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Friday, March 21, 1975
University Dally Kansan
ENTERTAINMENT
Brass sound thrills
The KU Concert Series will present the New York Brass Quintet as the first in this semester's concerts. Brass quintet music hasn't achieved the same degree of popularity that other forms of music have, but I'm happy that the series is able to bring this group.
To me, the power of brass can express the utmost in drama and excitement. It's regrettable that groups that could provide an entertaining and technically proficient concert equally as well as a large and commercialized name, don't have equivalent drawing power.
This isn't an issue that the Concert Series Committee has had an easy time with this year in our selection of programs. A large concern with us, as with other student groups, is that our allocation from the Student Senate be continued. When looking for measures of the success of our series, people usually look at attendance and not necessarily at the entertainment provided. Although public acclaim is at times justifiably lauded, it isn't in the best public interest to spend activity fee money on cultural attractions solely on the basis of the size of an audience.
I think that the selection of Concert Series events should occur in an atmosphere of communication and feedback between the campus and the selection committee. The Concert Series has one of the larger allocations from the activity fee fund.
It's my hope that what the activity fee is, who carves it up, who gets it and what they do with it isn't veiled in mystery. The Concert Series Committee is more than just a group that every once in a while can come
up with a name like the London Symphony in order to justify its being.
We have in the past been able to present a good balance of educational and entertaining programs of many types and from many cultures. Obviously we don't please everyone. We can't bring popular or familiar people into our seriousness in this case doesn't preclude fun, as those who went to hear the Preservation Hall band last year could tell you.
I hope that through dance, drama and music we can provide opportunities for a true education: knowledge, insight and an experience of creativity and different traditions.
Do you ever pause to listen and reflect on the music that is around you? If you do, what catches your ear? Is it the sound? A blend of tonalities and harmonies rising, falling, blending, probing, answering? Or is it the rhythm catching you? Or is it the way ofational brilliance? Is it the insight into the experience of humanity? Or the brilliance and virtuosity of the designs and patterns and their adroit execution?
The New York Brass Ensemble is worth your attention because its performance will explore those fundamentals. The group will lead us through a tour of brass literature, from the 16th and 17th centuries, including a selection from Bach to an original 12-tone piece by Robert Nagel, director of the Quintet. This music is also excellent. I'm sure its brilliance, sparkle, drama and contrast will give you the kind of lift that one expects from an evening with superb masters of sound.
—Jack Mills
Brilliant brass
Members of the New York Brass Quintet will perform at 8 p.m. Monday in Hoch Auditorium. The members: Robert Nagel, trumpet; Allan Dean, trumpet; Paul Ingham, French horn; John Swallow, trombone; and Thomas Hanks. tuba.
Film sensitive, rare
By KENN LOUDEN
By KENN LOUDEN
Movie Reviewer
"Alice Doesn't Live Here anymore" started as a sleeper. It was a low-budget film, and the producers probably didn't realize it from it. Surprisingly, this incomspicuous little film is making money. Even more impressive is one of the best films of the year.
This movie is a rare film that deserves to be called controversial and innovative. The movie dares to confront the problems of a single woman in America without falling into the trap set by her stereotypes or the clutches of women's liberation rhetoric.
At the core of the film is an enduringly sensitive performance by Ellen Burstyn as Alice Huyt, a newly widowed 35-year-old to mother to mother, California, to resign her singing career.
Unfortunately, Alice doesn't have a very good voice and she never had much of a career. In fact, she isn't particularly good at any trade because she has been a housewife for the past few years. She might sit it on Monterey but instead settles for a good man—an ending that will probably enrage a few frantic feminists.
Alice is a realist. She is a woman who needs a man to depend on. She knows it and finally admits it. Her reasoning is easily accepted because of her personality, but Alice is likeable but she isn't a sloppy sentimentalist. Thus the audience is spared the simmering self-pity that too often permeates the personality of realistic movie heroines who are doomed to disappointment.
With all this praise one might think that the movie is merely a vehicle for Burstyn—not true. The supporting characters add dimensions to the movie. The two women in Alice and her 12-year-old Alfred Lutter, make the movie believable as well as enjoyable.
Even better is Diane Ladd as a slovenly, foul-mouthed waitress. Although the performance could easily be turned into a caricature, Ladd doesn't heart to be the slut with the heat; rather she is just another Alice. Rather she is just more snice in her, but we know.
The movie was directed by Martin Scorsese, a brilliant young director ("The Mean Streets") who has a talent for leading women and making entertaining films and characters in the best situations
who show their underlying personalities. He has a remarkable understanding of the problems of being single and being a mother, the special relationships between women and the problem of face when they embark upon a career as a last resource.
Aiding Scorseese is a gifted cameraman, Kent Wakeford. Wakeford shows the subjective view of his characters under camera control to cliches. He subjects the audience to the character's viewpoints. An example is Alice playing the piano and he realizes that she is real - the audience cannot film it without avoiding the film.
