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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (May 11, 1971)
Howell production is supernaturcdly, 'spirited z CK'J wry ' ; il ' Hi V - 11 Stunning apparition Laura Ursdevenicz, cavorts around an English manor-house in Howell Theatre's production of Blithe Spirit. Review by BILL WALLIS Noel Coward's Blithe Spirit is an improbable farce in three acts. And improbable and farcical though its acts may be, the actual events of Blithe Spirit on the stage probably account for more witty fun per spiritual minute than possibly any other play. A beautiful and jealous ghost (Laura Ursdevenicz) is called back from the beyond by a quaint old medium (Susan Baer) to haunt her ex-husband (Chris Ballant) who has Lozada. . . Continued from page 1. the Indians refused, and the Mexicans worked so cheaply that enslavement wasn't necessary. Worldwide, the Indochina war and the opening of trade relations with Red China were cited as examples of economics ruling foreign policy. "They found a long hair in Los Angeles to play ping pong and supposedly the Chinese reacted not as expected barbarians, but as a civilized people. -The Chinese didn't change in 72 hours, so the American people have been lied to all along," he said. 'The key to the opening of relations with China is not a change in Chinese policy, but Nixon realizing that money can be made by engaging in trade, Lozada added. Lozada said that an alliance between all poor workers will be formed out of economic necessity in the future because, "today you find poor blacks, whites, and Chicanos fighting in Vietnam for no reason. Next time they will be fighting for something they believe in, crushing our economic system and creating a new one. remarried (to Diane Lee). Improbable? And this is just the beginning. Murder and mayhem follow, but all in fun, of course the more murders, the more ghosts. That's natural enough, all things considered. The cast brings most of the life to the Coward script that could be expected. The particular repartee-oriented social comedy that suffuses the play demands actors with clear diction and a lively sense of timing. Though slightly affected at times by a very, very British accent and pronunciation, the cast accounts for itself very welL Few lines are missed; a few laughs are missed. Ballant, Ursdevenicz and Lee handle their subtly bulky roles with ease and breadth of character. Ursdevenicz seemed to catch much of the nuance of the fern me fatale from the beyond. The leads are strongly supported by Susan Baer's delightful characterization of Madame Arcati, and by Britt Davis, Terri Rotolo and Annette Brown. Royal Eckert's box set is both handsome and functional. The costumes complement the production which is well lighted by Joanna Hill. Stage direction by Joseph Baldwin and technical direction by Jerry Lewis provide a solid dramatic groundwork for the actors to work on. Since this show is one of the type that improves with each performance and, in light of the very good performance given opening night, the coming week's audiences are in for a treat. Blithe Spirit is a delightful play and the present production captures much of that delight. See it while you still have a ghost of a chance to get a ticket. You won't die laughing, but youll chuckle quite a bit. And live happier ever after thai? you did before...or something. The production, finale of the 1970-1971 season, will be staged May 11, 12, 13, 14 and 15. graduate assistants for the new COED CORNHUSKER CO-OP summer andor fal( completely air conditioned new home call 477-4548 for information THE WORD IS OUT ON DONNY HATHAWAY VOfCES INSIDE (EVERYTHING IS EVERYTHING) JE VOUS AINE (I LOVE YOU) I BELIEVE TO MY SOUL MISTY SUGAR LEE TRYIN' TIMES THANK YOU MASTER (FOR MY SOUL) THE GHETTO TO BE YOUNG, GIFTED AND BLACK if Nut"" 1. 1 ' ' 44 " hi" 9 11, TW!B,PIP',!, 5 9-L t ( -J lis-., n4! I , l-- - Hi, rkfi GIVING UP A SONG FOR YOU LITTLE GIRL HE AIN'T HEAVY, HE'S MY BROTHER MAGNIFICENT SANCTUARY BAND SHE IS MY LADY I BELIEVE IN MUSIC TAKE A LOVE SONG PUT YOUR HAND IN THE HAND The word is out on Donrry Hathaway. A lew weeks ago, the superb composer-singer Carofe Kmg picked up eight copes ot Donny's first LP ("Everything Is Everything." produced by himself) and distributed them to her heaviest pals and gurus such as Lou Adler and James Taylor with the exhortati on to dig. The next portent came at Aretha Franklin's recent epochal appearance at the Fiffmore West, where she and Ray Charles were rapping backstage about Doony. who, in their modest opinions is just atfout the "baddest" new entry on the scene. And a few days later, at the Criteria Studios in Miami, superstar Steve Stills, working on his new afbum, sounded me: "Hey, what s the chance of Donny Hathaway coming down to pick on my afbum?" The word is definitely out. The finer notes to Danny's first LP inform us that he (1) Was born in Chicago in T945 (2) Attended Howard University (3 Played his first music jobs in the Washington. D.C. area (4) Then achieved heavy acclaim in the trade for his singing, playing, arranging, composing, and producing for such as Roberta Flack. Curtis Mayfield, Jerry Butler, and others. Here at Atlantic, where we have had the privilege of working with Ray Charles, Aretha Franklin and Otis Redding, we arc daring to hope that Donny eventually may join them in the special pantheon of those special gifted few who; Sing the best, Psay the best. Compose the best. Arrange the best. As for his string, horn, and choral arrangements, please listen to the soul shivering instrumental interlude in Giving Up where first King Curtis tenor sax break lifts the record to a new elevation followed by a string ensemble that takes it yet higher again climax upon un believable climax. When I played his Little Girl side for its writer, the wonderful Billy Preston (great artist that he is in his own right). Billy was transfixed by the record Donny s singing, keyboard playing, and fantastic arrangement for voices and strings. And f would like to be there when Bobby Scott hears what Donny does with He Ain't Heavy, the definitive soul rendi tion that a lot of people I know have been waiting for. f have been playing the album for some weeks now for friends, family and col leagues, and the reaction is always the same: joy and stunned disbelief. We are in great hopes that this portends a wide acceptance by an appreciative audience lor Donny Hathaway and this album, produced with abiding love, meticulous care, and. we dearly pray, impeccable taste. My special thanks to our own King Curtis, who found Donny Hathaway at a trade convention and who brought him posthaste to my office. And the same to our own Arif Mar din who split with Donny the arranging chores, coming through with his usual brilliance and unfailing musicality. Listen to the flutes and cellos on Arit's treatment of Leon Russell's ineffable A Song For You, and I think you wilt see why Aril's is probably the fastest growing reputation among the new breed ot arrangers and musicisns. And thanks, deeply, to our great rhythm section: Cornell Dupree on guitar, Chuck Rainey on bass, and the legendary Al Jackson, who came up to New York from Memphis to handle the percussion. JERRY WEXLER (TAPES DISTRIBUTED BY AMPEX) TUESDAY, MAY 11, 1971 THE DAILY NEBRASKAN PAGE 7 ON ATCO RECORDS & TAPES
