, played by graduate student Rohn Thomas, achieved sexual conquests with the members of his wife's family.
The novelty about the two plays was that, as the action shifted from room to room of the house, it could be seen in the next evening's set. This shock of recognition lifted these rather silly farces out of banality and into an interesting two nights of comedy.
By Matt Roush
Vincent Price
D
0 you remember those late night horror stories starring the monstrous Vincent Price? Well, the audience who attended "Diversions and Delights" at the IU Auditorium on November 1 will not forget either. But this was no freakish villian. The large man with deep creases in his long face became the controversial literary character Oscar Wilde.
Price's portrayal of the sweet but cynical Wilde was breathtaking. Working alone with only a few props, Price propelled the audience into loud laughter and then brought it to hushed tears. He played up to the theater goers sentimentality and then slapped it with sarcastic humor. Throughout, he commanded the crowd's captive attention.
It is said in entertainment circles that the true test of acting rests on a performer's ability to break out of his or her stereotyped role. Without a doubt, this talented performer passed the test triumphantly as he offered the awe-struck audience its "price" worth. By Laura Manske
Blackstone's Magic
AGIC just isn't what it used to be.
For dedicated professionals, magic has developed into a dazzling profession of pizzazz, glitter and costly overhead. The days of abracadabra spells and bunny-filled tophats are gradually disappearing. In their replacement, audiences are treated to Broadway-type productions with elaborate costumes, music, dancing and comedy. Therefore, this entertainment has received new recognition in the performing circuits. This was the case at the IU Auditorium on October 13 when the striking Harry Blackstone, Jr. baffled a buffuddled crowd with major illusions and magnificent delusions.
The son of the famous Harry Blackstone, Blackstone, Jr. revamped his act from his last performance here in 1976. The intense time and immense sum of money he sank into this new touring show was unquestionably worthwhile — a total entertainment extravaganza. For example, he created a popular death-defying illusion in which he sawed his wife in half — with a high-powered, table saw no less.
Six to 66-year-old kids left the performance bubbling with huge smiles, puzzled expressions and questions of "How did he do that?" 9
By Laura Manske
This performer appeared in "The Darkened City" (above) which was written and scored by two IU professors. "Cosi Fan Tutti" (top right) filled the Musical Arts Center with a true richness of costumes and stage seen in this photograph. Verdi's "La Traviata," (right) brought to the stage a bit of dancing along with the music.
ph,,tos Phil Porhfin
The autumn operas:
Cosi Fan Tutti La Traviata The Darkened City
7HERE'S no argument. We have every reason to boast. IU is famous for its outstanding music school and operatic events. The 1978-79 opera season opened with three polished performances.
Borrowing from an ancient master, IU's first production, "Cosi Fan Tutti," was created by Mozart. It was a special treat for music lovers as Bryan Balkwill conducted with vigor and professionalism. This bittersweet comedy received a touch of sophistication by Director Ross Allen, only surpassed by Max Rothlisberger's dazzling designs.
Furthermore, the season's second event produced tremendous reviews. "La Traviata" by Guiseppi Verdi was a magnificent montage of music, ballet and technical perfection. Choreographed by IU's Marina Svetlova, once a prima ballerina for the Metropolitan Opera in New York, "La Traviata" transcended typical dance routines. Svetlova moved the dancers with magic-like direction.
The all-student cast combined efforts to act, articulate and sing superbly. Costumes aesthetically adorned the performers, adding beauty to the sets designed by David Higgins. Rebecca Cook, a graduate student, overwhelmed the audience as the courtesean Violetta Valery who fell in love with Alfredo Germont. The love affair ended abruptly when brave Valery renounced Alfredo to protect his family's honor.
Moods switched in the third event, "The Darkened City." Written by IU music professor Bernhard Heiden with libretto by IU English professor Robert Glenn Kelly, this story dealt with a timeless moral problem. Set in the middle ages, a religious community chose to close its heart to pilgrims who carried the Plague. Rothlisberger's dark, brooding sets symbolized the towns's doom. By Patty Ward
Passion of Dracula
H
E drank human blood and stalked prey with passion-filled eyes. Count Dracula, portrayed by Jose Greco, was the prince of darkness in the "Passion of Dracula."
