4
Friday, October 3, 1975
University Dally Kansan
ARTS & ENTERTAINMENT
Staff Photo by GEORGE MILLENEER
Reflective Attention
"Telemaechus Clay" Director Paul Gaffney takes a close look at Kirby Kimble,Hitowa senior, and Craig Sundasky, Crystal Lake.
III, graduate student, as they apply makeup prior to their
through October. II, at the Ingle Theatre in Murphy Hall,
until October. II, at the Ingle Theatre in Murphy Hall.
It's very easy to take a truly fine play and make a mess of it in production. It's also easy to mask the deficiencies in a bad play with an energetic, imaginative production.
By EVIE RAPPORT Entertainment Editor
"Clay" a vibrant delight
TELEMACHUS GREW UP in Downsville Town, U.S.A., an everywhere representing all that's stifling and cruel about small town life. He's the ilegitimate woman and one of four tinnier fieldhands who drift through on a summer day.
It's far more difficult to take a mediocre, somewhat dated play and turn it into an absorbing, comic work. So Paul Gaffney, director of "Telemachus Clay," and his cast of 11 design congratulations for their production of Lewis Carolino's 1962 play, will bring the small, Midwestern town to find himself in the real world.
He grows up taunted by his playmates' rude rhymes, burdened by a mythological name and a desperate need to find his father. Orphaned, he maddles up to understand life and love.
So he writes a play, a love story, and leaves for Hollywood, where he intends, apparently, to
change the world by making it understand that love conquers all.
Hollywood, of course, knows better than this叫你outh. Telemachus makes a valiant, humilizing struggle against the mercantile cynicism of movie creators and aging failures, but he's deceived by their cold indifference to his sensitivities.
It's really rather a silly play, with a theme dating at least from the days of the Greek myth of Ulysses and more recently seen in such standards as *Odysseus* and *Cinderella*, who will never find happiness anywhere until he finds it in himself.
DESPIETE THE CLICHES in Carloino's script, the play has its moments of freshness and intensity. The dialogue is a sort of instruction of dialogue and character. The narrative at times leans heavily on labore poesy, but the exchanges between the characters are bright and unusually vivid.
This brightness and vividness is provided by the cast, carefully coached by Gafney to preform and concisely myriad scenes that change. With the help of fluid lighting patterns, designed by
Ed Kirkman, the audience easily follows the action as it moves from stuffy teams to mannequins and crowded, smoky parties.
VOCAL VARIATION AND strength are essential in this play, which relies on patterns of movement. It also develops character and plot.
For the most part, the cast meets this challenge well, discovering just the right pitch or phrasing to illuminate the paraphrase being presented. It's a demanding well-handled, but the cast performs with an admirable sense of ensemble that's essential in kind of production. And a choral version of "St. Louis," by Rick Averill, rocks the house with its bluesy power.
AMONG THE BEST of several good performances are Dayna Eubanks, as a truly marvelous Prophet Mama spouting hypnotic nonsense; Jean Averill, as Telemachus's mother and a spacy starlet; Kirby Kemble, as a harried
There are problems of vocal delivery and diction that mar the production, but only slightly. James cowrote "I'll See You," which intersperses lapse into a nasal whine that suits the youthful character he plays but irritates the ear. Otherwise, his is an appealing and sympathetic portrayal of the deadly inclusion that growing up can be.
director and a muddled drunk; Lambriary Helen Hedge, as a giddy, posing actress; and Paul Kendall, wavy, weaty, excreting man.
Some of the other actors fail to be as precise and diligent as they might with diction, so this forms a highly aural production.
Time enhances Astaire's manv talents
Gaffney's direction is rightly concentrated on timing and flow, so smoothly achieved that the audience can perceive a pinge at all on the audience's enjoyment or comprehension. "Telmachus Clay" may not be the most original play, but this concentration of it is certainly a delight.
By WARD HARKAVY Contributing Writer
TOP HAT, starring Fred Astaire and Ginger Rogers, will be shown at 7:30 p.m. Wednesday in Woodruff Auditorium.
He's skinny and not particularly handsome. He has a thin voice and he's only a passable actor. But he exudes confidence, and he has more ability to deliver song lyrics than anyone else.
He is Fred Astaire.
In his day, Astaire was one of the best dancers, technically, to set foot on a Hollywood sound stage. He was one of the hardest workers in movies. His natural talent, his hard work and his gift of style, grace and charm have enchanted audiences since his first film in 1930.
When Fred Astaire walked on
stage or on screen, a feeling engulfed people. It's nice to be around a person who has that indefinable quality of charm, even if he is an image on a screen.
As a singer, Astaire was one of the best. His voice was reedy.
