University Daily Kansan
Monday, October 8,1973
3
Cole Porter Musical Offers Entertainment
By CHERYL CROOKS
Kansas Reviewer
The nostalgia of the '40s and the Broadway spectacle of that era combine to make "Kiss Me, Kate," the University of Kansas Theatre production currently at the University Theatre, an entertaining experience for the audience.
"Kiss Me, Kate," which has been produced at KU in what would have been
reviews
Cole Porter's 90th year, was gobbled up by the near-capacity audience on opening night
Porter's musical was taken from Samuel and Bella Spiewak's armring book, which she drew for the show.
The musical's 17 songs remind the audience of Porter's other stylistic hits, also including "Balloon."
"KISS ME KATE" is a play within a play. The story, which was taken from Shakespeare's "Taming of the Shrew," concerns the complications that arise between its lead characters, produced Fred Graham and his ex-wife Villaness, co-starring in a Baltimore production of the actual Shakespeare comedy.
Tom Rea, associate professor of speech and drama, directed the musical with the purpose of entertaining the audience, which included a few points have weakened his production.
The cast is strong. Terri Harris and Dean Russell play the two Grahams. Both gave fine performances with singing and acting that fulfilled the roles.
However, Mary Margaret House's
KU Ouintet to Plav
The Kansas Woodwind Quintet, composed of faculty from the University of Kansas, will present a concert at 8 p.m. today in Swarthout Recital Hall.
Formed in 1962 by members of the woodwind faculty at KU, the quintet consists of John Lloyd Mackay, clarinet; David DeBolt, bassoon, and David Bushore. French horn. All but DeBolt are faculty members at KU. He is a guest artist from France.
The program tonight will be “Diverentimento No. 2 (1953)” by Joan Koettsier, “Quintet (1956)” by Walter Piston, and “Quintet in E Flat Major” by Mozart.
characters of Lois Lane and Bianca were stale and juvenile. Too many of her buffonish lines gave the impression of being overplayed.
THE AUDIENCE FAVORED Alfred J. Lata and Bank Banks in their gangster roles. Banks gained control and decept and features, the two characters grew and greed—perhaps too much. Their kohon-kong song and dance clearly was a favorite of the audience.
Following Russell's casual entrance as red Graham and the overture, the musical begins with a concluding ensemble number, "Another Op 'nin', Another Show, which refers to the opening sequence."
Things started to drop off after Russell's love song, "Were Thir That Special Face." The second act never regained momentum and the climactic return of Lili Vanaas was
"Blanca," an ensemble tap dance number, a rarity in modern musicals, brought a smile to the faces in the audience, and love-swonced *Luciano* in "Rose舞."
George Lawner did an excellent job of musical direction. The actors' voices were generally heard, instead of being swallowed up by the instruments, the musicians, who understood Porter's music.
DIANE DEFRANCO'S choreography is full of variety of show steps and is fun to watch. However, the lighting crew's continual use of spotlights on the soloists wasn't enjoyable and soon became monotonous.
James Goh's set uses balconies, high arches, hanging baskets of flowers and grand stairway to complement the production. The scene changes were rapid
In all probability, one will leave the theatre with a pleasant feeling about the rebirth of the old Broadway musical he has heard is exactly what one is supposed to feel.
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