8
Friday, February 9, 1979
University Daily Kansan
Staff illustration by STEVE GEIST
UNIVERSITY DAILY KANSAN
Arts & Leisure
Pentimento revives memories
Staff Reporter
BV DOUG HITCHCOCK
Coffee houses, once associated with the beatkins of the '50s, then with the flower children of the 60s, have become almost as rare as their former natrons.
Until last summer, the small, dark establishments that had once served as gathering places for students, radicals, and a group of intellectuals, had almost been forgotten in lawrence.
The Penthouse Coffee House and Cafe, 611 Vermont, which opened last summer, is the first of its kind since those earlier years. Inside, the music and the art-covered walls suggest the coffee houses from past eras.
Even the name is associated with the past, according to Nancy Moulding and John Stanton.
Taken from the Lillian Hellman novel of the same title, Moulding said, "Pentimento refers to an old painting. When the paint is dried, it becomes what's underneath, what came before.
"UNDERMINE, YOU can see the art-
original sketches or the paint of an old
painting."
"We wanted to start a new place in Lawrence that would show what has happened."
However, the Pentimento is a new style coffee house. Moulding and Trickley they wanted to avoid the smoke-filled rooms that coffee houses were often known for in the past. Therefore, no smoking is allowed in the Pentimento.
"And there never will be a smoking section here." Denise Dupont, waitress at the restaurant.
Trickie said, "Though most smokers adjust, there are some who don't come in beware."
Throughout the week, volunteer musicians mount the coffee those stage to perform.
"WE GET ACTS that are nearly professional and people who just get up there to perform their job."
However, a sign posted at the edge of the stage says, "We reserve the right to stop inappropriate acts." It seems to keep performers within reasonable limits, he
"We never have stopped an act that was in progress, but we've had to warn performers about it."
Musicians wanting to appear on stage have only to sign up and show, Moulding up the floor.
To some people, the Pentimento is just a place to drink coffee and listen to music. For those interested in a meal, all the desserts and dinners are prepared from scratch.
Scott Branham, a cook at the Pentiment, had he eaten elsewhere, but liked the rice.
"Here I am eating it," he said, while having lunch.
ALTHOUGH MOST of the ingredients used are organic and all the food is prepared fresh in the cafe, Moulding and Trickey don't call the food "organic." The Pen-
timento is not solely a vegetarian
restaurant but hamburgers and omelets that
are often served with beef.
But there are some strict rules for food preparation.
"We don't use white sugar in anything," Moulding said, "and we try to use organic ingredients. If we run out of something, we need to find a substitute, so nothing non-organic until we can order more."
The Pentimento sells a lot of coffee, she added.
"We have a lot of coffee die-hards. Some of them practically drink a whole pot by hand."
Dupont said, "A lot of people come in here with their books, to drink coffee and study. I think it's neat that they feel comfortable enough to stay."
She said she thought the live entertainment, the good food and the coffee encouraged patrons to sit for long spells in the cafe.
"We'll never run somebody off if they've been a couple of hours drinking coffee"
But she added, "We don't want to become a handout for any one group.
As Moulding put it, "It's a great substitute for dorm food on a Sunday night."
A movie maker's disappointment may be a student's boo if he will see to see recent movies such as "The Last Waltz" or "Close Encounters of the Third Kind."
Film companies often sell movies that aren't big moneymakers on the theatrical circuit to the highest bidder among numerous non-theatrical film rental recording to Steve Howard, chairman of the Student Union Activities film committee.
Staff Reporter
SUA films offer variety
Howard said the film rental companies then rented a 16 mm version of the movie to be shown in cinemas.
Non-theoretical use means the audience is restricted to students, staff and their families.
By JULIAGOPLERUD
Some companies charge a base rate for the first showing of a film and a fee for each additional showing. Others, Howard said, require a day and one-half as much the second day.