Naturally, the movie has flaws. The principal one is Kris Kristofferson's portrayal of a modern man with a raised consciousness - a convenient machina. Some of the film is poorly edited and a few of the scenes are sloppily filmed.
By EVELYN RAPPORT
Karvon Staff Recorder
When John Guare wrote "The House of Blue Leaves" in 1968, he said in his introduction that it was a play about humiliation, and that the story is the core of tragedy and comedy and probably of our lives."
Quality in a film tends to scare some people away. It shouldn't. Along with all other praise, "Alice Doesn't Live Here Anymore" is one of the remedies to appear on screen if the result is an unusual blend of quality, style and entertainment.
'Leaves' offers hurt, love theme
Ron Willis, associate professor of theatre and director of the University Theatre's production of "The House of Blues Leaves," agrees with Guare.
"Nothing is as big as the little things we do to each other, he said, "the petty, niggling mean things we do to each other," he
"But 'Blue Leaves' is about more than just that. I still say it is a love story. It's the story of her life. It is the story of loving, smothering, women."
The man is Artie Shipman, who is 24 years old and sadly frustrated songwriter, who's forced to change his life by choosing between the two women. Artie is played by Lawrence graduate student.
One of the women is Artie the wife, Banana, a flanneled, muddled victim of a nervous breakdown, played by Rhonda Blair, Warren, Mich., graduate student.
The other is Bunny, Artie's mistress, a brash and optimistic gourmet cook who fires Artie's appetite. He can give him the impetus to leave his quiet life and "make it big" as a songwriter. Bunny is played by Anne Abrams, N.Y., graduate student.
Artie's chance to make it big could be provided, Billy urges, by Billy Einhorn, a childhood friend who's now a Hollywood producer. If he really loves her, Bunny maintains, Artie will take her, go to Hollywood and use Bill as his stepping stone to David, fortrapped David Cook, Lawrence graduate student.
The action of the play takes place on the day that the Pope came to New York. Everybody hopes that the blessings the Pope will shower on them can solve all their problems.
The Shaungessys' son,
Ronnie, played by Spence
Golub, North Bellmore, N.Y.
graduate student, goes AWOL
from his Army unit, ostensibly
to see the Pope's motorcade
pass but in reality to blow up
a bomb with a helicopter.
Bumpy drags Artie from
his bed at 4 a.m. to get a place
along the motorcade route, so
that the Pope can bless Artie's
the songs.
"The play is about dreams, too," Willis said. "Everybody dreams of being famous somehow. Bunny gives flesh to Ariel's dreams, and he to hers. 'Everybody always treated me like an old shoe. You made me feel like a glass slinner.'"
"Artie dreams of being famous. In our society, there's this confusion between notoriety and greatness, as if being famous makes you great."
For Artie, who Willis says is probably a very good zoo keeper, the dream of being a
famous songwriter is hopelessly beyond his reach. One of his better lyrics goes:
"Since we split up
once we we split
Look all bit up,
Like Fife chewd 'em,
Jitlately, Artie is forced to choose between his dreams and reality and then to accept that choice.
But we're back together again."
Other members of the cast
and Nancy Walker, Prairie Village senior.
Tom Rowe, Glencoe, Ill.,
junior, designed the sets, lights
and stairs, and the Sisk,
Lawrence graduate student,
designed the costumes.
THE NEW YORK BRASS QUINTET—The program includes numbers by Bach, Malcolm Arnold, Schuller and Nagel. (At 8 p.m. Monday in Hoo Auditorium.)
His Holiness halted
DOROTHY ENTZ, pianist,
and JERILYN MCCOMBS,
soprano—In a master recital.
With Nancy Pierce at the piano.
The program will include works by Bach, Debussy, Chopin, Petzoldt, Percussion, and Pelican.
(At 8 p.m. Tuesday in Swearthport, Hall.)
nv Staff Photographer ROD MIKINSKI
Members of the cast of "The House of Blue Leaves" rehearse a scene from the play, which opens tonight. The play is a modern farce involving many crazy characters. One, Ronnie, wants to blow up the Pope with a homemade bomb.
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CANDACE WILLIAMS, pianist. and PAULA CHIP-
In concert
THE UNIVERSITY DAILY
KANSAN
NON-FICTION—A jazz group. Three pros in the field of jazz will perform numbers with improvised soles. Selections will cover numbers from Charley Parker to Miles Davis. (At 6:30 p.m. Sunday in audition Woods Auditorium.)
CAMBER CHOIR AND THE LAWRENCE CAMBER PLAYERS - Performing Bach's Mass in B minor, one of the piropieces. (At 3:30 p.m., Sunday in the University Theatre.)
are: Vicki Stevens, Pacific Palises, Carlisle, sophomore, JoAnne Brand, Wichita freshman, graduate student, Barbara Hladsky, Wichita senior; Curtis Trarbach, Wichita sophomore
COSTA BASIE AND HIS ORCHESTRA—Four dance sets, from 8 to 12 p.m. tonight in Hoch Auditorium.
