8
Friday, January 26, 1979
University Daily Kansan
Brewer & Shipley, Cox give lively show
Brewer & Shipley
Staff photo by TRISH LEWIS
Lawrence Opera House, 644 Massachuset st.
From that point on, the two, who now make their homes in the Ozark Mountains, served up a feast of new songs, old favorites and requests shouted from the hungry
Spare Time
Night Life
- Cole Tuckey, Feb. 2-3.
- Lost Gonzo Band, Feb. 1.
UNIVERSITY DAILY KANSAN
851 Break, Jan. 26.
• Fast Break, Jan. 2R
- George Thorgood and the Destroyers;
Fast Break, Jan. 28.
"Indian Summer" and "Watchtower"
were two such requests. According to
Michael Brewer, the song "Watchtower" is
one of the songs a regular request at
most of their concert.
Paul Gray's Jazz Place, 926 Massachusetts St.
- Claude Williams and the Gaslite Gang
i.e. 26/27
Opening their country rock show with what they consider to be their only folk song, "Do a Small Favor for Me," Brewer & Shipley kept the show rolling with their hits, "Crested Butte," "Tarkirk Road" and "One Toke Overse The Line."
By MARK L. OLSON
"60 STATES of Freedom" ended the evening of country rock for the team of Bowie.
BUT THE DUO that once called Kansas City, Mo., its home pulled favorites from its eight albaurea and left no doubt with those who cared about professionalism that helped make it famous.
Off the Wall Hall, 737 New Hampshire St.
Skunk Valley Boys, Jan. 26-27
- Alice Cooper, Feb. 19, 8 p.m., Kemper Arena.
- Tel Aviv String Quartet, featuring Yona Ettinger, clarinetist, Jan. 27, 8 p.m., White Concert Hall, Washburn University.
Kansas City
Concerts
Their performance last night was the result of that experience and achievement.
- Willie Nelson, Feb. 25, 8 p.m., Municipal
- Boston, March 12, 8 p.m., Municipal Auditorium.
they neared the end of their show, they broke into a series of up-beat songs that brought the audience back to life. "Wichi Tai To" was the last song of their regular album in a standing ovation from the crowd that brought the two back for one more song.
Theatre
Both Brewer and Tom Shipley appeared relaxed and almost nonchalant on the stage, which was nearly bare except for two speakers and the performers' microphones.
- Lynette and the Journey Clok by Bri
A2301, KU Theatre for Young People, Feb. 3,
2017.
From their beginnings as solo performers in the early 1960s, to appearances on the "Tonight Show" and in Carnegie Hall in the early 1970s, their performers have become a f-honed act.
Cox opened the night with his brand of bawdy rhythm and blues, and had members of the audience tapping their toes from his first number.
A frequent performer in Lawrence and Kansas City, Cox nearly stole the show before Brewer & Shipley had a chance to take the stage.
The snowstorm that hit Lawrence late yesterday afternoon may have kept a few people away, but the more than 500 who made it to the concert were treated to tight, warm, professionally-run shows by both acts.
It has been a long time since they played together at the Vanguard coffeehouse in Kansas City, but Brewer & Shipley and Danny Cox put on a dynamite one-two punch performance in the Kansas Union Ballroom last night.
UNIVERSITY DAILY KANSAN
- Between the Lines, dir by Joan Mickin
Silver Jan 29, 7:30 and 9:30
- The Killers, dir by Robert Sidick with
  * La Strada, dir by Ferdiece Fellini with
  * La Strada.
- Cat on a Hot Tin Roof, by Tennessee Williams, Lawrence Community Theatre, Jan. 26-27, 3:00 p.m., Jan. 28, 2:30 p.m., Lawrence Arts Center, 9th and Vermont streets.
- Gone With The Wind, dir. by Victor Fleming, with Clark Gable and Vivian Leigh, Jan. 26-27. 3.30 and 7.45, plus Night of the Living Dead, midnight movie.
And at one point, during another song, "Brain Damage," they stopped singing, but continued playing their guitars. It appeared to be a moment of forgetfulness on the part of the two, but they recovered so smoothly it almost seemed as if they had planned it.