"M movies like 'Jaws' are still not available because they can keep showing it in the theaters. It made so much money they don't want to let it be shown in college," Howard said.
HE SAID some movies that appeal to specific audiences might make more money on the college circuit than in the commercial theaters.
Movies for theatrical use are 35 mm versions shown at commercial movie theaters.
"The costs for a weekend film can be from $20 to $100, depending how hot or how new the film is. Some of the older films, though, are really inexpensive, like $23 flat rate."
He said "Close Encounters of the Third Kind" was made available to rental companies because Steven Spielberg, the director, wanted to take it out of the theatrical showing so that he could add more scenes and re-release a new version of it.
Renting the films can be costly, Howard said.
"Some colleges have recent films that are free, but since we're funded differently than they are, we have to make money to keep our program running. That's why we charge
"Most people on campus expect a low price for the films. People were upset when the price was raised a while ago. As long as I can show the films I want and come out fairly well at the end of the semester, I'm satisfied."
The weekend movies, or popular series, cost $1.50 because they support the other film series, according to Dana D'Zurella, chairman of the series.
"Funds for the film series come out of the SUA budget. We have to meet a budget, and the rental comes to quite a bit when you get the number of films we order," he said.
SUA is funded by the Kansas Union Memorial Corporation.
HOWARD SAID some companies charge a minimum fee or a percentage fee.
"Since we're a student organization that's basically for the good of the students, we try to be an inclusive environment."
"I STILL think the film prices are very reasonable, though," he said.
Howard said the SUA board voted to increase the weekend movie prices from $1.25 to $1.50 this year. He said he disagreed with the price increase, and were increased last year from $1 to $1.25.
Howard said most of the films were ordered from several large and small companies that rent short subject films or more inexpensive films.
"The popular series supports all the other series. I hope it will make a profit for the other series," he said. "A lot of movies in this series are made." That's why the popular series costs $1.50."
Howard said SUA charged $1 on weekdays and $1.50 on weekends for admission to the films. These prices cover expenses for filming, food, equipment and campers and the projectionist and mailing costs.
weekend, cost between $800 and $1,000 to rent.
"THERE are many companies we don't deal with because they have mainly family, friends or children."
"For example, they'll charge $500 or 60 percent of the profit, whichever is more. It all depends on the companies. Each one is different."
Steve Bonham, co-chairman of the genre series, said it was necessary to charge more for a book.
D'Zurella said "Close Encounters of the Third Kind," which is showing this
Howard said the film committee ordered about 100 feature films and a number of short subject films last semester; this member the committee ordered 80 to 90 films.
Madness reigns all in Kohout's drama
He said he did not have any specific figures for the cost of the films each
"Sometimes they send a visual catalog,
which is a number of previews together.
To promote their films, the companies send catalogs, which include a synopsis of the film, a cast list and still photos of different scenes. Howard said. -
"We usually know something about the films already because they have been in them before we take a chairperson to have a knowledge of the series they work in, so we make compromises on what films they want and then they are available and how much they cost."
He said the committee and the SAU office also received suggestions from faculty members.
Kobout has created a lovely mix of a play within a play within a play. The unfolding of the three separate plays and Kobout's skill at keeping them a cohesive whole with a single thrust is what gives "Poor Murderer" its power.
His plan is to save Nikolyaev in love with Alexey Savelyev, Kerkzhenss' only friend, the man who convinced him to become an actor. When she does fall in love with Savelyev, Kerkzhenss sets about to help and take away what Nikolyaev loves.
"Faculty members give advice and send over ideas. Teachers of certain history classes and foreign language classes that we don't mention us and list a so that we don't dumb them."
as he presents a confessional play of his life to Professor Drzhermitsbaka, Kzerzhensite's psychiatrist at the Institute for Nervous Disorders, where Kzerzhensite has been committed. The play is Kzerzhensite's ability to convince the professor that he is not mad.
