4
Friday, February 28, 1975
University Daily Kansan
ENTERTAINMENT
Rock Chalk history rich
By SHANNON GREENE Kansan Staff Reporter
For 25 years, University of Kansas students have complained about cafeteria food, mocked University administrators and political figures and displayed campus trends through satirical skits and musical numbers.
The dances, songs and lines may have changed each year with each new crop of students, but all was done in hopes of a little applause and, with luck, a Rock Chalk Revue trophy.
As with most things on a university campus, Rock Chalk hasn't staged. It has gone through its own hard times and its own sort of evolution, always aiming for a better product.
Daredevils album has mellow tunes
By STEPHEN BUSER
Contribution Written
Contributor writing
"It'll Shine When It Shines" by the Ozark Mountain Darveils.
Log Cabin Records. 1974.
The last performance of "College Dare" was in 1955, but in 1949 Roy Wonder, a business analyst, needed for a campus variety show that would assure greater participation among more students.
The Ozark Mountain Daredevils have produced an album that has convinced me of their versatility, the most understed groups today. I purposely didn't say what kind of group because there is no way to classify their band, "It'll Shine When It Shines."
Rather than attempt to categorize their music, I would merely recommend this album for guitar players to taste for bluegrass, moderate rock or country-western. Both sides of the disc contain very mellow, easy listening tunes and high-quality guitar playing.
The predecessor of Rock Chalk first appeared in the years immediately following his graduation, sponsored by the Student Union called "College Daze," a full-length ola with music.
Side one begins with three first-rate cuts, "You Made I Right. You Look Away and the Ball Goes." Side two, "Jackie Blue." These are
followed by a tune honoring our great state, called "Kansas You Fooler and another with the same vaults videos titled "E. E. Lawson."
My favorite is "Tidal Wave," which is right before the title song. "I'll Shine When It Shines." "Titles Wave" has a catchy tone and bizarre lyrics. It is impossible to describe it in way. The best way to find out is to listen to it for yourself.
Although I have little previous experience with bluegrass, country-western or bighill music; I think this is the right way to explore three categories as well in all the purpose rock category
The Daredevils offer a welcome change of pace from a barrage of rock, heavy rock and acid rock. If you plan to see the Daredevils in concert next Monday, I suggest you wear up first by checking out this fine album.
These 15 minute skits were then directed and staged by the students. Each year four men's groups and four women's groups were selected to participate. Judges then selected the two best skits from each group of four.
The original name for KU's student production was also "Y-Orpheum." A contest was sponsored by the University Daily Kansas to find a new title, Chuck Clank. Revue was chosen.
In 1960, the first production was performed under some rather unusual circumstances.
The stage in Hoch Auditorium was divided by a curtain so that only half the stage could be used by the group performing. This allowed the group to do it because it allowed the following group to set up their props on the other side of the curtain while one show was in progress.
Also in 1950, only 10 per cent of the cast in each group's skit could be composed of members of the onsite sex.
In 1957, variety acts were added between group skits to improve the continuity of the show. These acts included everything from guitar solos and octetets to tap-dancing.
In 1968, performing gböps were cut from eight to six, three men's and three women's. At the end of the season, 15 minutes to 12 for each skirt.
The 1960s offered their share of changes and improvements, too.
1960 marked the first year that men and women joined forces to enter the competition. Pairs were made through a bidding system. A total of five groups were formed in hopes of adding more participants and improving the quality of the show.
The first time a professional band played for the revue was also in 1960.
The concept of an overall theme for the skits was also introduced that year. Before, the skirts merely had to portray
The number of skirts was cut to four in 1961, reducing the length of both production and judging time.
In 1962, the variety acts were named the "in-between acts." These acts also had to follow the theme of campus humor.
All along, directors and producers had their own problems in putting on the show. The casts to casts to direct and that often proved to be a drawback on stage. In 1963, the revue committee decided to limit the casts to three pieces so that provide for a smooth operation.
some humorous aspect of campus life.
The use of original music presented a problem in 1964. It was eliminated by the committee because people thought it was too much of a burden of the orchestra. The committee also eliminated the use of three-dimensional settings because the audience would be a burden to the stage crew and performing groups.
Closer supervision of script work and more frequent deadlines helped to improve the quality of Rock Chalk in 1965.
In 1966, performances were given on three nights instead of two because of sell outs. The overall campus performance were stressed that year. The overall campus humor theme was dropped to encourage new ideas and to break away from the old Rock Performance nights were reduced to two again in the '70s.
Rock Chalk participants have been traditionally representative of the Greek system. However, in 1972 an in-urestorism at McCollum Hall entered an in-between acts skit, but it was withdrawn the Friday before performance. The University Judiciary Committee ruled that the act contained questionable material.