Films
- Far From Vietnam, dir. by Goddor,
Renaus, Varda, Marka, invens, Ivons, Louchand,
and others.*
KANSAN Review
During the course of the $1\frac{1}{2}$ hour show, the two performers, who have been a team since 1968, mixed tales of past road shows and color-off anecdotes to entertain the crowd.
SUA
THEY TOLD of a show in Indianapolis, where an elderly man fell out of his front row seat just as they strummed the first chords of "Watchtower."
'Magic' nothing but cheap tricks
Rv.IEFFGREEN
Reviewer
Despite tolerable performances from Anthony Hopkins and, astonishingly from Ann-Margaret, "Magic" does not live up to the pretensions of director Richard Attenborough. He is a master of his craft, but pretense. And it fails on an artistic level because Attenborough makes numerous unappeasable concessions to the commercial necessity of eliciting squails of fright.
Review
The significance of the title escapes me, for the main character, interpreted by Hopkins, is in fact a ventriloquist who has bombed as a magician but who ultimately achieves recognition as a straight man for a Charlie McBeth-like dummy. His success is due to his supposedly novel ability to communicate articularly amusing comments in the mouth of the dummy.
Thus, Corky Witthers (Hopkins) finds himself on the verge of fame and fortune in the form of a pilot special on NBC, but everything goes awry when he refuses to undergo the training. Meanwhile, his co-pilots, Corky fears that he will be found to be mentally
unbalanced, and with good reason. Corky's tortured psyche has become meshed with the dummy to which he owes his success, and this comes as no surprise, for this film is a highly anticipated and livestock reports. From this point on, every development in the film's plot is easily anticipated. Surprise, essential to successful horror films, is nonexistent here.
The plot's unbearable monotony should ideally be mitigated by the lofty statement of the relation between the author and his subjects, to his dummy, that is, his art of creative impulse. Yet the seemingly gratious introduction of hackneyed symbols, such as the all too numerous shots of Corky starring in *Melancholy*, a satirical rob these scenes of their integrity, leaving the impression
that they were added at the last minute as an appeal to intellectuals in the audience.
All that is left, then, is the gore, and there is enough to satisfy the most demanding connoisseurs. Attenborough is not content to alert us to the fact that Coryk has murdered his agent, played by an unimpressive Burgess Meredith, and so subjects us to a highly improbable and thoroughly repignant scene in which Corky bidegones his agent to death with the dummy. Nothing is left to the imagination, but he does it. In the burlesque. This would be perhaps excusable in an unabashed horror flick, but in this film, which pretends to some higher significance, it is inappropriate.
The screenplay not the product of William Goldman, Were author of the novel of which the film is an adaptation, its shortcomings could be explained as an incept screenwriter's failure to fully realize the potential of a struggle for identity lies not in Corky's mind, but in the film's script, who self-consciously vacilates between the commercial appeal of gore and the desire to convey a noble message.
Recitals
Student Recital Series
- Sue Moen, oboe, and Janine Gilman,
clarinet. 12:68, 8 p.m., Swarthout.
- Robert Neu, clarinet, Jan. 29, 8 p.m.
Swarthwout.
- Kim Kennedy, voice, Jan. 27, 8 p.m.
Swarthout.
SUA plans 2 trips; 2 others canceled
Although it is without a chairman, the SUA travel committee is planning two spring break trips. Two ski trips have been canceled.
Hal Eden, SAU adviser, said yesterday that Tim Stites, the former travel chairman, did not return to school this semester. But he said the staff would be given the decisions that Stites would have made.
Spring break ski trips to Vail and Winter Park. College, were canceled because of cost issues.
"It didn't work because there was a lack of initiative and availability of places to stay," he said. The organizer did not call early enough to make reservations at the ski
The Vull trip would have cost $250 a person, Eden said, and SUA decided that was too much.
Kevin Keling, organizer of the Summit,
Colo., skip trip over spring break, said he
would be happy to see him again.
The Winter Park trip also was not planned well, Eden said.
Because the other two ski trips fell through, arrangements for a trip to Summit, Canyon Lake and Snowbasin were made.
"I worked mostly by myself, or with Hal Eden," he said.
3 choirs to perform in KC
Keiling said he had planned for 98 people. After finding that the other trips would not work, 36 more places were added to the Summit trip. The trip now is sold out.
