ENTERTAINMENT

THE LIVELY ARTS:

LISTENING AND LOOKING WITH LOUISE Five of the performances I attended. récently contained certain elements of the impossible. Can you believe a dance without dancers? Students doing a better job than professionals? A single actress playing all the major roles in a play? A harpsichord over 12 feet long? Four bassoons making a tango out of "Tristan und Isolde?" No? Well, take the advice of the White Queen. Alice said she couldn't believe something because it was impossible. "Can't you?" the Queen said in a pitying tone, "Try again, draw a long breath, and shut your eyes."

The dance without dancers was the final scene in "Magritte, Magritte," performed by the Jose Linon Dance Company at Music Hall. A spot light rested on a giant, tired pair of work shoes with human toes while an offstage voice read a poem that expressed the metaphysical philosophy of the Paris-transplante, Belgian surrealistic painter Rene Magritte. It was one of six scenes a homage to Magritte. The painted sky,

Stephen Pier, The Jose Limon Dance Company. Photo Marth Swope.

costumes, props, and frequent spoken word were as integral to the dance as the dance itself and the music. We never quite understood it, but we enjoyed it and felt its power.

The second work was the premiere performance of "A Day in the Life...," representing Dawn, Morning, Afternoon and Evening of anyone, everyone. It made effective use of controlled improvizations. The program closed with Jose Limon's 1956 classic, "There is a Time," based on the beautiful Old Testament words of Ecclesiastes 3:1-8. The gamut of emotions was unified by the muted earth tones of the costumes and the ageold ritual of circle dances.

Jose Limon was one of the shapers of modern dance, and although he has been dead for ten years, his company still bears his name and continues his tradition of using ever-expanding techniques to express the strengths and weaknesses of human character and man's basic tragedy and grandeur of spirit. The picture accompanying this article is from "The Unsung," a sample of which we were given in the free Brown Bag Luncheon Dance recital the day before the opening.

The student performance that would have done many professional groups proud was the Bonstelle Theatre's production of "Wonderful Town." Leonard Bernstein's 1953 musical, based on the same plot as the stage play, "My Sister Eileen," was zany and delightful. Two innocents from Columbus, Ohio, come to New York to seek fame and fortune and settle in a cramped, basement apartment on Christopher Street in Greenwich Village (prior to its recent fame). One of the girls is plain-looking but a talented writer; her sister has the looks, charm and femininity that most men simply can't resist. They get involved in one hilarious adventure after another, accompanied by lively music, dancing and singing. Under the able direction of Russell Smith, choreography by Nira Pullin, and music directed and conducted by David Jennings, the Wayne students gave a better performance than many I have seen on the Fisher and Masonic Temple stages.

At the Fisher Theatre Cloris Leachman did the roles of four women, all different and all equally strong. George Furth's 1971 comedy "Twigs" takes its name from Alexander Pope's line, "As the twig is bent, the tree's inclined." In the first three acts we see three middleaged sisters, each energetic, selfish, domineering, incessant talkers, and in the last act, when we see their 80-year-old mother, we know where they get it all. There are a lot of laughs in the last act when Ma marries Pa after half a century of living together. Other than that, very little happens except that it is an incredible showpiece for an incredible actress, Cloris Leachman.

On February 16 at Orchestra Hall we saw and heard what must be the newest entry in the Guiness Book of World Records, the world's largest harpsichord, built by Detroiter Ed Kasprowicz. The 12'3" instrument which took six years to build is an engineering as well as musical marvel. Its rich bass reaches down to F below the piano keyboard, and its upper register is brilliant. When two keyboards are coupled, it makes a powerful sound, which unfortunately dominated Orchestra Hall's excellent Vernon harpichord in the Bach Concerto in C Major for Two Harpsichords. Bernie Katz and Evelyn Scheyer, harpsichordists, were assisted by the New Heritage String Quartet and Ray Benner, who plays, string bass with the Detroit Symphony. The program ran the gamut of harpsicord music, demonstrating the range and power of the remarkable instrument.

The Detroit Symphony Orchestra Bassoon Quartet played at Orchestra Hall on February 9. Their music was expertly arranged by Lyell Lindsey, who sometimes.

shifted to the contrabassoon, and they were Occassionally assisted by Daniel Jencka on the Orchestra Hall harpsichord. The four bassoonists were excellent musicians and played with sweetness of tone, fine phrasing and articulation, and infectuous humor. The first half of the program was more or less serious, but the second half was sheer fun.

Five seemingly impossible feats done and done well. It was just what we needed to liven up a dreary, snow-bound February.

SEVEN BRIDES FOR SEVEN BROTHERS COMES TO THE FISHER

BY MIKAL SNELL

The rollicking musical "Seven Brides for Seven Brothers," begins a five week engagement at the Fisher Theater with a preview on Wednesday, March 3rd and the opening on March 4th. The Broadway bound musical stars the popular recording artist Debby Boone in the pivotal role of Milly: Ms. Boone will be making her theatrical stage debut in the productuion. And David-James Carroll will play her husband the eldest of the seven brothers.

Based on the 1954 MGM film and the 1928 Stephen. Vincent Benet short story, this is a new version coauthorized by Larry Kasha and David Landay. Mr. Kasha is the Tony award-winning producer of "Applause," and the current Broadway hit "Woman of the Year." Mr. Landay is also director of the musical, "Seven Brides," which he is co-producing with Mr. Kasha. In addition to the score of the movie, new songs have been added as well.

Debbie Boone, daughter of Pat and Shirley Boone, got her first break in the entertainment business in 1970 when she recorded the hit "What the World Needs Now," with her other sisters. After that, she followed the success with the Grammy award winning "You Light Up My Life." And with the production of "Seven Brides," we will see if Ms. Boone can take the viewing public by storm as she did the listening public, with her music.

"Seven Brides for Seven Brothers" recounts the saga of the rambunctious Pontipee brothers in the Oregon backwoods and the unorthodox but ultimately successful wooing of their future brides.

For more ticket and schedule information call 872-1000. Tickets are on sale now at the Fisher and at all CTC outlets.

David-Lewis Carroll & Debbie Boone in "Seven Brides for Seven Brothers." Fisher March 3 thru April 4.

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ISSUE 67