In 1973, the revue committee
On Screen
CLOCKWORK ORANGE—Excellent Stanley Kubrick production about hoodlums inspired to acts of violence by the music of Beethoven. What it has to say about so-called social crimes is that they happen in view of some of the practices of today, 137 minutes.
(At 7 and 9:30 p.m. Friday and Saturday at and 1 at 3:30 p.m. Saturday in Woodruff Auditorium.)
LAST HORIZON-Excellent
FROST Capra capra film based on James Hilton's novel. Made in 1937, with Romald Cothan and his friends, five people kidnapped and taken to a strange Tibetan monastery where the inhabitants are immortal. An especially beautiful 12-minute (At 7:30 p.m.) Monday day of Audition. woodruf.
ENTERTAINMENT
MURDER AT VANTIRES—Fairly good 1934 murder mystery set backstage of a Broadway musical. Duke Ellington's orchestra is the unique "cocktails for Two." With Jack Oakie and Kitty Carlisle, 66 minutes.
(At 7:30 p.m. Tuesday in the Union Ballroom.)
(At 7:30 p.m. Wednesday in Woodruff Auditorium.)
(At 9 p.m. Tuesday in the Union Ballroom.)
This Week's
THE SHOOTING--1967 film directed by Monte Helman. With Millie Perkins, Jack Klein and Will Hitchins. 8 minutes.
PHANTOM LADY—1944 film directed by Robert Slodmack. Very good film about innocent in prison. With Franchot Tone.
Note: Check local advertisements for times and places.
PHANTOM OF THE PARADISE—Excellent but weir pop take off on Phantom of the Opera.
LENNY-Dustin Hoffman and Valerie Perrine give
brilliant performances in this story about Bruce, the controversial comedian.
RAFFERTY AND THE GOLD DUST TWUS—Alan Arkin, Sally Kellerman and Mackenzie Phillips in a not too good film about Arkin, who is on a wild adventure.
OUTER SPACE CONNECTION—Another in a succession of films trying to capture his life out there somewhere.
PARDON MY BLOOPER—
The best of uncensored
television bloopers.
On
television
BIG EIGHT BASKETBALL—
Iowa State at Kansas State.
(At 2:06 p. m.) Saturday on
NBC and WIRW)
THE WEATHER MACHINE—Prize-winning science writer Calder Galer gives the world weatherers around the world.
(A 7 p. Monday on PBS,
(10 p. Tuesday on VENDA
VENDA 1900—GAMES OF
LOVE AND DEATH—First in a
series of adaptations of five
stories by Arthur Schuster.
With illustrations by Irene
manners and morals.
p.m. Sunday on PBS)
ABC THEATRE: LOVE
AMONG THE RUINS—Katharine Hepburn and
Laurence Olivier join forces for the first time. George Cukor is the director of James Costigan's romantic comedy.
The film opens in New York.
On staae
(At 8 p.m. Thursday on ABC.)
ROCK CHALK REVIEWS-28TH anniversary show. This year’s show is “The Greatest Show on Earth—Revised or Revised” by Kappa Alpha Theta, be presented by Phil Delta Theta and Kappa Alpha Theta; Kappa
Sigma and Alpha Gamma Delta; Beta Theta Pi and Chi Omega; and Battenfeld and Watkins scholarship halls.
(At 8 p.m. Friday and Saturday in Hoch Auditorium.)
THE LAWRENCE CHAMBER PLAYERS, George Boberg, conductor with Richard Wright, tenor, as guest performing works by Bach, Handel, Grieg and Delibes.
AN EVENING OF ONE-ACT PLAY. Three original plays written by Layaway's tells of a young married couple whose boring relationship is jarred when he gets a phone call from an old friend.
CAROLE ROSS, pianist—
Program highlight is
Schumann's delightful "Car-
loro," a work queque we
illustrating with scenes
from the Commedia dell'Arte. Also Bach's Tocata in G
(At 8 p.m. Sunday at the First Presbyterian Church.)
RICH MATTEON and THE KUJ ZAZ ENSEMBLE-In a program that may well shake up Sworthout Recital Hall. Mattteon is an outstanding jazz tube and banton player. The ensemble will range from most salient solutions to semi-op to heavy jazz.
"Cancer Dancer" shows the relationships that a cancer victim has with her family, a doctor and a priest.
UNIVERSITY SYMPHONY ORCHHESTRE—In concert. (3:30 p.m. Sunday in University Theatre.)
"Frugal Repast" explores the relationship of a dissatisfied couch. It has a tropical setting
(At 8 p.m. Friday through Thursday in William Inge Memorial Theatre).