Three KU choirs will join the Kansas City Philharmonic Orchestra next week in two performances of Benjamin Britten's "War" and Richard Strauss' "Symphony No. 30." p.m. in the Music Hall in Kansas City, Mo.
"We budget across people to absorb the cost of advertising and transportation. Some trips have to make money to cover ad expenses that were those that were canceled." he said.
He said he began working on the trip last spring by contacting renters in Breckenridge.
About 120 members of the Chamber Choir, University Singers and Concert Chorale will sing the work, which also was performed by the combined chorems and the KU Faculty
The planner of the Padre Island spring break trip Janel Ringer. Quinter senior, assistant captain.
"The trip has been planned in the past, so we had a pretty good idea of what to do," she said.
Eden also said any extra money was used to support other activities sponsored by SUA, including the crafts and forum programs which usually lose money.
Eden said the SUA travel program was not subsidized and that 37 people were required.
"I think we'll have no problem filling the remaining soos." she said.
Ringer said 186 spaces were available and two busloads were already full.
James Ralston, director of choral activities, said the choira rehearsed the "War Responders" choirs and said Maurice Pennis, music director of the Kansas City Philharmonic, will conduct the singers in rehearsals Sunday and Monday to prepare for the first performance Tuesday.
Chamber and Symphony Orchestras in December.
Staff photo by BiLL FRAKES
Touche
Steven Mokotsky, graduate student in theatre, appears to taunt his partner as they rehearse for the Feb. 23 production of "Romeo and Juliet."
Cast crosses foils with fencing champ
Staff Reporter
By RHONDA HOLMAN
The audience gasps as Tybalt lungs past Rome's protecting arm and slays Mercurio in one final thrust of the deadly, silver sword.
Only the actors and their director know the hours of practice spent incorporating the expertise of a world champion fencer into the action.
Audre Sadure, 39, who won the World Master's Championship of Fencing in Germany, directed by the director of the KU production of "Romeo and Juliet," and the play's cast in achieving a sense of reality in the on-screen performance. The uniform sharp, unupped swords in the play.
SINCE WINNING the championship, Sudre has worked as a free-lance technical advise for staged fight scenes in movies and in rare cases, university productions.
"I just feel like the fight work is very important," said Wright. "It has to be authentic and theatrically exciting for the audience."
Sudre, born in Casablanca, Morocco,
said that he strove to achieve a historical authenticity about the flairting.
"My job is not only to stage the exchanges but to develop that feeling. I concentrate on a few things and in those few movements, I try to get them to have good technique, the feeling of the mood of the audience, the feeling of the fencing combat of that period."
"In the case of a cast with no experience, you try to teach them a mood," he said. "Jack Wright decided to do his 'Romeo and Juliet' with a certain feeling pertaining to that period—a roughness and earthy feeling."
SUDRE SAID that fencing took about 15 years to learn successfully, and that what he did with the cast was merely to
In addition to his world fencing championship, Sudre also holds black boards in bjuo, alki-do, karate and kendo. He is a free-lance photographer, a pilot and a former member of the Cornell University theatre arts faculty.
stage a fight and minimize the dangers of actual fencing on stage.
"At this point in the rehearsing, I have to take out the emotion of the action to master the movements," he said, but his cuts on his arms from the last four days.
"The blades are sharp. It's very easy to have an accident. A great deal of concentration is necessary to avoid it."
Wright said he agreed that safety was a problem when seeking authenticity in combat scenes.
SUDRE SAID the weapons were also as close to being historically correct in design as possible, although the blades of the play's time were a bit heavier and wider than the ones being used in the KUK production.
cense weapons permit a lot more activity, action and passionate moves than the actual weapons of the time would," he said.
Sudre said that few fencers experts did technical advising, but the good ones were able to make it a living because of the great demand.
He said that he had learned to work with directors and respect their individual ideas about a production.
"I've helped stage 'Romeo and Juliet' six or seven times and I never done it the same way. You always want me to do it. Whatever the director wants me to do, I do. They'll suggest something and if it's a good idea, then I'll transform the idea into
Sudre said that he presented the movements without indicating that they were dangerous and that the cast learned quickly, without fear.
"We've had maybe four days to work with the cast and even at this point, they're good enough to go on stage," he said.