Acclaimed as the world's finest Spanish dancer, Greco appeared at the IU Auditorium on October 29 with an all-star cast. The plot thickened quickly with captivating love affairs which Dracula loomed over. However, it ended happily ever after when the villian was defeated.
A special Halloween treat for students and faculty, the "Passion of Dracular" expertly combined two opposites — humor and horror. 0
By Valerie Mis
The Sound of Music
HE Auditorium was alive with the sound of music on November 17. Probably the prime musical production performed at the auditorium in years, "The Sound of Music," provided a touch of sentimentality often missing from many modern dramas.
Show-biz bubbled in the blood of the young actors and actresses who portrayed the singing Von Trapp children. They picked-up quickly on cues, blended sweet harmonies and performed their roles with absolute believability. Sally Ann Howe as Maria captivated the crowd with her clear strong voice.
This famous true story about an Austrian family once bulged movie box offices across the nation. If the touring company which appeared in Bloomington was any indication of the play's power, then it's obvious why Americans hold this production as "one of their favorite things."
By Laura Manske
Presenting:
Antigone and Romeo and Juliet
F Frances Conroy had portrayed the
Sophoclean heroine Antigone in a Greek amphitheater in 441 B.C., she might have been praised for her performance. However, her acting was far too exaggerated for Jean Anouilh's modern version of the tragedy in Indiana University's Auditorium January 12, 1979. Fortunately the production was saved by the supporting actors in the Acting Company and the play itself.
Anouilh's tragedy, first performed in 1944, is modeled after Sophocles' classical tragedy "Antigone." In both works a young princess, Antigone, defies her Uncle Creon (Richard Ooms) and buries her brother, Polynices. (Polynices was killed in a civil war with his brother.) King Creon promises to kill anyone who goes against his command.
Ooms delivered a moving speech in which he pointed out to Antigone the uselessness of her herioc sacrifice. But Antigone flings herself around the stage insisting that she will die. It is during this scene that the viewer cringes because of Conroy's overacting.
Delightful comic relief in Anouilh's version of the tragedy is provided by three Greek guards who resemble World War II soldiers. They talk and act like stereotyped G.I.'s. One guard even offers to show a picture of his family to Antigone as she waits for her death. All three guards in the production did an excellent job portraying common, illiterate men.
Another difference between the ancient and modern version of the play was the role of the Greek chorus. In this modern adaptation, Charles Shaw-Robinson played the part of the chorus. He moved gracefully about the stage introducing the characters and explaining the tragedy.
Like the ancient version, Anouilh's play ended with death — the death of Antigone, her fiance, Haemon, and Creon's wife.
THE scene in the auditorium changed from Friday to Saturday night, but the theme was the same — tragedy. The Acting Company did a far superior job with Shakespeare's "Romeo and Juliet" on Saturday night than they did with "Antigone" the night before.
Leslie Geraci, as Juliet, gave new life to lines that have almost become trite; "What's in a name . . . 2' Her suicide performance in the final act climaxed her outstanding show.
Charles Shaw-Robinson was as articulate and handsome as Romeo Saturday evening as he was in the role of the Greek chorus the previous night.
Another actor who did a wonderful job was Claudia Wilkins as the nurse. She portrayed a buxom, common woman who helped Romeo and Juliet. Her lines provided the same type of comic relief that the guards had given in "Antigone."
The entire Acting Company showed a special talent for the performance of Shakespeare's drama of the "two star crossed lovers." Ei
By Nanci Hellmich
Superstar:
The star was a hit, but the play missed its mark
pnotos Bill Warren
P HILIP BRAINERD was crucified 12 nights in a row.
Brainerd played Jesus in Union Board Pretense Theater's version of "Jesus Christ Superstar," presented during January in Alumni Hall. Written in 1970 by Tim Rice and Andrew Lloyd Weber, the rock opera was advertised as the "Original Adaption of the Broadway Play."
Fine dancing, music and lighting made this show, based on Jesus' final week, a near success. Some of the major roles, however, were flawed.
Judas lacked the gaunt arrogance one expects from a traitor who feels himself betrayed. Mary Magdalene acted more like the Virgin Mary than a Biblical prostitute. Brainerd, however, with a moving and painful portrayal of the crucifixion, saved the show.
While other scenes were painful — especially to the audience — hanging on a cross was meant to be pain-provoking.
