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Entertainment
University Daily Kansan, April 8, 1983
Technology outshines emotions in performance of 'Magic Flute'
By LAUREN PETERSON
Staff Representer
Staff Reporter
Too bad the incredible 12-foot robot masterpiece made of old military lunch trays, Christmas lights and plywood was only a brief part of "The Magic Flute". Friday night. But what's more important in an opera, the props or the opera?
the answer in KU's production was the props.
In this performance, it seemed that directing effort was spent completely on technicalities, leaving the characters vague and unemotional.
Gregory Hill did a splendid job in transporting the audience into a different galaxy, starting with a succession of rear-projected slide shots of planet surfaces and crimson skies.
THE SPACE projections, along with the velvety softness of Mozart's music, made an interesting and soothing introduction, but from that point on the opera became a strain for the eyes.
The lighting was atrocious, creating a yellow haze around each of the characters' pale faces
scene when the white lights can be
Viewing the show would have been much more enjoyable if only the bright lights could have spurred some energy within the cast.
unat made watching the performers without squinting impossible. It was a relief in the last scene when the white lights came on.
From the beginning until the end, the only character with any sense of stage presence was Jeff Nolte, Fulton, Mo. junior, who played Panageno, the birdcatcher.
P陪员, the on-the-ground Operas inherently are less dynamic than stage plays in their action, but audiences usually expect characters to move around somewhat, particularly when their faces are so blurred that their emotions are obscured.
NOLTE MANAGED a few laughs from the half-filled auditorium when three ladies punished him for making Tamino, the prince, think he killed the robot. His mouth was closed with a golden padlock, and he then pleaded with the audience to rescue him.
Note actually deserved more laughter than he received, especially during the brief scenes with Papagena, the ugly old woman who later turned into a beautiful young girl.
to a beautiful young girl.
But it's understandable that the audience makes
have been a bit too distracted to pay attention to the characters because of the constant movement of the neo-Egyptian projections in the background of the scenes.
background. Hill's swirling, rear-projected patterns tend to steal the show because when the eyes can't focus on anything else, they follow the sensory
But their duets seemed to lack the amount of emotion that the music yearned for.
The casts' voices were quite good, especially Ikku Sanematis, who played Pamina, and her love, Tama, played by Matthew Foerscher.
OTHER PROPS such as a space couch, which looked like a Henry Moore sculpture, and the gondola, which carried three characters dressed in costume shoes, were fascinating to watch.
The orchestra, under the direction of George Lawner, performed Mozart's different themes admirably, and seemed to win the audience with its superb violists and flutist.
his super D'Avignon and his brother Albert Pukeh's colloquial libretto worked well for the most part. His guest appearance was impressive, as was Lawner's short introduction.
"The Magic Flute" will be performed at 8 p.m. today and tomorrow in the University Theater at Murphy Hall.
In the last scene of the KU production of "The Magic Flute," Sarastro, played by Wayne Kompellien, blesses Prince Tamino and Pamina, played by Matt Foerschler and Ikuku Sametmaei. The blessing symbolizes the victory of light over darkness. The opera will be performed at 8 p.m., today and tomorrow at the University Theatre in Murphy Hall.
Weekend Review
Rating System
"Eddie Macon's Run," with Kirk Douglas and John Schneider.
Despite a decent acting performance by Kirk Douglas, "Eddie Mac's Run" is a low-rent, unconvivency portraitral of a desperate man's escape from prison.
John Schneider, who viewers may recognize as the co-star in the television series, "The Dukes of Hazzard," plays Eddie Macon, an escaped convict involved with being reunited with his son and son.
with his wife she wrote about the film depicts Douglas as a ruthless, modern-day bounty hunter hired to track down Macon through Texas toward the Mexican
border following Macon's escape from a Texas prison.
Douglas' acting, pretty scenery and several humorous lines are the savage grace of the film.
"High Road to China," with Tom Selleck and Bess Armstrong.
