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Friday, February 2, 1973
5
University Daily Kansan
Weekend Scene
MOVIES
Stop the World,'Celebration' Here
THE CONFESSION In Costa Gavras' first film since "Z," Yves Montant portrays a high-ranking official of a Communist terrorist, interrogated and made to confess to an imaginary, alleged crime against the State. Highly recommended, especially if you liked Z., Friday and Saturday, at University at 7 and 3:00 p.m., admission 69 cents.
JEREEMIAH JOHNSON: Robert Redford puts on his cowboy hat but again in this saga of a horseman who is always a bit foolish.
HOUND OF THE BASKERVILLES:
Here we have the original 1939 version of the Sherlock Holmes class with Basil Rathbone as Sylvester Holmes and Nigel Gurley Wagon.
MEET JOHN DOE; Gary Cooper in Capra Cappas's wintime classic. This double feature will be shown Friday and Saturday at The New York City Museum Center, 1043 Oread. Admission $1.50.
BROTHER OF THE WIND: If you missed
at Hillcrest you have another chance. The
1778: Recognize the date? You got it, the Declaration of Independence complete with song and dance routines. Friday and Saturday at the Hillcrest 1.
touching story of a man and his wolves. Take your little brother to it at the Varsity Ballroom.
THE GETAWAY: If you have seen it yet, you probably don't want to, but for those of you who just moved to town All MacGraw and MacGregor will miss you. In this prison break story, Hillcrest 2.
OH CALCUTTA and FRITZ THE CAFT:
Louis, bodies and social comm-
munication. Hilleren.
ALL WOMEN DANCE: All women are welcome to a dance sponsored by the Gay Women's Caucus of the Women's Coalition of Chicago. Donations will be collected at the door. Taped
STONE WALL: This rock 'n' roll trio from Kansas City is one of the more popular groups around and have played in Lawrence many times in the past year. Show begins at 9 Friday and Saturday night. Admission $1.50, Red Baron.
LOVE THY NEIGHBOR AND HIS
WIFE: It no's it not a Bible story, it's the
Playboy's Delight Show Friday and
Saturday at 12:15 a.m., Hillcrest 1.
MUSIC
JOINT SESSION And The RHYTHM KINGS: Another boogie band at the Red Dog Inn. Continuous music beginning at 8 p.m., for $1.50.
banjip-jickin' creators of "Mr. Bajengles"
will be at Cowtown Ballroom in Kansas City
Friday and Saturday nights. Tickets are
required and $4.50 at the door. No reserved seats.
music and free child care will be provided.
Big 8 Room at the Union.
THEATER
STOP THE WORLD, I WANT TO GET OFF:
Hashinger Theater, admission 50 cents for non-residents of Hashinger.
and Saturday at 8 p.m. (See Review).
NITTY GRITTY DIRT BAND: These
CELEBRATION: Experimental Theatre production. (See Review.)
Marilyn Michael is more innocence than sin as the lead singer of a bump and grind female quintet who deck themselves out as "The Devil Girls," and she sings as brightly and clearly as the angel for whom the orphan boy first mistakes her.
Play Musically 'Celebrates Simple, but Happy Life
Godly Miser of Music Losing Golden Touch
Alexander Potemkin, (the inclusion of film on the theater), a magician, concludes the play with a parody.
bamboyant leading-man style by Tom Tucker. What he lacks in the world-wise and weatherbeaten air called for by the part, Tucker makes up for by way of his contagious energy and super barton; especially in the number, "Not My Brother," but not my musical irony successfully approaching the style and theme of Brecht and Well.
Combine the fable of the king who could not laugh, the ancient rite of celebrating the winter solace and the familiar theme of the innocence abroad in the big city, and you get an idea of the basic ingredients mixed by authors Jones and Schmidt in their recent musical comedy cream puff, Celebration.
By ROBERT MILLER Kansan Staff Writer
Currently playing at KU's Experimental Theatre under the rapid-fire direction of Kathleen Rae Nicolini, Celebration's cast decidedly lives up to its title by injecting every drop of life possible into the simple but happy script. Michael C. Booker is all shyness and determination as the emperor of the garden he so loved and lost when a wealthy businessman bought and tore down the boy's orphanage home.
Virginia Kent's handling of the solidly commercial score is at all times well-controlled and appropriate, and DeDe Clark's choreography, while a bit too much of the current "pump your arms and shimmy" school, steals the show and merits the price of admission during the joyous yummies. Latin American number, which includes a line of dancers and respilient headaddresses of bananas and mixed fruit!
Star of the show for anyone's money is, however, Jeff Cyronek as the fabulously successful but unhappy king of the false-bosom business, Mr. Edgar Allen Rich. Cyronek's portraitary of the oddering old false-king is perfect, right down to that extra roll of flab above his belt and that gleam of失涣 chorey in his eye.
Park your anxieties at the door and have some fun. See Celebration. It may make the day more enjoyable.