MIME CONCERT—At 7:30 p.m. Tuesday at Lawrence High School,
In concert
(At 3:30 p.m. today in Swarthout Recital Hall.)
Minor and Liszt's Transcendental Etude No. 9, "Ricordanza."
OZARK MOUNTAIN
DAREDEVILS—with special guest Chet Nichols. Their first single was "If You Wanna Get to Heaven," their most recent is "Jackie Blue."
(At 8 p.m. Monday in Swarthout Recital Hall.)
Swafford's program will be Bach's "Toocca in E minor." Bartos' tenate, and "Makoros" pianist, played plié, by George Crumb.
QUARTETTO CAECILIA DIRMA - Performing quartets by Bochermin, Beethoven and Brahms. This string quartet is making its U.S. debut this season. Purchased last year the Pacaerani violin virtuoso, called by some great living violinist.
ELENA CARDAS—International singer featured in a German concert. She will sing works of social comment by Germans and some songs in French and English.
(At 8 p.m. Monday in Hoch Auditorium.)
(At 8 p.m. Monday in the Forum Room of the Kansas Union.)
Thomas' **program** will wil-
feature Oroville lovely aria "Aa
Carmen" by Evan Carrens *S sequidia* "Pres
drampsarta de Seville" by *Biz des*
"Chacun a son gout" from *Diet
Sears* by Sraus; and other works.
(At 8 p.m. Wednesday in Swarthout Recital Hall.)
(At 8 p.m. Tuesday in Swarthout Recital Hall.)
DEBORAH THOMAS, mezzo-
sproano, and KENT SWAF-
band by Ann Schornick, pianist
by Ann Schornick, pianist
and Mary Ann Dresser, cellist
(At 8 p.m. Thursday in Swarthout recital Hall.)
MIRIAM STEWART
GREEN, soprano—Assisted by
Anson Schornik, pianist. Singing
22 songs, 11 texts, each text set
by both a male and a female
composer.
made a ruling that an independent group would be guaranteed a spot on the program. Hashinger Hall took up the opportunity and walked off with a lot of awards for its unusual performance; their overpowering though, and many thought it belonged in the Experimental Theater.
Rock Chalk began to slide from the peak it had reached in 1966. Skils started moving away from family style entertainment and left little to the imagination.
The red Rock Chalk Revue sign is now shining outside Hoch Auditorium, indicating that Friday and Saturday nights will offer this year's version of the revue.
And all those Rock Chalk Revises of the past may be especially remembered, because all the past producers have been invited to attend Friday's performance.
This year the producers attempted to ease familiar complaints about such things as the length of the show and the quality of its music, but be on professionalism and lighter comedy entertainment.
Perhaps this year's audience will be lucky enough to be treated to the original concept of Rock Chalk that has been oroglected or overlooked in the last few years.
Reviewing the past
Steve Rose, Overland Park freshman, added an interesting dimension as the usurping bandage changed from sieve to bungalow.
MeClure wrote a play that was not only interesting but also pointed. It reminded me of a sharp, but bumpy bone. He attempted a stylistic approach and sustained it in this short piece.
Kansan Reviewer
Plays create fear, magic
By ANGELAPQTHETES
An old boyfriend, played by Mark Rusbarsky, Kansas City, Kan., junior, stretches out on the living room floor of his high school sweetheart, played by Beth Leonard. Lawrence graduate student. Her amused husband, played by Bid Sine, Florisland sophomore, listens to a song in "Layaways," a script written by Eric Anderson, McPherson graduate student.
Original scripts are like reaching puberty. There's something clumsy and magical, fun and frightening about them,
By Staff Photographer GEORGE MILLENER mI
The contrast established between the characters was nothing less than stunning. Phillips was billed by Jim Phillips, Overland Park junior, was an eerie character. Phillips was excellent in his role because they were very important to everything he did was clear and precise.
Janet Kearney, Olathe sophomore, played his role with Phillips and Kearney created an exciting dramatic contrast on stage. She was graceful but cruel. He was piggish and
Three original one-act plays by three contemporary actors. William J. Memorial Theatre and over all they were some of the most exciting theater I've seen in recent years.
The plays, "Layaways," "Frugal Repast" and "Cancer Dancer," were written by University of Kansas graduate students and deal with modern problems.
Pinder seemed to intend the show to bring the tragedy of cancer out into the open, and thus make everyone feel a little more at ease with it. But the show was one gag after another.
Layaways, written by Eric Layaways, is about an old lover student, is about a couple who reexamine their marriage relationship when an old lover is married.