Whatever you can think of, "High Road" has it. The film is filled with adventure, excitement, disappointment, disaster, hope and even murder.
But, but unfortunately, you can't sit through this film without thinking that you've seen all this fun someplace else. It's a virtual carbon copy of Steven Spielberg's "Raiders of the Lost Ark."
"Magnum P.I." star Tom Selleck plays Patrick O'Malley, an unshaven, moody pilot not unlike the brash Indiana Jones in "Raiders."
"High Road" features Eve Tozer (Bess Armstrong), a millionaire flapper who is told that her wealthy father will be declared legally dead if he doesn't appear in a British court within 12 days, giving his company and assets to his evil business partner Mr. Bentick.
in business partner Mr. Bennett.
Her father, however, was last seen in Afghanistan. She hires Selleck and his portly mechanic to fly with her to find him.
If you haven't seen "Raiders," this film might be worth your time and money. If you have, we suggest you take the high road to another movie theater.
"Max Dugan Returns," with Jason Robards and Marsha Mason.
烩烩烩
From some desk drawer of unfinished screenplays, Neil Simon pieced together a warm and unpredictable comedy.
"The Return of Max Dugar" makes you smile for the two hours that you follow Max Dugan's dreams and stumble into his surprises.
The screenplay isn't Simon's best, but the play conveys a kind of pleasure that doesn't strain to make some significant comment about the human condition. Simon doesn't really let us get to know the characters and he sometimes cuts us off just as we start to see who these people really are.
are.
Jason Robards, who plays Max Dugan, holds in his palm as he irresistably works his way into good graces with the daughter he abandoned, played by Marsha Mason.
Director Herbert Ross, a longtime Simon cohort, doesn't let the actors act when they
really should and sends us too quickly sometimes from scene to scene.
But the play's sudden twists seem to distract attention from the fact that the movie unfolds too quickly.
All in all, Max Dugan is a winner. The movie lets you enjoy feeling good.
"The Black Stallion," with Kelly Reno and Terry Garr.
重瓣
Producer Francis Ford Coppola had plenty of material with which to work, but "The Return of the Black Stallion" does not approach the standard set by its predecessor, which combined beautiful photography with a simple but believable plot.
Coppola duplicates the magnificent photography in the sequel, and the horses are excellently trained, but the plot is sadly lacking. An inept villain and some outrageous coincides soon reduce the credibility of "The Return" to a child's level.
The mother of Alex endures having her barn burned, the Black Station stolen and her son run away in one night, yet her role ends at the beginning of the film.
"The Return" is a thoroughly enjoyable movie, but simply is not composed as well as its predecessor.
Hower and Hunt Books
Francis Ford Coppola remade "West Side Story" with a cast of teenage heart throbs in S.E. Hinton's "The Outsiders."
"The Outsiders," with Matt Dillon, C. Thomas Howell and Ralph Macchio.
With Matt Dillon (Dallas), C. Thomas Howell (Ponyboy Curtis) and Ralph Macchie (Johmmy), the movie is definitely for the younger set. The closest film to this shrieks from many of the girls in the audience.
Ponyboy tells the story of Tulsa in the '60s with the struggle of the "greasers" against the "socials" in which everyone learns that the two groups can get along and life is worth living. The traditional girl crosses gang lines to help the greasers in their struggle against the soocs.
The movie deals with teenagers' lives exclusively, as evidenced by the fact that there are almost no adults in the movie. They run away from home and the law and learn about growing up.
All in all, it is a good movie -- if you're a teenager.
'Dead-Eye Dick' shoots at follies of America
By MATTHEW SCHOFIELD Contributing Reviewer
In his latest book, "Dead-Eye Dick," Kurt Vonnegut has recreated his world of cheerful pessismism.
Traveling through the town of Midland City, Ohio, after it has been devastated by a neutron bomb, Haitian Hippolyte Paul exclaims, "How rich they are! How rich they are!"