About 100 people were involved in the production. Rehearsals lasted for two months.
And Brainerd, after hanging on a cross much of that time, sang "To conquer death you only have to die, you only have to die."
By the time it was all over, that line had new meaning. [3
By Todd Wilson
Brainerd's moving portrayal of the Messiah (far left) stole the Union Board Pretense Theater's version of "Jesus Christ Superstar." "To conquer death you only have to die," sang Brainerd during an emotion-charged crucifixion scene (left). Cast members made The Last Supper (above) a convincing classic. About 100 people were involved in the production.
Your Arms Too Short To Box With God
T
HE story of Jesus' trial and crucifixion has been told a thousand times before — in churches and on Broadway.
But, the all-black cast of "Your Arms Too Short To Box With God," at the IU Auditorium on April 16 moved the listeners like they "done never been moved before."
This national touring company had talent. Energy. Professionalism. The dynamic cast opened in a somber church setting. Soon, the pace quickened.
The crowd was jeered on by William Keebler Hardy Jr. who played a hell-raising preacher. His voice range was tremendous. Within seconds, he took the audience from a mean baritone to a trembling falsetto.
He led the captivated crowd through the familiar Biblical story with torchy tunes in jazz, blues and rock.
Jennifer-Yvette Holliday belted out the emotional "I Love You So Much, Jesus." The audience was stunned. This lady was so good.
Christ, played by Elijah Gill, danced into a frenzied-state. His precise movements and expressive facial contortions as he flung himself about the stage was a much more stimulating portrayal of the agony of Christ's death than to have been hung limply on the cross.
The audience jumped to its feet with raucous applause. El By Laura Manske
Side By Side By Sondheim
T HE real star never showed up.
Stephen Sondheim, composer of many great American songs, was the nucleus of "Side By Side By Sondheim" at the IU Auditorium on January 23.
His music was passionately performed by a trio of talented entertainers — Barbara Heuman, Jack Blackton and Stephanie Catsirilas.
Opening the show with "A Comedy Tonight" from the Broadway hit "A Funny Thing Happened on the Way to the Forum," the company delivered comic relief at its height.
Famous melodies such as "Getting Married Today," "You Gotta Have A Gimmick" and "Send In The Clowns" were tied together by the witty dialogue of Broadway star Ht rmoine Gingold.
She joked about relationships, the major theme in Sondheim's work.
Articulating her bawdy, rich British drawl, she laughed, "Marriages have all been disasterous. But my divorces have been fun, fun, fun." El] By Laura Manske
Jivin' Time:
IU's Soul Revue belts out blues
The Love Men (below) strut their stuff. Thomas Black, Jr., senior; Terry Boone, senior; Tim Jones, junior,. and Santiago Valdez, senior. As Cheryl Hunter, freshman, sings "Take Me, I'm Yours," Black Jr. takes her seriously.
Michel duCille
Master Mime:
He gave a silent symphony, expressing all with a gesture or glance
Tom Cruze
T HERE are no words to adequately describe Marcel Marceau's performance at the IU Auditorium on February 23.
This master of mime captured the audience's hearts, especially with his famous character, Bip. Perhaps it is because a little bit of Bip exists in each of us. Innocence. Love.
Privately, we yearn to catch butterflies or ice skate as we did in childhood. Marceau makes these fantasies believable. He is his only prop.
We laugh. We cry. We see ourselves in Marceau. We see ourselves because of him.
Marceau has always been dear to IU students, having toured here in 1968, 1975 and 1978. Furthermore, he has offered professional advice to many IU theatre majors.
It was once written of Marceau, "he accomplishes in less than two minutes what most novelists cannot do in volumes." Without a word, he has given us a library.'D
By Laura Manske
The Imaginery Invalid
A
S a wileful, carefree young cheerleader in the 1950s, Lu Ann Hampton tells her mother, If these are the happiest days of my life, I'm not so sure I want to go on living."
But indeed she does go on living in a play about her life — "Lu Ann Hampton Laverty Oberlander." The play, written by Preston Jones, was produced by the department of theater and drama under the direction of Sam Smiley during February.
IU Theater introduces new talent in two distinctly different moods
The strongest aspect of the play was the performance of a talented young actress, Vicki Horn, who played Lu Ann.