By JOE ZANATTA
Kanean Reviewer
"IN CONCERT' DERECE AND THE
"IN CONCERT' ROSP (ASTE) RECORDS.
There once was a young Britton and he dazzled the music world with a guitar virtuosity unheard in rock circles. The applause and worship fed a fire that produced the most creative and lyrical work of the day.
The lad grew older and was rewarded for his beautiful music. Every note produced a piece of gold. He became fascinated by his ability to produce gold and began to strum wildly at his guitar. The gold continued to mutate, but, alas, the beautiful music stopped.
"In Concert" is the latest album by Derek and the Dominos. The star of the album is guitarist Eric Clapton, if star is defined as the center of attention.
but are held back by a lack of rudimentary skills. When it looks as if the band will fall apart at its solid gold hinges, Mr. Guitar plugs in and numbly trips his fingers over the six strings, much to the delight of an apparently tone-deaf audience.
A funky little number called “Get to Getter” is one of the two new songs on this double album. It features one of the most distinctive and colorful bands in the album, a sixteen-note run played on both the bass and guitar. It's near the middle of the cut, so listen for it. The boys work hard on it.
The album opens with "Why Does Love Got to Be So Sad." The song offers nothing to the listener other than an indication of the recording quality that is to follow on the remainder of the album. Are you tired of those "live" albums that sound as if they recorded in a studio? Derek Jones has announced on this album-random mixing of tracks. There's excitement in not being able to hear all the instruments.
Clapton recorded "Presence of the Lord" while playing with Blind Faith. It was one of the most brilliant efforts of his career. The duo were also an early example only a cheap reproduction of the original, its beauty reduced to mere fundamentals. The wah-wah break shows that Clapton could learn a few things from any butfowler and snare a dead hand against a guitar.
The second half of the album continues the traditions set during the first half. The performances are uninspired, lack harmony and generally act as a mild sedative.
Side two appersons with "Let It Rain," one of songs taken from Clapton's solo album. A second song, "Gone Home,"
"Tell the Truth," "Bottle of Red Wine," "Blues Power" and "Have You E loved A Woman" fall short of the original versions on either "Layla" or "Eric Capton."
"Roll It Over," the other original song on the album, blues-rock number "Rock Me Baile" and blues-rock number "Mama."
Capton sing all the cuts on the album. This is one of the basic weaknesses. His voice has a good gutsy sound but it's too weak for the material. It falls beneath the level of the loud, offensive music. It also occasionally falls off key.
A few years ago a brilliant musician was followed by fans carrying signs that announced "Clapton Is God." It was about the same time that other placards bore the saying "God Is Dead." Only recently could a syllogism be drawn.
Hashinger Premiere Is a Show Stopper
By BILL GIBSON
Kansan Reviewer
A lively and imaginative production of "Stop the World—I Want to Get Off" opens tonight at a real potential treat for theater-goers, the Hashin Circus Theatre.
This musical comedy is as mad as its title.
Playwrites Anthony Newley and Leslie Bricusse set their cynicism to music as they cast a skeptical eye over education, religion, marriage, politics, sex and every other human endeavor.
The Hashinger Hall lounge has been converted into a comfortable little theater accommodating about 100. The large blue mattresses and lounging chairs which are designed to "stage" encourage a casual and intimate relationship between cast and audience.
Richly convincing performances characterize the production. The enjoyment and enthusiasm of the cast easily transfers to the audience. Singing, dancing, and are are tied smoothly together by director Bruce Westcott, Westwood, N.J., freshman.
Kent Swafford, Wichita junior, credibly plays the comic protagonist Mr. Littlechap. The film's main character is a
Though continually confined by a miserable, and conventional set of circumstances, Littlechap occasionally stops the world and declares his amused and desperate vow for freedom. Along with Mr. Sullivan, he loves at various times with a prudish English girl, girl a Amazon amateur, a post-Nazi fraunel, and an all-American chorus girl.
Though most of the play is music, pantomime, and dance there is some clever dialogue. Littlechap tells his potential father-in-law of his shot-gun wedding, "You're not losing a daughter, youre not losing a son," he says, wife's third pregnancy, Littlechap declares, "Trust you to do the hatch trick. I get more production here than at the factory."
All of these aggressive lovers are hilariously portrayed by Mary Jane Robbins, Carbondale, freshman, though the characters and accents sometimes get tangled up. The chorus, a group of pixie clowns perform various pantomimes lamponing Littlechap's plight and give strong and expressive support the lead players.
Littlechap confronts the world first as a manager of the Sludephe Plant (king of heavy industry since George IV) then as an Opportunist party candidate and a member
of the Snobs club. His battle with a
man accused an amused man's search for freedom.
The orchestra at the Circus Theatre consists of a piano and a set of drums. No scenery is used and the costumes are tights, overalls and painted clown faces.
This simple yet convincing production is the result of a charming use of limited resources, the spirited good humor of its actors, and the polished incorporation of music dance and storytelling to so all adventurers in a mad world and those interested in experimental theater.
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