"Cancer Dancer," written by Gene Pinder, Lawrence graduate student, is the story of a woman with intervenes with her family, the medical profession and religion. Of the three, "Frugal Repast," directed by Stewart Bessner,孝ita senior, was my favorite.
The play that "upstaged" Dancer, "Dancer," directed by Mary Jane Sisk. I couldn't decide whether it was just a bad joke or the playwright hadn't made the mind about what he was trying to do.
"Frugal Repast," written by J. M. McClure, Lawrence graduate student, deals with a love triangle in which the woman is powerful and the man shake.
Pinder could possibly have improved the script by eliminating the real pain of the cancer victim so that the ants of the others would seem more like farce and less like torture.
And I didn't blame her. Besides being plagued with an insensitive doctor and priest, she had the added burden of a son who was unable to show real concern.
Nancy Opel, Leaewood freshman, as the cancer victim, was touching. Once I got over the initial shock of her makeup, which made her look as if she dug herself into sympathized with her. She wanted to dance and get out of the hospital as soon as possible.
The most simple of the three shows was "Layaways," directed by McClure, who also wrote "Fruited Renast."
Anderson wrote about a common situation. A bored wife got a phone call from a past lover and conflict arose with her husband. Although the show seemed like a television situation comedy, it was interesting because of the actors.
There were many good
Movie Reviewer
moments between the husband and wife, played by Bill Stine, Florissant sophomore, and Beth Guard, Lawrence graduate student
Swan steals a song from Winslow Leach, a talented but naive young singer-composer. Leach tries to fight back but he is defeated. He is shot in the thighs, frung for possession of beroin and sent to prison.
Leach becomes trapped in the Paradise and is forced to compose music for Swan's new show. Swan has stolen his music and ruined his life. He tops all this by stealing Leach's girlfriend, Phoenix. "It's so ugly," Leach's Swan's show. But again double-crosses Leach by substituting a lisping glitter-rock star, Beef, in Phoenix' place.
This movie takes us on a tour of Death Records, an all-powerful record company run by the genius known only as "Swan."
The highlight of the show was the entrance of the past lover, played by Mark Rusbarsky. Kansas City, Kan., junior. He attended Riverside High School and the audience laugh at his easy going character.
At first it seemed as if Leonard was racing through her lines. But as the scene progressed, she apparently caught her moments on stage and brought fullness to her character.
The seamy side of rock-
drugs instanti-
and use them for schei-
ming promoters—are savagely satir-
ied in the zany horror-musl-
ing.
Leach, by now a full-fledged "phantom," goes berserk when he learns of Swain's latest sabbatical tour. The movie shows and kills Bee. The movie ends with Swan and Leach dying on the stage, accompanied by the orgasmic an enthrastic audience.
Brian DePalma's "Phantom of the Paradise" does to rock music what hadn't been done before. The most bizarre elements of the rock culture (admittedly an amorphous wonder) are treated with more bizarre proportions in this movie.
Leach escapes from prison and tries to wreck Swan's Paradise, a rock pleasure palace. But he is caught in a rage that turns him into a disfigured monster without a voice.
By WARD HARKAVY
Movie satirizes rock scene
The Juicy Fruits, the Beach Bums and the Undead, the shark and the cuttlefish outrageous saturations of '50s rock, surfing music and decadent rock, respectively. They are played by the same three people.
Williams plays Swan, in an early realistic portrai of his own life as a rock entrepreneur. Williams no doubt draws inspiration from his own career for his characterization of the repulsive Swan.
This may not read like a comedy, but it most assuredly is. Writer-director Brian De Palma and rock composer Paul Williams make the hedonistic rock music a comic nightmare.
William Finley is convincing as rock composer and singer Winslow Leach. Swan's chief thug, Arnold Philbin, is admirably played by George Mammoli.
But Gerrit Graham's Beef steals the movie. In a scene borrowed from Hitchcock's *A Study in Scars*, he while taking a shower,
Graham's characterization of a "macho" rock singer provides delicious satire.
The surreal nature of this satire on rock music is probably due to the talents of De Palma. The musical works include "Greetings," "Hi Mom," "Get to Know Your Rabbit" and "Sisters," have shown him to be an inventive blend with a great sense of timing.
Paul Williams's score fits the movie very well, although he has never really heard of syrupy composing that made him wealthy. It's hard to imagine that he was the comedian who invented "We've Only Just Begin."
"Phantom of the Paradise" borrows heavily from other movies, including "Phantom of the Black Swan" and a formentioned "Psycho." But it is original in one sense—it may be the first rock-and-roll science-fiction movie. Science-fiction movies are certainly the most outrageous, and comically bizarre movie yet made about rock music.
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