In the first act, Horn was a rebellious youth with dreams that would never be fulfilled. In the second act, she was a disillusioned young woman who left her scrawny, good-for-nothing husband, Dale Laverty (Drew Dix) and meets the man who will give her the final word of her name — Corky Oberlander (R.L. Swan). In the final scene, Lu Ann is a brave widow who cares for her senile mother (Deborah Hull) and her alcoholic brother Skip (Christopher Wertz).
Wertz portrayed Skip as a man suffering from emotional and alcoholic problems. He could not cope with the stagnant life of the small town in west Texas where he and Lu Ann lived. His characterization of a man who could not cope with life is a striking contrast with Lu Ann — a brave woman who could and did cope with the trials and tribulations of her life.
The second play by the department of theater and drama was "The Imaginery Invalid." There are certain qualities in some playwrights' material which deem their plays classics. These authors create a timelessness in their work, regardless of the costumes their characters don.
Shakespeare was a master of this technique. Moliere, the french author of this IU March production, had this talent, also.
In The Imaginery Invalid" he complains about doctors, medicine and patients.
The main character is a hypochondriac who wants to marry his daughter to a doctor thus insuring his own medical care. Although the story is light and farciful, Moliere makes some hard-hitting accusations against the medical profession.
The play moved at an erratic pace. And at times, it seemed that the inexperienced cast enjoyed the comedy more than the audience.
However, their antics were a delight. Moliere and the theater department made us laugh at ourselves. Ei By Nanci Hellmich
Shakespeare with a twist
combination of excellent A performers, an ingenious set and an interesting twist at the end of the production made director Howard Jensen's interpretation of "The Merchant of Venice" one of the most outstanding performances of the year. The Shakespearean romantic comedy was presented by the department of theater and drama during April.
Deborah Hull did a superb job adapting to the different roles of Portia.
Another character who gained the audience's empathy was Skylock (Kevin Barry). Barry portrayed Shylock as a lonely Jew suffering from Antonio's which an Elizabethean set could not have had the technical facilities to produce.
Another difference between Jensen's interpretation of the play and the Elizabethean-like production was the costuming. Rather than have the characters wear the Elizabethean costumes Jensen chose early 1900 garb. Although his intention may have been to make the play seem more contemporary, which it did, it also detracted from the fairy-tale atmosphere of the romantic comedy. It was hard to imagine that a man like Bassanio, dressed in a tailored suit, would woo and win his wife by selecting a lead casket with her picture in it.
Howard Jenson's interpretation of the play was a modern version of the traditional Elizabethean-like production
vindictiveness. The Jew was spit on and his loins were attacked which made the audience understand his need for revenge, even if the cost of that revenge was a pound of Antonio's flesh.
One of the most striking features of Jensen's additions to the play was the screened slide projections. As the slides changed from the exterior shots of Venice to the rich interior of Portia's home, they created an atmosphere in the theater
The most daring feature of this play was Lorenzo's obvious infidelity, a part that was not written into Shakespeare's script. As the innocent Jessica sat at the front of the stage at the end of the production, the director forced the audience to ponder the deeper meaning of the play rather than leave the performance with an "all's well that ends well" feeling. IT] By Nanci Hellmich
photos John Terhune
Bruce Longwerth, Michael Connally and Deborah Hull portray a scene from "The Merchant of Venice" (far left). Again, the trio (above) contemplates the problem posed by the revengeful Shylock, who has demanded a pound of Antonio's flesh as payment for a debt. Kevin Barry, as Shylock, hugs Judith Kelly (left) as Paul Jones looks on. The characters were garbed in turn-of-the-century dress as a part of Jenson's modern interpretation.
Rave Reviews:
News Bureau
The opera "Tales of Hoffmann" featured two IU students, Richard A. Chisenhall and Alice Obery in the roles of Spalanzani and Olympia.
Tales of Hoffmann Boris Godunov The Turn of the Screw
S
OMEONE once said, You either love opera or you hate it." For those IU students who delight in this art form, Bloomington is the place to be.
The first opera of the spring season was Offenbach's last and most ambitious work, "Tales of Hoffmann." This piece exhibited a dual and at times overly campy character which switched frequently between evil and comical antics.
