Page 6 Entertainment University Daily Kansan, March 8, 1983 KU theater prof to display stage designs at art center By LAUREN PETERSON Staff Reporter There's an old saying in the theater business: a good set is never noticed. And that is one of the reasons that Gregory Hill, KU assistant professor of theater and theater design, decided to exhibit about 45 of his works, including paintings, drawings, and set designs, settings, at the Lawrence Arts Center, 4th and Vermont street. The exhibit begins today and continues through March 23. "FIRST, IT IS an exhibit of artwork," Hill said. "It is the work of the theater designer that the public rarely sees." Secondly, he said, "We all see and know the amount of work the actor does, and by inference, the work of the director. But the set, costumes and light are just there. They are finished products that remain constant." The five set models displayed in the exhibit show a variety of his work in the theater, including a model designed for the opening scene of the 1980 summer performance of "Fiddler on the Roof" at the Waldo Astoria Dinner Playhouse in Kansas City, Mo. Hill said he made the models with illustration board and balsa and then painted them. IN ADDITION TO the models exhibited, Hill's exhibit includes paintings called painter's elevations. s paintings effect painter is the painter's elevation, he said, is a watercolor and ink painting of a particular scene, broken down into sections to show its step-by-step evolution. Hill, who directed KU's production of "A Little Night Music" last fall and is designing the sets and lights for "The Magic Flute" this spring, said costume design is another important part of a theater designer's job. "South Pacific" and "Cambodia" ANOTHER SKETCH exhibited the armored character of Death in the play "Alcestis," by Euripides, which he drew while working as a theater designer in Yugoslavia. Hill worked on 25 productions and one film in Yugoslavia before coming to teach at KU in 1978. coming to teach it He said that a designer must be a multi-talented individual who is well with the language and needs of the director and actors, and be a sculptor, painter, architect, art historian and electrician. About a dozen of his costume sketches are exhibited. His work from KU productions includes sketches from "Grease," "South Pacific" and "Candide." and electrician. "A scenic designer must read a script, interpret it and work with a director on that interpretation, sketch well enough to have a director understand the drawings, research architecture and art history to find the appropriate period for presentation and paint the final rendering." problem for both the patient the instructor on a set not done well, he said. said. IN ADDITION to his designing, Hill said that he was working on rewriting "Dracula, a symphony of Horror" for a midwestern producer. It was the first play he directed at KU. He also is waiting to hear from Simon and Schuster Publishing Co. about a surrealistic illustrated alphabet book that he submitted a few months ago. He said that on each page of the book he had created a scene in which a letter was a part of nature or a building. In Which a designer design exhibit, be said, was not intended to show all of his work, but to display enough to demonstrate the amount and kinds of work that must be done by the designer for each production. each production. "I hope that through the pieces I have selected, the viewer can gain some appreciation of the work of the designer," he said. "And I hope that the pieces work as art as well." Gregory Hill, KU assistant professor of theater and theater designer, sits in his Victorian-furnished basement in front of some of his work. Hill is exhibiting 45 pieces of his works, including drawings, paintings and models of stage settings from various theater productions. The exhibit opens today and ends March 23 at the Lawrence Arts Center, 9th and Vermont streets. David Waterman/KANSAN Old time jazzmen delight KU crowd with Dixieland sounds By ELLEN WALTERSCHEID Staff Reporter Closer Walk with Thee," the musicians proved to be masters of the New Orleans jazz style. A sure-fire formula of an eager audience and seven skillful veterans of jazz erupted into an evening of uninhibited enjoyment Friday night in Hoch Auditorium. The seven members of the Preservation Hall Jazz Band, who range in age from 47 to 78, commanded both the affection and respect of the crowd as they filled Hoch with the infectious improvisations and often tender melodies of New Orleans jazz. r-ayning spirited versions of tunes such as "Basin Street," "In the Stand," "St. Louis Bucks," "Amen," and "Just A of the new Orleans jazz style. THE BAND MEMBERS, on trombone, trumpet, clarinet, banjo, piano, bass horn and drums, were clad simply in dark pants and white shirts. They rose stiffly and sat back down creakily on plain wooden chairs as they took their solos, but they played as easily and instinctively as most people breathe, using neither written music nor program listings. The house lights were kept up for the members of the nearly sold-out crowd, who grinned and leaned forward in childlike expectation, clapping on the-on-beat, the off-beat and every beat in between at the exhortation of the lively musicians. When trumpeter Percy G. Humphrey, 78, rose slowly and, sang, gravel-voiced, into the microphone, "You scream, I scream, we all scream for ice cream," slightly gyrating his ample hips in an improvised dance, the audience howled with ANOTHER CROWD-PLEASER was clarinetist Manuel Crusto, 65, who paaced the stage, danced and delivered his soles in high, swinging notes. Cruisto replaced Willie J. Humphrey Jr., 82, who is Percy's brother, on the program. Humphrey Humphrey stayed in New Orleans because of illness, said Allan Jaffe, founder of Preservation Hall and bass horn player for the head. Preserve Vision that has been played. The New Orleans jazz style, more relaxed and poignant than the somewhat frantic pace of Dixieland, was especially apparent in the slower numbers. A particularly beautiful hymn, "Sparrow," featured pianist James Edward "Singer" Miller, 69, and banjo player Narvin Henry Kimball, 74, singing in a clear, soaring, gentle harmony. Slow but not mournful, the tune captured and lulled the audience. the audience. BUT THE HIGH POINT of the concert was the "Saints" finale, when the musicians descended into the audience, and, Pied-Piper-like, led an impromptu group of audience members through the aisles, clapping and shouting, 'Oh, Lord, I want to be in that number!' After the show, Crusto, 65, one of the most spirited members of the group, said he wasn't tired at all. "I could play another concert," said Crusto, who has played New Orleans jazz for 50 years. Trombonist Frank Demond, at 49 one of the junior members of the group, admitted with a laugh. "It's hard to keep up with the old men." 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