6
Wednesday, November 11, 1970
University Daily Kansan
Both KU Stages Involved
Scene Building a Jack-of-All-Trades Job
By MELISSA BERG
Korean Reviewer
Wearing his workday garb of white T-shirt and a tape measure stuck in his western belt, Clarence Seaver knelt discussing construction problems of the building on the dumbbell at the dimly ill University Theatre.
The specific problem concerned a platform that had given way during a war dance scene in a rehearsal the night before.
"That's just one of those things that comes up." Seaver said, as he scurried, with blueprint in hand, through a door marked Sawist Engineering. A smaller Student Office presided by Principle P. Seaver, Former an
Inside the Murphy Hall scene there is shipwreck on the floor of a building. The carefully over scraps of lumber, remnants of old sets and skeletons of new ones. Tools of carpentry line the walls.
Cabinets are are labeled according to content, perhaps for the benefit of students who are initially unaware of the distance between water and a ratchet screw driver, familiar nuts and bolts share
cubicles next to bins of the more technical sounding corner plates and brace cleats.
It is in this atmosphere that Clarence Seaver daily deals with the logistics of set construction and stage production perperimental Theatre productions.
Seaver began reinforcing platforms, then whipped across the floor to answer the phone with a cheery "Good morning." "This
Seaver described his schedule for Saturday morning. "We move around." Deadlines have to be met. The sets have to be ready. The setlist has to be done. "west spots are discovered and we put them in."
He returned to explain the set construction process, and was periodically worked on to answer a question he had asked about the sets. Work on the set starts when the set design comes in, and who is often a student he said.
Seaver said there hadn't been a regular designer for a while, but that there was so much student who were waiting to hire a new one.
Seaver and the designer go over the blueprint and decide
Clarence Seaver Works on 'Indians' Set
... a 'sawdust engineer
"Which is a combination of my wife's and daughter's names."
Mankind's perpetual vulnerability to war, and its consequences is the theme of "The Unknown Soldier and His Wife," an Experimental Theatre production, which will open Thursday, Nov. 19.
Folly of War Through Ages Is Subject of Ustinov's Play
Peter Ustinov takes an allogical approach in his play to expose the folly of war through the ages. The faults of man and institutions in general are also satirized.
a combination of my wife's and his own hair. He then picked up a broom and started bursing bits of hair over the stage, a bit of a stage struck the night before.
Famous Dance Troupe To Give Concert Here
Although action begins and ends in the present, there are flashbacks to other eras, beginning with Roman types. A common set of character previews illustrates the differences between mongers, the Unknown Soldier who dies
meaninglessly and his wife, who bears the burden of his death.
Ani Masseh, assistant professor of speech and drama, and director, will take a fantastical approach to the play. In an attempt to make the scene more realistic, there will be no set or props used.
Curtain time is 8:20 p.m. nightly from Nov. 12-14 and 17-22.
Music of the periods traced will be used for special effects and some of Ustovn's words will also be included.
"The cast and crew are usually in pretty much of a hurry because the sooner they get off stage, the
YUK DOWN
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process, Seaver said he usually has to come back the next day to organize the place.
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Dancers Perform in 'Phaedra'
One of the world's great dancer companies will perform at 3:30 Sunday, Nov. 15 in Hoch Auditorium.
contemporary and traditional
The company is not large by comparison, but its companion company is an all-star that has been chosen from those who have appeared in Graham Bridges's films.
whether or not it's practical, we want the materials to be used and decide on paint color. Seaver buys all the material and has from two to six paints at the store.
The Martha Graham Dance Company will present revivals of two popular Graham works, "haedra" and "Diversion of Angels." Also on the program is a dance work done to electronic music.
"Oases" is a new work by Bertram Ross, leading male dancer and co-director of the company. It was given its first performance in 1970 by the Martha Graham Center of Contemporary Dance.
It is a large company work, аbout an style in hest with some strict adherence to relationships. The choreography is based on three groups, iden- tities, and costumes. Ross was a painter before he became involved with the company.
"Haedrae" is a work based on a Greek myth about Phaeda who raised his son for Hippolytus. Theseus' son. It was very successful on a European sponsored tour. But, it became a controversial issue in Congress.
'Portnoy' Siezed
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MELBOURNE, Australia (UPI)—The Penguin Publishing Co. was fired $12 million for failing to pay $17 million in "Portnoy's Complaint." Magistrate Edward Ross said the book "offended and disgraced the community" and ordered the publishers to copy copies in Melbourne bookshops.
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not seen it) declared it to be "improper."
The third work on the program, "Diversion of Angels," is based on works by the wilderness of the angels ascending and deceiving a creature. This work was recognized by many critics as one of the most beautiful works in the genre.
The score for "Diversion of Angels' is by Norman Delio Joip, one of several that he has composed for the company.
THE STABLES
Throughout her life Miss Graham has been a very busy person. As early as the 1920s she worked with Company in New York and later she starred in the Greenwich Village Folies. Most of the major and minor choreographers in the company or studied at her school.
depending on the theatre schedule
Her students have included Gregory Peck, Ell Wallace, Anne Jackson, Tony Randall, Edmund Sackett, Woodward and Tammy Grimes.
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"We work with a basic plan first," he said, "keeping in close touch with the designer comes in with the second and third blueprints,
Seaver and the designer also work closely with George Lown, professor of speech and drama and Theatre technical director.
Standard platforms, 2, 3 and 4 feet wide are the base of every set, he said. The rest of the set takes shape from standard flats, made from i x 3 inch boards, made from i x 3 inch boards and coated with animal glue.
Props are made last, he said. Props can be technical rehearsal, but then the special bench, can or bow and arrow that can 'be bought must
"Some things scare you until you start working with them and see how they come out." Seaver said.
KANSAN reviews
"Sinking an elevator to the orchestra level in "Marat Sade" and first using styrofoam in "Macbeth," were empty tricks."
Although the entire case and crew participates in the striking
Seaver's work does not end, with the help of a team of the proxies of the stage must be struck and parts of the set are either stored or thrown
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sooner they can party," he said. Although he has been seen scene-to-scene, Seaver considers himself somewhat of "a jack-of-all. somewhat of "a jack-of-all."
He has owned his own construction company at McLouth, an engineering firm and a electrician, a stone mason and a farmer. He said he was planning to move from the county where he was getting too busy with a development he is building at Imberman Seaver stores to have a store, gas station and bait shop.
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