Nine persons are on the film committee. Howard said they were not paid, but
With such a good script going for them, it is unfortunate that none of the actors leave a lasting impression. There were no bad performances in Blair's production of "Poor Murderer" but neither there are any great splashes of overwhelming talent.
But, like Hamlet, whom Kershensteyn plays, opposite Swaage's Polonius, "words words words" are much easier for him than action. In a parallel to the way Hamlet hesitates to kill his stepfather, Kershensteyn cannot carry on his attempt on Swaage's life.
Howard said persons interested in being on the committee had to fill out an application and be interviewed by the adviser of the law firm whose videos chairman委員仲 himself.
Kohout's subtle wit and proiling dialog are not lost in Rhonda Blair's direction. She has rendered his play with loving faithfulness to his original work.
Many of the weekend movies aren't
event, he said, because the new films aren't
well.
"We haven't been impressed with the choices in popular films lately, so we have gone back to films of the '60s and early '70s."
When Lynn Black, who played Kerzhentsev, let the carry script him, he turned in shining moments of acting as the play progressed, so what seemed like forced acting at the beginning may have been opening night litters.
Randy Adams at first seemed to overplay his role as Saveloy, but he never changed his style and soon Saveloy, who was an avid photographer, natural the way Adams plumed him.
KANSAN Review
Although the acting did not enhance the Kohout's script, it did nothing to harm such an act.
Equipped with only a camera and some food, H.G. Hensley,
St. Louis senior, climbed to the top of a mountain overlooking Colorado.
Photos join paint for art success
"Poor Murderer" revolves around Anton Kerkzentheh, a famous author whose most character is Hamlet. Kerkzentheh is a pitiful study of a man who, until he meets Tatyana Nikolayevna, has never loved anyone. He is a man, in fact, who shrinks from the very idea of love, saying it was an accident and not a position to reason. Reason is the quality Kerkzentheh holds above all others, even though he has been declared mad.
The pictures he took that day became the basis for his oil painting, "Continental Planetiscape," which won a $100 Award of Merit at the Mid-Four Annual Juried Art Exhibition Jan. 20. The painting is on display until Feb. 11 at the Nelson University in Kansas City, Ky.
Afri Nikolayevan scorns Kershenselt love, he ruins his chances for ever attaining happiness by becoming obsessed with a bizarre plan for revenge.
"Poor Murderer" runs tonight through Sunday and Feb. 13-17.
Henley, an editorial art major, said Tuesday that he began the painting summer when he was running an art gallery out of a store in New York.
Kohout, a Czechoslovakian playwright, wrote "Poor Murder" in 1972. The play, which opened in the University of Kansas William Iguen Theatre last night, is a complex layering of question upon question, all illuminated down to: Who is mad and is anyone sure?
Kerzhentsev's whole story slowly unfolds
By KATHLEEN CONKEY
"On my days off, 'I'd go climbing in the mountains," he said.
"Instead of painting a scene you would see at the bottom of a mountain looking up, I'd climb to the top and paint looking down on the lake."
"Who is good, who is bad?" What is good in this miserable world? "I," an anguished actor crys out in Pavel Kohout's play, "Poor Man!" When you are angry, unangulated, he only acts or he must die.
Reviewer
HE SAID he worked three months on the painting in Colorado and then three more in Lawrence, trying to get the realism of the painting.
"The top section of the painting is looking due east from the mountain," he said. "The middle section is a night scene, with a full moon from the same direction. The bottom is looking due west from the mountain and the fourth part of the painting is from a photo,
Hensley, who will graduate in May, said he wanted to work as an illustrator for the space program or on a scientific publication—where his interest in science and his painting ability could be useful.
"If I said that painting for $5,000, I'd feel like I'd lose money on it," he said. "An artist is expected to create a piece and sell it for just pennies. With the hours they put into it, they may be getting 25 cents an hour."
"Someday I want to be the Charles M. Russell of the new frontier in space," he said. "To me science is just as important as art."
