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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Jan. 30, 1978)
monday, january 30, 1978 page 6 daily nebraskan Royal Winnipeg Ballet sparkling jewel in rough setting By Charlie Krig The next time I attend a Lincoln Com munity Concerts program, I'm going to wear sunglasses and earplugs. Undoubtedly, that will decrease my enjoyment of the performance, but at least I won't be distrubed by insensitive, unappreciative audience members as was the case Saturday night. The Royal Winnipeg Ballet performed superbly in five dances, ranging from classical to modern ballet. i Photo courtesy of Tha Royal Winnipeg Ballet The Royal Winnipeg BaDet's Bonnie Wyckoff performs in Rodeo, choreographed by Agnes de Mille with music by Aaron Copland. arts and Energetic performance belies slippery winter complications By Casey McCabe For Larry Raspberry and the High steppers, a two-night stint at Lincoln's Royal Grove was just another in a hectic tour. To complicate matters, the band was caught last week in the country's worst weather and was unable to leave Ohio in time to make their scheduled Thursday opening. But if the ordeal was a strain on the 30-year-old Larry Raspberry, you could not tell it by his active stage performance. Looking resplendant in a long white tuxedo top, cut-off blue denims and no shoes, Raspberry was energetic as he took the stage by storm with his rock antics. Touring like this can get pretty harrow ing," said Raspberry in his thick Tennessee accent. "Being exposed to midwest winters is a thing in itself. "It's taxing to drive all day and night, slide off the road or whatever, and then get on stage and work. The justification for it all comes from playing our music and putting on a good show." The High Steppers have been with Raspberry since 1972, but the band only has played with its current lineup since last summer. The band has opened for such acts as The Ozark Mountain Daredevils. The J. Ceils Band, Black Oak Arkansas and Head East. But, according to Raspberry, the band was pulled from the -Ozark Mountain Dare devil tour after crfy one show becausf they pUyed "too high energy ' music which contrasted with the Daredevils' style. The exposure helped the band gain a following and sold some records for them, although they never were able to become popular on their own. Raspberry admitted the current tour is out of necessity. "We play for a living, so we have to play the market that supports the band," he said. "And that happens to be dances, bars and sometimes a small concert. We're hoping to land a record affiliation in the near future." Larry Raspberry and the Highsteppers play uninhibited rock, with a firm bse built upon early influences like Chuck Berry and little Richard. Raspberry said it is his duty to inspire the crowd by coaxing people to dance artd clap their hands. Most songs are original compositions from the band's two albums, High Step pin' and Fancy Dancin ' and In The Fink. Some more memorable selections are "Jive Ass", "Rock and Roll Warning" and "Baby Get Out of Bed." While hard rock is the obvious force behind the band, Raspberry said playing dance able music often is a necessity. The band members, all Tennessee natives, listen to such artists as Billy Joel, Boz Scaggs and the Commodores. "If you heard th band a year ago. you could see the changes that have taken place." Raspberry 6aid. "We've become a guitar band, and little harder-edged. If the people accept what Uey hea: we think we've been sincere about our music." Unfortunately, it was difficult to absorb the dancers' expertise while surrounded by unruly children running in the aisles, loud conversations between hard-of-hearing people, popcorn munchers, popcorn bag cracklers and slamming doors. But the dance company surpassed the interruptions with precision matched only by the Pennsylvania Ballet's appearance last year in Kimball Recital Hall. Festival opened the evening with bright, snappy choreography, perfectly coordi nated lighting and colorful costumes. Kerry Duse conducted the 15-piece orches tra in a Flavio Venturini composition that Duse arranged. The result was sublime. Oscar Araiz (choreographer of Festival) torpedoed the senses with two more works, Adagietto and Women. The first used motion as an abstraction for love with the movement framed by an ebony stage and accented with cool blue lights. Women emphasized forceful, dynamic movement and was arranged on a cut from Grace Slick's Manhole album. The five ladies' sensuousness, frustrations and anxie ties broke out of the dance with long, loose hair and white costumes resembling nightgowns. The theme of repressed sexuality was coupled with stark white lighting. The austere scenery was sufficiently potent to hold the audience in astonished silence. Others were offended enough to walk out of the performance. A typically classical Balanchine crea tion, Glinka Pas De Trois, satisfied those who expected more "traditional" ballet. Balanchine painted graceful motion on music by composer Mikhail Glinka and the trio of dancers gave grand and stylish per formances. There might have been an ulterior motive for placing Rodeo last on the program. People who disliked the modern works repeatedly commented that the title sounded more promising than the first selected. It- delivered what they expected. The entire company wore polychro matic cowboy costumes, with scarves and hats to emphasize the motion and mood. Choreographer Agnes de Mille incorporated some down-home tap and square dancing that immediately elicited spontaneous applause. The production's resemblance to the movie and stage versions of the musicai Oklahoma undoubtedly was a factor in its acceptance, as was Aaron Copland's western style music. In retrospect, the Royal Winnipeg Ballet was a treasure. Each solo perfor mance (of which there were too many to mention here) was a gem set in a golden crown of composition. Superior orches trations and technical help offered substan tial support. But, in consideration for the dancers, Pershing Auditorium and the audience were only remotely prepared for a produc tion of this style and accomplishment. It revived the realization that Lincoln needs an adequate perfoinance hall for major companies. In addition, the performers deserve sophisticated audience members who attend the arts for cultural appreciation, not as a social event. Woodwinds recital Tuesday Two instructors in the UNL School of Music will present a free, public recital Tuesday at 8 pjn. in Sheldon Art Gallery Auditorium. Gary Echols, bassoon instructor, and Robert O'Boyle, oboe instructor, will play three pieces: Quartet in D Minor (from Tafelmusik, 1733) by Telemann, and Concerto for Bassoon in E minor (F. VIII No. 6) by Vivaldi. They will be accompanied by Harvey Hinshaw, David Van de Bogart, Priscilla Parson, Gay Kohl, Brenda Manuel, Marilyn O'Boyle, Maureen O'Boyle and Ronald Arden. . Pi H r 11 TZttStt " ""! JSS- ZrJkl Sll Stl SSI rSTM 5? ! S W itsii. i - t i a? if smi s nr trsr. trs usstir iis-fr-! - t - w . Ttmrts . " - ii sr ii - trrt 's ti m 1 1 mt r as t r It m-y - ei awn is ,v- e-w . ;.:tm v.-. R ansovii - esg m Jgay m ili .. s rn $ri!5 S . rif ,.vn -18? , m '.assfvSi $ sur. eEs-.-i ar8 JPpHtafii V. V. iT, ii-sii : h nr:i . rsr?; iii; ks instBitenrsL, ti ,z -as -.-11 r? ... 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