But Astaire's energy was always controlled, his pain smoothed, his smooth, his walk effortless. His dancing was complex, yet easy. It was sublime. Its effect on success was always beneficial.
In "Shall We Dance" (1937), Astate's interpretation of such Gershwin songs as "They Can't Take That Away From Me" and "Who Cares, Who Cared," OF" was so beautiful as to send shivers down one's spine.
Astaire was a perfectionist.
After he finished a dance number,
he  and his
Was Fred Astaire a good dancer?
Today's greatest male ballet dancer, Rudolf Nureyev, once said that Astaire was his idol. Film was just the medium in which Astaire displayed his work; his dancing was the best of him and he mired by many classical dancers.
choreographer, Hermes Pan, dubbed onto the soundtrack every tip of that dance. He was so nervous that the camera always show his whole figure when dancing. There were few closeups of Fred Astaire's dance numbers, and he joined his partner from head to toe.
Astaire always had problems with his partners. None of them was good enough to keep up with him on the dance floor. His partnership with Ginger Rogers and Lily Tomlin, both audiences, Katherine Hepburn noted that "he gave her class, and she gave him his appeal."
Astaire also danced with Eleanor Powell, Judy Garland, Rita Hayworth, Lucille Bremer, Cyd Charisade, Bett Hutton, Leslie Caron and Audrey Hepburn, among others.
Even as late as 1957, in "Funny Face," with Audrey Hepburn, Astaire's ability had barely diminished. He has since occasionally acted in straight dramatic roles and has infrequently appeared on television talk shows. At 76, he's still able to dance, still in remarkable shape.
But to see Fred Astaire dance in any film is a treat that movie audiences can never forget. No one else has danced his way into the screen with more finesse, charm, imagination and style.
Charisse was the best dancer of the group, but Astaire and Rogers were the best together.
Those who have seen MGM's "That's Entertainment" saw Astraite's work for only that studio. But the best period was when she worked in the mid 1930s. The RKO period was notable for the art deco environment created by the brilliant set designer Van Dyke and for the most stylized dance numbers Astaire ever did.
In "Snall We Dance," Aafaire dances to the rhythm of an ocean liner's engines, cavorts on black Bakelite floors and romances Ginger Rogers among the most bizarre sets this side of Radio City Music Hall.
Astaire's greatest period was the 1390s, when he appeared in a play called "Divorce." "'Top Hat' 'Swing Time' and 'Shell We Dance.'"
'Fay' withers away during family hour
The high moguls of network television have struck.
Less than three weeks after the beginning of the new fall television, NBC cancelled "Fay," a sophisticated comedy which featured Lee Grant as a 45-year-old divorcee.
UNFORTUNATELY FOR GRANT and the rest of the cast, the networks this year decided to implement a new rule called family programming, todeadly family programming time slot -7-p.m.
As a result many of the scripts for "Fay" were doctored to what NBC executives thought were fit for family programming. For example, the script's characters would apartment in the morning. She also had to be careful of double entendres and off-color jokes.
actors, writers and directors who had left-wing sympathies. Now her show has been canceled because she refused to be victim of arbitrarily imposed censorship.
Lee Grant has never been known as a passive person. In 1985 he used to be because she refused to join in the persecution of Hollywood
OF COURSE, IT'S the viewer who will suffer. "Fay" was one of the best new shows on television. Apparently, some people noticed it was good too. In its first week against America's favorite family, "The Waltons", it managed to make the top 20 programs in the country. It was one of only three new shows that even made it into the 'atings'.
An interesting footnote—Last week on "The Tongtion Show" Grant got revenge. While talking with Johnny Carson, she slipped the Italian bird at NBC that had him scared again. The obscene gesture was blacked out on the television screen.
L. K.L.
Cartoons, cooking, exercising.
Reviewer
By KAREN LEONARD
THE DOONEBURY
CHRONICLES by Garry
Trudeau. Holt, Rinehart and
Winston, 1975. $6.95.
Any fan of the Doonesbury cartoon strip who has ever wondered how Joanie Caucas would have survived without or who missed the strip in which B.D. enlisted in the Army to avoid writing a term paper will appreciate Garry Trudeau's "The Doonesbury Chronicles."
Trudeau has collected strips that introduce new characters and portray the events affecting the lives of these people beginning to the present. What Trudeau has really created is a satirical history of American life from the 18th century through the present.
Trudeau tells of Mike "the Mix" Doonesbury's first encounter with his college roommate, B.D.—a football jock who wears his helmet to college dances.
The book includes campus radical Mark Slackmeyer's take over of the college encyclopedia, tribulations of Token Black Radical Calvin; B.D.'s Vaticanese adventures with Phred the Terrorist; the radicalization of the students; and the Watergate bearings.