First performed in 1881, the opera is about the poet Hoffmann who loved three women and is watched over by a protective goddess who in turn loves him. Three scenes depict the ways in which each of his loves are destroyed by sin and sorcery. "Hoffmann" ran its engagement with a few stage mishaps. During the first performance, the third scene had to be played around a gondola which stalled on its track. The most serious accident occurred during the third performance when the conductor misjudged the stage area during his encore and took a dive into the orchestra pit. He wasn't injured.
In terms of ticket sales, the opera was a success. "We haven't seen this much audience reaction and applause since 'La Traviata'," said Anne Scanlon, a stage crew member, referring to a fall opera.
Hoffmann implemented almost all the technical aspects of the MAC to produce the exquisite, haunting imagery. "We used everything but the trap door," Scanlon said. "The rollicking music and strange fantastic settings really made 'Hoffmann' a crowd pleaser."
The second opera, "Boris Godunov," was written by Modest Musorgsky. It is a four-hour tale about power exchange between two families who controlled Russia for 1,100 years.
The nine-scene opera was executed in brilliantly colored costumes designed after the Russian-style nobility of the late 16th century. The scenes were designed artistically with candelabras, furniture and architecture indigenous of that period.
Boris was portrayed by Dr. Ralph Appelman, who fell the day before this first showing and broke his collarbone. Appelman performed with the injury nonetheless. It did not seem to impair his fine performance.
The plot revolves around the Romanov's conquering of the House of Ruirik's throne. Boris, as chief minister, sets out to investigate the death of Dmitri, child successor to the throne. It is reported that the child died accidently by his own dagger. However, popular opinion at that time stated that Boris ordered the death. The throne fell to Boris against political desire. At this point in history, the story starts. A challenger appears who claims to be the murdered child, Dmitri.
Finally, dark secrets and demonic possessions of a young boy enshroud the characters in "The Turn of the Screw." It was adapted from a short story by Henry James. The opera's music was written by Benjamin Brittons and the libretto was composed by Myfanwy Piper. Two casts performed.
The action revolves around a young governess, played by Deborah Grodecky and Beverly Hay. They arrive at a new post and discover ghostly occupants determined to possess young Miles, played by Mike Lang and Benjamin Wright. The ghostly lovers, Peter Quint and Miss Jessel, change the formerly happy household into one of suspicion and gloom. E.:
By Mary Trasko, Denise Federspiel and Jana Wilson
photo, Phil Poehlein The ghosts of Peter Quint and Miss Jessel (left) haunt the living in "The Turn of the Screw." The cast of the Russian opera "Boris Godunov" displays the elaborate, colorful costumes of the four-hour production.
Pilobolus
p
ILOBOLUS Dance Theater evoked the image of the fungus for which they were named in their performance September 5 at the IU Auditorium. "Pilobolus is a fungus that seeks out the light by bending and twisting toward it as it grows. When it is ripe, it explodes with enormous energy and shoots its spores out at sometimes 20 to 40 feet distance. It is a simple cell and it has enormous vitality," explained Jonathan Wolken, one of three students from Dartmouth College in Hanover, N.H., who founded the Pilobolus Dance Theater.
Wolken, Moses Pendleton and Steve Johnson studied dance with Alison Becker Chase for one semester. For their final project they choreographed a dance together, using their athletic abilities to make up for their scant dance knowledge. Leaning, lifting and linking their bodies, they created "Pilobolus" — a bizarre but intriguing combination of yoga, mime, gymnastics and dance. E3 By Kathy Ellin
Twyla Tharpe Dancers
WYLA THARP'S choreography, like a painting, probably needs to be viewed many times before any sense can be made of it. But, for a first viewing, the impression that was most clear was how much fun dancing is, at least when it's the Twyla Tharp Dancers performing Twyla Tharp's choreography.
September 30th's performance at the IU Auditorium included "Country Dances," "The Fugue," and "Eight Jelly Rolls," each displaying different movement styles.
The thrill derived from seeing the Twyla Tharp Dancers perform comes primarily from the energy they exude. They interact through movement with one another as well as the audience, making the audience feel like part of the fun.
They seem nonchalant when they dance, letting their bodies fall where they will, throwing movements out and around. They flow from one off-balance position to another, slinking around like puppets. 9-
By Kathy Ellin
Terry John
Windfall Dancers
G
ARAGE sales, the T-shirt business and dancing may seem incompatible occupations, but for Debra Knapp and Lynn Medoff, they fit together.
