Tuesday, April 27, 1976
5
Professionalism prevails in opera
Reviewer
BY ELIZABETH GREEN
A rare and exciting event took place on a University of Kansas stage Friday and Saturday nights when the University Theatre and School of Fine Arts presented Benjamin Britten's opera, "The Turn of the Screw." Seldom will one find music and drama so totally integrated and so professionally performed.
The undertaking of the Britten opera is, of itself, remarkable. The difficult modern music—from nursery rhymes and hymns to popular ballads—was complicated by the sinister story of demonic possession, demands a maturity of voice and acting ability usually beyond the grasp of young performers. Yet the strong performance action by George Lawner meet the challenge.
THE STORY IS based on the novel by Henry James. A storyteller narrates the tale from the diary of a young English governess who is sent to care for two children in London. She arrives at a seemingly idyllic country scene—charming children and kindly housekeeper, Mrs. Grose—and happily begins her work. However, she soon finds that all isn't in order. Ghostly visitations by the former governer, Miss Jesse, to Fla, and the former valet, Peter Prost, to Jane, and the grotesque games and change children's personalities into evil distortions. The governess discovers what is an attempt at
possession and actively struggles to redeem the souls of the children.
Dramatically, Britten's music supports the values of each scene and underlines the conflicts in the action. Nursery rhyms recur in increasingly sour musical phrases, insistent musical motifs recall the power of the dead and startlingly creep into the music of the governess, confounding the listener. The music is melodic and
review
dissonant, nonrhythmic and fluid—constantly changing—all of which supports the ambiguities inherent in the story. The small orchestra, under the commanding direction of Lawner, performs all the complexities of the music masterfully and expressively, exploring the full value of each piece.
ALL PERFORMANCES are praisaworthy. Frances Ginbels gives a poised performance as the governess, and supported by a strong, yet controlled, vibrant soprano voice that withstands admirably the rigors of her music, Ginbels adds another dimension to her already excellent talent and another success as a performer.
Lambriny Helen Hedge satisfyingly
proves that opera performers can sing and act at the same time. As Miles, she constantly amazes the audience with multiple shifts of emotion. One never has to guess at Miles' complex and seemingly conflicting motives: in the hands of Hedge, she is surprised by the sudden push against his will, afraid, self-assured, confused. Her is a rare performance, integrated vocally and physically, natural and frighteningly believable.
Christine Kahler's Flora changes gradually, before our eyes, progressing powerfully and believably from charming a child toationation to quiet catatonic with a chilling smile.
JANICE JOHNSON'S Mrs. Grose is a convincingly warm, animated and comfortable woman, Nancy Atkins, as Miss Married properly erie and pitiful, yet compelling,
Keith Buhl, as Quint, is somewhat less satisfying. Buhl's young tenor voice is pleasing and casts a breezy spell, though sometimes the music is beyond his control. Physically, Buhl seems uncomfortable on stage. Menacing gestures alone are inimitable to the music of his vocally imposing and as formidable an adversary for the governess as he must be.
Visually, the production suffers. Sets provide neither an adequate statement of the action nor background for it. Set pieces are fragmented and disjointed—one tower, one stair unit, one wall section, etc. Lighting is obvious and, though dimness establishes
Murphey merges rock with folk
Over the past five years Michael Murphy has become an important influence in progressive country music. As a guitarist he writes about 400 songs during those years.
"It's not everyone, after all, who can work within the classical tradition while merging the immediacy of rock music with a folk consciousness and a country sensibility," said Rolling Stone magazine of his playing.
MURPHY and Emmylo Harris will be appearing May 1 in concert at Hoch
Achern.
From page one
Abuses . . .
Chilean newspapers in 1970 were unwittingly carried by the New York Times and Washington Post, the report said. In another instance, two news services secretly run by the CIA in Europe were to be by more than 30 U.S. newspapers.
As recently as February, about 50 journalists and others working for American news organizations maintained a secret relationship with the media. The authors have paid relationships, ranging from salaried operators working under journalistic cover to U.S. journalists serving as 'independent contractors' for the CIA and being paid regularly for their contacts to those who receive only occasional gifts and reimbursement from the CIA."
Before he began his music career, Murphey, who grew up in Dallas, hoped to become a Southern Baptist minister. He attended North Texas State College.
But he said common sense changed his plans, and he moved to Los Angeles to study creative writing at UCLA. He performed in the evenings with country music groups and played on a wide range of instruments, including guitar, bass, piano, banjo and harmonica.
His first album, "Geronimo the Cadillac," was released in 1972, followed the next year by "Cosmic Oil Souvenir" Murphey's and "Blue Skiv-Night Thunder."
"The world is a songwriter, and I'm just a damn good stenographer," Murphy said.
Emmyluwah Harris began her career twice. As a teenager in 1967, she became part of the East Coast music scene, singing original songs. She recorded her first album in 1970.
Also in 1970, her first child was born and Harris retired from active performing.
BUT A YEAR later, she reappeared as a club singer in Washington, D.C.
In 1973 she accompanied country rock singer Gram Parsons on a performing tour and sang on his album "Grievous Angel."
Harris released her album "Pieces of the Shell" in 1975. It promptly became a top-selling album for 20 years.
Her next album, "Elite Hotel," was released this year.
Tickets for the concert can be purchased in the SUA office in the Kansas Union.
NOW SHOWING
Show Time
7:30-9:00
mood, performers are often in darkness. Poor execution—with the follow spots, for instance, that make its visually pleasing and consistent with a period, although the governess' constant changes are unnecessary and perhaps too much attention must be concentrated elsewhere.
COMPLETE IN STORE·SERVICE FACILITIES!
University Daily Kansan
STAGE DIRECTION by Tom Rae results in stylistically integrated performances, though stage pictures are often confusing or the movement and movement is often extraneous.
It is to the credit of Rea and his cast that this piece, which could easily fall into melodramatic emotionalism, is never read elsewhere thereby retaining its credibility throughout.
The opera continues its run in the University Theatre Friday and Saturday. Tickets may be purchased at the Murphy Hall box office.
STEREO SYSTEMS FROM $300.00 TO $11,000.00!
SHOCK with Peter Breck, Constance Towers CORRIDOR
Tuesday, April 27 at 7:30, 75c
THE FRONT CLEED (1931)
with A. Menjou, Mary Brian
Wednesday,
April 28 at 7:30, 75c
WOMAN ON THE BEACH
with Joan Bennett
Thursday, April 29 at 7:30, 75c
Presented by SUA in Woodruff Auditorium
KU-Y ADVOCATE SERIES PRESENTS
World Hunger:
What is the
real issue...
Tuesday, April 27
7:30 p.m.
Jayhawk Room, Kansas Union
An evening of dialogue with Roy Laird, KU Professor of Political Science. His opinion: "American food aid to the developing countries may well have been a prime factor contributing to world hunger." Partially funded by Student Senate
Audience Will Be Invited To Participate In Discussion
Selling something? Call us.
If you've got more month left than money, we'll do it all for you.
If the last week of the month feels a lot longer than the first week, come by McDonald's* For very little money you can get a lot of good food.
McDonald's 901 W.23rd
Lawrence, Kansas
We do it all for you