The cartoons' soft-edged satire pokes fun at both the left and the right, the radical priest as well as the president. Through the course of the book, the characters grow from their naive freshmen days, through encounter groups, Vietnam and Iraq, through incarceration and insecure status of the almost-ready-to-graduate
"The Doonesbury Chronicles" is more than an entertaining book and a posthistoric read. The student may find the
Chronicles to be a satiric look at himself.
KAW COOKERY: A HARVEST OF LAWRENCE PEOPLE
Edited by Donna Brier, Kathy Nemeth, Jody Deutch, Barb Kahl, Jennifer Bauer A Heart Machin Enterprise, 1975, 85.95.
"Kaw Cookery") is a collection of straight, semi-straight and sometimes strange recipes collected from the people who bake their bread and boil their soup in and around Lawrence.
Contributors to the cookbook vary from former Lawrence University professors, local townpeople and students. Contributors include their teachers, with their recipes for cafelais.
"Kaw Cookery" is a local work meant to be read and enjoyed by local people, and the editors have caught the variety of personalities and life styles that make up the town. The book includes the simple wares and fancy fare of starving students and recipes for international cuisine.
While some of the recipes seem to be questionable, the flavor of the book as a whole is satisfying. Many recipes are straight-forward and thorough; others tend to be obscure, but they often have "mix directions beside" "mix ingredients and bake." This is a little threatening for the insecure chef.
The culinary skill of those included in the book vary from Cornucopia restaurant manager Glen Sohl to a man just learning to cook. In combination with fish soup, the amateur confesses that while his children don't really loathe this cooking,
they would rather have him take them out for pizza.
Along with the professional,
detailed approach to cooking
and the carefree do-what-you-
will approach, one man in the
advocated the personal approach.
In his instructions for Mark
 and Connie Memorial New
 York Street Stew,
Jim Sipa suggests making friend
with one's vegetables.
He says, "No less than 3 to 4 hours before you plan to eat, lay out all the vegetables on a table and explain to them the strange process of peeling. They are about to undertake. They've never experienced anything like this before, so remember to be as concise and reassuring as possible. Take extra time with food and ensure it is secure and slow to catch."
WAVE HANDS LIKE CLOUDS:
TRAINING METHOD OF TAI
CHI, By Li Po and Ananda.
The Magazine Press, 1975,
$4.95.
Surely a cookbook that includes a man patient with his celery can be trusted.
mediation, ritual舞 and self-defense. Through the mastering of Tai Chi's slow, structured, ritual movements, students can form shape according to authors Li Po and Ananda, experience improved health, internal peace brought by athletes, develop self-confidence and a more balanced attitude toward life.
Tai Chi is a Chinese form of physical exercise,moving
The book, "Wave Hands Like Clouds," describes each movement separately with photographic illustrations. Yet to master this intricate exercise, students should use more help than the book provides; instructions tend to be confusing, making references to other paragraphs and other pages in its descriptions of certain movements. Persons interested in devoting the necessary time and energy to learning Tai Chi might benefit from instructor first and use "Wave Hands like Clouds" for a reference.
Published at the University of Kansas weekly day-
tenement period. Second-class postage paid at Law-
yers' office or $1 a year in Delaware County and $1 a
semester or $1 a year in Texas. Subscription
subscriptions are $1.33 a semester paid through the
Four months or longer are needed to learn the form, so Tai Chi is not something to be undertaken lightly. There are 94 movements in the complete list of the form.
THE UNIVERSITY DAILY KANSAN
Editor
Dennis Ellsworth
Associate Editor Campus Editor
Debbie Gump Carl Young
Assistant Business Manager Advertising Manager
Jort Kadel Roberta
Business Manager
News Advisor Publisher Business Advice
Susanne Shaw David David Mel Adams
THIS WEEK'S HIGHLIGHTS
Theater
TELMACHUS CLAY-
Hollywood and its fringe
culture, seen through the eyes
of a young man searching for
(8 p.m. nightly through Oct.
11 in Inge Memorial Theatre.)
THE PRINCE, THE WOLF
AND THE FIREBIRD—A
adapted for grade school pupil
by Jackson Lacey. Complete
with kings, princesses, horses
and a course, a wolf and
a firebird.
(2 p.m. Saturday In University Theatre.)
OAKLAND BALLET-A 24-member troupe, under the direction of Ronn Guidl. Dances will range from classic to modern and the music will include Rave's "Bloomer," Scott Sutton's "Allegro," and interpretation of "A Streetcar Named Desire."
Ballet
(8 tonight in Hoch Auditorium.)
Exhibits
THE VISUAL ARTS AND RILKE'S PODE interprets the interpretation of the lyric poetry of Germany's Rainer Maire Raikl (1875-1926), secretary to Rodin, the French sculptor, and eventually developed an integrated composition conveying the presence of God.