The two women created a modern dance company, "Windfall," and a dance school. They started with enthusiasm and artistic talent, but no money. So, to get that all-important element, they gave a performance using borrowed costumes, free performing space and donated time.
Now, they conduct classes at The Center for Inner Awareness, 318 N. Grant. Medoff and Knapp agreed, "Our main interest is to help people move efficiently, to give a total feeling of how the body works."
Windfall means "Something blown down by the wind, as fruit from a tree." For the Windfall dancers, that process has been reversed. They've been blown in by the wind, now they need to grow into a ripened fruit. 0
By Kathy Ellin
Patterns
R
OMAN poets, Shakespearean playwrights and modern dramatists have rewritten one plot a thousand times over. But, the theme never grows old. It is a story about a fair maiden who loses her lover in battle. The maiden, struck with grief, romantically reflects upon the strange patterns which brought them together briefly and then tore them apart too soon. This sweet love tragedy was captured once again by Indiana University Ballet Department's first fall ballet, "Patterns."
Held in the Musical Arts Center on October 5 and 6, the ballet was directed by the talented Anna Paskevska. The performance starred Jeanne Murrell as the beautiful Joanna and Jerry Kirkpatrick as the heroic soldier. 9 By Laura Manske
photos Patti Russotti
P
EOPLE often forget what goes on behind the scenes of a performance because they just see the finished product. For the IU Dance Theatre performance on March 7, a tremendous amount of time, patience and practice was involved. "We've been working on the concert since last fall," said Gwendolyn Hamm, publicity director of the IU Dance Theatre.
Five choreographers were involved in the concert's development: Mary Bopp, technical director; Michael Sokoloff, visiting professor in the Department of Theatre and Drama, Fran Snygg, artistic director; Emily Stuart, curriculum specialist in Arts-in-Education Project; and Hamm. "Each choreographer had a different inspiration on how to construct his or her dance," Hamm said. "We (persons in modern dance) are interested in entertaining, but the spirit of modern dance started as a means of self-expression."
Hamm explained that most dancers are trying to convey a feeling or mood. Hamm performed her dance piece to three black spirituals. "I did not do a literal interpretation of each word," she added. Instead, she tried to convey the general feeling of grief and mourning over Christ's death.
Tryouts for the dance company take place in the fall. Each choreographer chooses the dancers for his or her piece. Snygg said, "I tried to pick dancers who fit my style of movement best and had a feel for the material."
Hamm added, "This was the best group we have had in years, in skill and personality." 9 By Rhonda Richards
IU Dance Theatre performers take the stage after more than six months of preparations. Seven dancers (opposite page) complete their dance in three phases. Gwendolyn Hamm, dancer and publicity director of the company (above right), dances to the music of a black spiritual. Two dancers (below right) move in a series of steps.
Giselle
V ALERY and Galina Panov, famed
Russian dancers, starred in IU's spring ballet, "Giselle."
In the ballet, the love of the two characters they portrayed overcame death. Off the stage, the Panovs overcame repressive Soviet policies.
The husband and wife dancing team was allowed to emigrate from the Soviet Union in 1974 after two years of harrassment and controversy. In the summer of 1978, they appeared in "Giselle- in New York, winning critical acclaim.
Their two performances in early April showed IU audiences why the Panovs merit the praise. "Giselle- is a romantic ballet set in Germany in the Middle Ages. The story is about a peasant girl, Giselle, who has a tragic love for a peasant boy who is really the prince of the country in disguise.
Valery Panov played the prince, Albrecht. His performance, spirited and articulate, injected enthusiasm into the sometimes lethargic dance company.
But the shining star of the show was his wife, Galina.
Her youthful, pure grace captured the feeling of the beautiful maiden who dies of a broken heart. Her perfect execution of nearly every step left the other dancers unnoticed in the background.
There were, however, a few other notable performances.
Alan Jones, as the woodcutter who also loves Giselle, was good, as were the Wilis, a group of maiden ghosts. However, the choreography of Nicolas Beriozoff, chairman of the IU ballet program, was at times marred by a few clumsy dancers.
But the total effect of "Giselle,- if only because of the Panovs, was moving. Fj By Todd Wilson
photos Phil Pochleln