From the midst of utter destruction comes the simple appreciation of life that man so often neglects. "Dead-Eye Dick" is the story of an uncaring victim, a neater named Rudy Waltz.
As always, Vonneugel has taken on the human condition and, while trying to make sense of it, discovered nonsense. This time, though, he has stayed away from his famous fanduel dwarves from Mansfield to Buffalo and his friend with great skill of industrial revolutionaries ('Player Plane'), to demonstrate his point.
INSTEAD, HE has used a simple statement:
the United States exploded a neutron bomb in a small Ohio town — and nobody cares.
Not even the driving force of Paul Proteus' fatalistic optimism offers a redeeming sign for humanity. Life is presented in a brutal, face-value attitude.
Rudy, while initiating himself into manhood by firing a bullet out of his attic window over the roofs of Midland City, becomes a double murderer when the bullet hits a pregnant woman between the eyes. He is condemned to live an unhappy, uncaring life as a neuter in a city of people who will never forgive him for the accident.
accent.
At one point, Rudy escapes Midland City when he travels to New York to see a production of his play, "Katmandu." The play is about a former Midland City farmer who went to Katmandu in search of Shangri-La. The play closes after only one night, and Rudy discovers that the only thing that makes him special in life at all is the fact that he is a double murderer.
AS HIS FATHER, Otto Waltz, an aristocrat before the murder and a good friend of Adolf Hitler in his youth, says, "This (Midland City) is as much Shangri-La as anywhere."
Novegnut's existentialist world, where man lives only until he dies — or even only so that he may die — has been this powerful before, but never has it been presented in such a disjointed format. His use, or lack thereof, of a timeline disperses any possible surprise. He sets the mood early, and his air of haute melancholy never lets up.
His characters are used only as a means to an end, and the end is that they are useless. Aside from Rudy's infamy as a murderer, the only consistent aspect of his life is that he can cook. Important stages of his life are marked by Linzer torte and suerobraten, instead of things of real importance. Yet, in this sordid world, Linzer torte has as much significance as the death of Rudy's mother. Both serve in some way to liberate Rudy Waltz.
Thus utopia is reduced to living hell
TOTAL LIBERATION never comes, however.
He is trapped by his conscience.
he's happily. The excited plea of Hippolyte Paul is too easy. How rich they are indeed. How they have benefited from their wealth. What great strides for humanity they have made with their wealth. Vonnegut let the condemnation of American society as a whole, Midland City specifically, fall from the lips of an unlikely Buddha. At once the people of Midland City are rich, greedy, ignorant, cold and typical Americans.
Dead-Eye Dick is worth reading if only because it is possibly the view of Vonnegut's cryptic world. But the novel goes beyond that to make a relevant statement about modern American life. It allows the reader to step back from the muddle of everyday life and discover that, at a distance, life is still confusing.
Spare Time
Friday
A senior recital by Kathleen Neher, viola,
will be at 8 p.m. in Sawarthout Recital Hall.
An opera, "The Magic Flute," will be performed at 5 p.m. in University Theatre
String Master Classes with the Guarrieri String Quartet will be at 2 p.m. in Swarthout.
Rita Sloan, piano, will perform a concert at
8 p.m. in Southeast
Rita Sloan, piano, w
8 p.m. in Swarthout.
An opera, "The Magic Flute," will be performed at 8 p.m. in University Theatres.
Sunday
A concert by the Guarneri String Quartet will be at 3:30 p.m. in University Theatre.
A spring concert by the KU Concert
Band will be at 8:30 p.m. in University Theatre
A senior recital by Cynthia Dary, flute, will be at 8 p.m. in Swarthowt.
Monday
Master Classes with Hans Hotter, bassbaritone, will be at 2:30 p.m. and 8 p.m. in Swarthout.
A theatre benefit, "Buried Child," KU's selection for the American College Theatre Festival XV, will be at 8 p.m. in University Theatre.