(In Kansas Union Gallery.)
THE ART OF THE INDIAN BASKET IN NORTH CABUZA. In 1895, as practiced by native Americans, ancient and modern.
(Through Sunday In Museum of Art.)
SCULPTURE BY DAVE WOODS - Landscape decoration via garage sales and back lots. Co-sponsored by the Kana Association (Through Sunday in Weaver Sculpture Court.)
BERG-KELLAIS - Acrylics,
drawings by two women
specializing in mildly abstract.
variations of people and places.
(Opening Oct. 5 in 7E7 Gallery, 7 E. 7th St.)
Lectures
STEPHEN SPENDER—The
noble, lucid poet and critic
from England, who's also been
a professor, reporter and
political activist.
(8 p.m. Thursday, Oct. 9, in Woodruff Auditorium.)
Concerts
CHICAGO—The bright and brassy music of this distinctive group has been a mainstay of the country music scene decade, with such hits as "25 or Six to Four" and "Color My World." Although recent albums lack the imagination of earlier efforts, the band should be considered.
(8 p.m. Thursday, Oct. 9, in Allen Field House.)
Opera
LA PERICHOLE-Kansas
LA Lyric Opera's production
of "The Wizard of Oz"
tale of macadep doing
mythical Peruvian kingdom.
(Opening Oct. 7 at Lytic
Theatre, Central, Central,
City, Mo.)
THE STING -Paul Newman and Robert Redford in an admirably nostalgic but super-attractive film. They are too perfect, the acting is
muggy and the music is cutesy.
Wain't there any dirl and grime back then? Directed by George R. Moore.
Off handsome leading men.
(At 7 and 9:30 p.m. Friday
and Saturday in Woodruff
Auditorium. Also a 1:30 p.
m. Saturday matinee.)
ALICE IN WONDERLAND-Lewis Carroll's fantasy, gets an unusual treatment in the star, the Rangers. The members are Cary Grant as the Mock Turtle, W. C. Fields as Humpty Dumpty, Edward Asher Tolkien as Hatter, Gary Cooper as the White Knight, Jack Oakie and Roscoe Ashton as Twisted腰度 way and Edna May Oliver. Directed in 1932 by Norman Z. McLeod, it not only animated, but also GROAN, a little Scales short. (At 1:30 p.m., Sunday in
(At 1:30 p.m. Sunday in Woodruff Auditorium.)
(At 7:30 p.m. Monday in Woodruff Auditorium.)
TOP HAT—A marvelous art deco RKO musical starring Atsuyu Atsushi, Roger Gershwin with music by Irving Berlin. The songs include "Top Hat, White Tail and Tails" and "Strong supporting cast includes Helen Broderick (Broderick Crawford's mother), Eric Blore and Edward Everett Horton, by Mark Sandrich in 1935
VOYAGE TO THE END OF THE UNIVERSE—An unknown quaerer who was directed in 1964 and stars Dennis Stephens. Double-billed with a documentary, HIRSHOHNA-NAGAASKI. AU.
(At 7:30 p.m. Wednesday in Woodruff Auditorium.)
ASPHALT JUNGLE—A nense 1950 crime star drama starring James McMurphy, Barry Kelley, Louis Calhern, James Whitmore and Marilyn Monroe (in a brief part that was followed by a sequel) John Huston directed this
realistic and gritty movie; it's one of his best.
(At 7:30 p.m. Thursday in Woodruff Auditorium.)
LOVE AND DEATH—Imagine a ponderous Russian novel filtered through Woody Allen! The story is set in Israel, where the gelers aren't likely to notice the plot as Alien plays with the comic possibilities of every situation. Alien directs, of course, the wonders of daily performance from co-star Diane Kean.
EMMANUELLE — Hillcrest Two moves from “Jaws” to lower portions of the anatomy. Although this French import is lushly photographed, it’s hardly as memorable by the standards of the American ‘skin’ industry it vapid. There is no male nudity, too much socially redeeming dialogue, and if it had a plot it would be better, rating. Starling Sylvia Kristel, Marika Green and Alain Cunv
GIVE 'EM HELL. HARRY—A political caballer starring a comedian and a truman. Truman, Playwright Sam Gailman has sanitized the issues, so that Harry's bite doesn't back up the debate. This brand of plain speaking is one of the economies and to end of point in all directions.) has been so rare in Washington that it's refreshering regardless of the time.
WINTERHAWK — A plethora of character actors gives this film a distinct appeal that fails to keep. Unable to decide what portions of the story to emphasize, director Charles B. Sikes writes, "The minutes of slow-motion shots
THE MASTER GUN-
FIGHTER-TOM Laughlin
"Jack" success with this
traditional western. Frank Laughlin
directs, and Ron O'Neal
coats.
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