Hensley's painting was priced at $5,000, the second highest price in the exhibition.
HENSLEY'S WINNING painting was one of two he submitted along with about 1,000 others submitted by 800 artists from the area. Only 55 works were approved for the exhibition, including several from the University of Kansas.
"I'm a painter first, but I use photographs as a tool," he said. "By using varnish and an airbrush, I can build the finish up and make it look more real than a photograph it. It's actually putting special depth back into painting."
Hensley said he combines painting and photography in his works to come up with what he calls "conceptual realism."
superimposed over the other scenes, of the earth and moon taken by the Voyager that went to Venus."
Jazz hall celebrates DeVol's banjo sound
By BRUCE THOMAS Staff Reporter
Up the alley stairs, with a quick walk across the roof. A door.
At the door, a person takes your money and you pass into a room filled with smoke and the sounds of a player piano.
Inside, the feeling is as if you had stepped back in time 60 years. This is Paul Gray's Jazz Place, 928 Massachusetts.
Paul Gray's is reminiscent of the speakeasies of the 1920s, bars that sold bootleg whisky during probation and played the music of those days—jazz.
Prohibition is dead, but diexielan, the music which contributed to the development of jazz, is still alive at Paul Gray's Jazz Place.
DeVo will be back for another performance at Paul Gray's tomorrow night. This time he is bringing his own four piece band to play bluegrass, ragtime, and dixieland from his traveling show.
Saturday the jazz hall hsung to the sounds of Skip DeVoil and the Gaslight Gang, a local Lawrence band led by Paul Gray, owner of the hall.
And the crowd did enjoy it
"Louis Armstrong used to say, when asked to explain jazz. If you have to ask, don't." Gray said Saturday night. "This music is not the kind of thing you want to dissect and run through a computer. Just do it and enjoy it."
Saturday's show gave a Lawrence audience a taste of DeVol's show.
The first two songs of the night, "Bye
Bye Blackbird" and "You Can't Have
None of Mine," a song by jazzzman Jelly
Rolt, Morton, a theme of 1920s and
1930s music that lasted throughout
the night.
Through most of the first set, DeVol sat cross-legged on his stool strumming his
banjy with the band, only occasionally stepping in for a solo. But near the end of the set, the band played its 1920s rattlesnake "1218 Street Nag" featuring DeVol.
The last song of the set, "Mack the Knife," was followed by a solo set by DeVol. As he played a medley of traditional and popular songs, the musicians in their blue dinner jackets and the audience swayed with the beat.
Mike Beissner on trumpet played a blues song, "St. John's Infirmary Blues," which was followed by the last two songs of the night, "Don't Talk About Me When I Gone" and "Sweet Georgia Brown."
The second set started with the 1937 song "Georgia on My Mind," soon followed by a dust song by Gray and DeWolfe. The third set ended with "Home," and "Bourbon Street Parade."
The enthusiastic performances by DeVol and the Gaslight Gang were enhanced by two songs sung by trombonist Earle Braggs. His singing of "Goin' To Kansas City" and "Georgia on My Mind" added to the much to
DeVol is a busy musician who spends about 45 weeks a year on the road, and he considers Lawrence a hawen. He last said weekend, "Coming back to Lawrence is like coming back home. It’s fun—just a tickle."
Those who went to Paul Gray's last weekend were treated to a private party that doubled as a homecoming party for DeVol—one of Gray's close friends.
DeVol studied music at the University of Kansas and played for the Gaslight Gang before turning professional in 1970.
"One of the biggest compliments I can get," Deil said, "as when someone comes up to me and says they didn't use it in jiu-jitsu, but they like it after hearing me.
Pickin'
Photo by BARB KINNEY
Skip DevIl picks away at his bain during a concert Saturday at Paul Gray's *Jazz Place*. DeVol will be in concert again this Saturday at 9 p.m. at the Jazza Place.