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This Week's ENTERTAINMENT
MAN, soprano—In a’ senior recital. With Celestie Myall at the piano. Works by Scarletti, Beethoven, Chopin, Barber. Words by Florian Floyd (At 8 p.m. Thursday in Swarthout Recital Hall).
On stage
(At 8 p.m. Friday, Saturday and Thursday in the University Theatre.)
HOUSE OF BLUE LEAVES—Modern farce about a zoekeeper who is a would-be songwriter. The story tells of people with hopes or illusions of success who also feel trapped by surroundings and obligations
BIRDHATH—A bizarre love story, preceded by 45 minutes of short improvisations. (At $8 p.m.) On Monday at Hassinger Theatre.
On television
THE JAPANESE FILM:
GATE OF HELL—One of the most beautiful color films of all time tells about a beautiful, happily married woman who meets a love-smitten Samurai in 12th century Japan. (PBS: 9:11 p.m.)
On screen
SCARECROW—Gene-Hackman and Al Pacino on a grim odyssey across America. A movie by Jerry Schatberg in 1973.
(At 7 and 9:30 p.m. Friday and Saturday in Woodruff Auditorium.)
TWO SECONDS-1932 Elden G. Robinson movie about his (and the audience's) eyes is being electricated. Robinson provides the only energy, but this may be much more difficult. Drew Garlington
(At 7:30 p.m. Monday in Woodruff Auditorium.)
MURDER MY SWEET-1944 mystery with Dick Powell as Raymond Chandler's private detective. Powell may have been a Marlowe than Bogart was in "The Big Sleep." With an excellent supporting cast, including Claire Trevor and Mike Ritter, the movie Dmytryk. Based on Chander's novel, "Farewell, My Love!"
(At 7:30 p.m. Wednesday in Woodruff Auditorium.)
(At 7:30 p.m. Tuesday in Woodruff Auditorium.)
SHADOW OF A DOUBT—Superb movie directed by Alfred Hitchcock at the height of his powers. This 1943 film stars Joseph Cotten, Teresa Carr, in the story of a murderer and a pleasant middle-class small town.
WEDNESDAY'S CHILD—A dramatized case history of a schizophrenic woman in the 1970s, D. Laing, A 1972 movie directed by Kenneth Leach, with Sandy Ratifal, Bill Dean and Grace
(At 7:30 p.m. Thursday in Woodruff Auditorium.)
Note: These films are playing at Commonwealth Theatres. Check local advertisements for times and locations.
MURDER ON THE ORIENT EXPRESS—Entertaining all-star version of Agatha Christie mystery, fashioned schmaltz stars and fashioned stars creates an entertaining picture for everyone. Especially good are John Gielgud and witty Wendy Hiller even if her make-up looks her look like a white rume.
HOT TIMES—One of the all-time worst movies. Supposed to be like American Graffiti—but with sex.
ALICE DOESN'T LIVE
HERE ANYMORE--Excellent
controversial film. Ellen
Gould plays a shy
baby about a 35-year-old widow
AMERICAN GRAFFITT-If by some miracle you missed it for the several months it was waiting, this entertaining nostalia fling.
YOUNG FRANKENSTEIN—Extremely hilarious Mel Brooks creations. As good as but, as cruel as crusade. "Blazing Saddles."
PINK FLOYD and MAD DOGS AND ENGLISHMEN—Three hours of rock on the screen.
At the
At the gallery
STITCHES IN TIME:
Samplers in the Museum's Collection-This exhibit represents samplers from the 17th through the 19th centuries. Many of these are on view in the Museum of Art (Through April 6 at the Museum of Art.)
PHOTO FLASHBACK-
1974 - Highlights of the
accessions made in the
photography collection during
the past year. (Through April 6
at the Museum of Art.)
MARY HUNTOON,
GRAPHICS—A 20-piece show in
the Print Room of the Museum
of Art. In addition, the main
feature is a touch screen accession,
"Chestnut, Corsica"
an oil on canvas by Hunter.
PHOTOGRAPHY CONTEST
WINNERS—Until March 28 in
the Kar:an Union Gallery.
PRO BASKETBALL '74-75
(Pocket, $1.25) AND PRO HOKEYCHT '74-75 (Pocket,
$1.95)-One guides for sports
lovers, in a season when the
Kansas City-Omaha Kings are
doing all right and the Scouts
are doing it better.
Of interesting data about teams,
players, coaches, rules,
statistics, Illustrated.
On the shelf
THE GLASS INFERNO, by Thomas N. Scorilla and Frank M. Robinson (Pocket, $150—) of the "big blockbuster" part of the big blockbuster movie about a skyscraper fire. If you go for all kinds of devastation and wild emotional wars, this may be your thing.
Reviews policy
All reviews and summaries published on the entertainment page are the opinions of the writers alone. Reviewers of any events or exhibits are welcome. Interested people should contact the entertainment editor for assignments. Announcement of events to be published in the entertainment calendar must be submitted to the Kansan at least three days before publication.
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