Master classes with Hans Hotter, bass-baritone, will be at 2:30 p.m. in Swartwout
Tuesday
A senior recital by Randal Bush, piano,
will be at 8 p.m. in Swarthout.
A faculty recital by James Higdon, organ, will be at 8 p.m. at the First United Methodist Church, 10th and Vermont streets.
Church, John J. and Bob L. Pot-Pourri Productions will present "Private Wars" at 8 p.m. in the William Inge Theatre.
Beatriz Pilapil, piano, will perform a concert at 8 p.m. in Swarthowton.
"Private Wars" will be at 8 p.m. in the Inge Theatre.
Thursday
A student recital by the KU Jazz Ensembles II and III will be at 8 p.m. in Swarthownt
Trombone player slides his way into Disney college jazz band
By LADONNA LONGSTREET
staff Reporter
He breathed deeply, raised his trombone and filled his room with music. His eyes were shut as
he smoothly pumped the slide of the instrument he has played since fifth grade.
Though the old horn still worked, Darryl McCormick, Salina junior, said Tuesday that he had just bought a new trombone that morning
Darryl McCormick, Salina Junior, improvises on his trombone in his room at Joseph R. Pearson Hall. McCormick was recently chosen to play in the Walt Disney All-American College Jazz Bands this coming summer in Florida.
that he would use this summer in Florida as a member of the Walt Disney All-American College Jazz Bands.
"I want to develop my jazz playing," he said.
"The guys in the band will be very good, and they (the directors) will make it as educational and as fun as possible for the students.
"You get paid for learning. But more than anything, you get paid for having fun."
IN THE PAST, Disney's entertainment division has sponsored two bands at its sites in California and Florida at which college musicians could perform. A band has been formed this summer to play at the new Environmental Prototype Community of Tomorrow, or EPCOT, a futuristic world.
McCormick said he found out Sunday that he had won one of the highly sought positions. He will be in Florida from the beginning of June to Aug. 13.
Sue Store, secretary to the director of Disney's work-experience program, said that about 600 students auditioned for the 60 positions. Students must be freshmen to juniors, 18 years old or older, have outstanding ability and a "Disney image," she said.
image. She said, "We look for the all-American college student," she said. "He represents his college and the United States."
THE PROGRAM gives students good experience and workshops with professionals that can tell the band members about professional opportunities and how to attain them.
"Hopefully, we can give them some good tips to improve their ability." she said.
He said, "I think the artists that Disney gets are high caliber."
McCormick said that between sets the band members would get to have private and free lessons with incredibly talented professionals. Studying with them will be an honor.
ANOTHER KU student, Thomas Lipscomb, Baytown, Tex., graduate student, who was a band member in 1981, will be an assistant director of one of the bands in Florida this summer.
He said, "I'll be directing the band on a couple of shows during the day. I'll be responsible for the rehearsal of the band for those songs."
"That's really tough," he said. "You go home every night and learn two or three tunes."
During the first two weeks the band members will memorize about 30 jazz arrangements and a choreography, he said.
After learning the music they will perform six different shows lasting about 25 minutes each day in various spots in the parks, he said. After finishing a show the band is transported to a new
site through the back lots and then runs through a gate yelling and screaming
"PEOPLE DEFINITELY notice us when we come out because we're making a lot of noise," he said. "It really makes an impression on the crowd because we're so crazy."
The band then forms a semi-circle and presents its routine, he said.
"It's a highlight of all the entertainment of the parks because they're so energetic and super-talented." Lipscomb said.
It is a privilege to be in a Disney band, he said
"They treat us like we're VIPs. They take pictures of us constantly throughout the summer. They spend a fortune on this program."
MCCORMICK SAID he had known about the Disney bands for about three years because listening to former members had stirred his interest. He said he knew one musician who had cried at the end of the summer because he didn't want to leave.
Lipscomb said that during the past two years he has persistently told the band directors that he would like to be an assistant. He sent a 15-foot telegram to the director, among other things, which Stone said was still hanging on the office wall.