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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (March 8, 1993)
aSSffi ARTS^ENTERTAINMENT Music, dance intertwine in performance By Sarah Duey Staff Reporter __ The Mark Morris Dance Group did anything but disappoint its the audience at the Lied Center for Performing Arts Saturday night. In an intelligent and sometimes satirical way, Morris’ choreography kept the audience’s interest throughout its five-piece performance. In a queslion-and-answer session Sunday, Morris said, “As an audience member, I want to see something differentevery time.” And this is exactly what he gives his audience. The performance c 1 early demonstrated what Morris, known as the choreographer of his era, is famous for: musicality, the element of sur prise and moves from throughout the history of dance. Morris’ ability to combine rhythm and phras ing in music with movement was visible in all five pieces. Morris said he first chose the music before he started working on the movements. “I study the score before I start choreograph - ing,” he said. “I feel it is my responsibility to know the music.” In “Three Preludes,” a solo piece by Morris, his personal connection with the music became apparent. The choreography of Morris and music of George Gershwin were interwoven; sometimes the movements emphasized the pulse, and sometimes they worked against the tempo. In this web of music and movement, Morris was cleverly effective in expressing the emotions that accompanied these pieces. Along with Morris’ talent for musicality in his choreography, he added a special sense of humor and an element of surprise to his works. Both of these elements arc a reflection of Morris’ personality. “The fun and cool thing about being a cho reographer is that I can do what I want,” he said. In the opening number, “Going Away Party,” the audience was exposed to a satirical piece with a country western theme. Sometimes us ing blatantly sexual moves, but consistently humorous, the group’s first piece showed Morris* new approach to dance. Once again the accompanying music by Bob Wills and His Texas Playboys contributed to the piece’s suc cess. In two pieces, “Beautiful Day” and “Bed- j time,” Morris effectively used baroque pieces from Franz Schubert and J.S. Bach. “I love baroque music,” Morris said. “It makes me want to dance.” The structure of baroque music seems so limited at first, he said, and after studying it, incredibly dramatic and terrifying emotional j things came out. “The dance starts from music,” Morris said, “and once I find its secrets, I turn it into something worth watching.” The fun and cool thing about being a choreographer Is that I can do what I want — Morris choreographer -ft -i After music, Morris said he must know the geometry of the piece. He uses ethnic line dances in a lot of his works because he finds them visually appealing. Sometimes accused of choreographing some thing anyone could do, Morris said his dances were extremely difficult to do well. Since the age of 23, when the group was formed, he has choreographed more than 50 pieces for the group. Morris said he made his first dance when he was 15. Craig Paterson, a member of the group since 1987, said, “Mark is a genius ... a good thinker.” The choreography alone cannot make a suc cessful performance. The group is rich in talent. Lynn Topovski, assistant professor of dance at UNL, said he was impressed with the group’s unison. “The group worked together as an ensemble,” Topovski said. The Mark Morris Dance group, now on tour for the first lime since their stay in Brussels, is giving the nation something other than a stan dard performance with bad music and the same routine but a different costume. “I want people to see something besides television,” Morris said. Besides the Saturday night performance, members of the group gave classes and an informal showing of a piece Sunday afternoon. Therrese Goodtett/DN Marie Morris of the Mark Morris Dance Company performed Saturday night in the Lied Center for Performing Arts. •p. ~ > • --- ■ ——i Difficult opera thrills audience Shakespeare’s ‘Midsummer Night’s Dream’ filled with impressive performances, vocals kirohall By George K. Stephen Staff Reporter Benjamine Britten’s opera “A Mid summer Night’s Dream” takes quite a bit of skill to pull off for cast members and musicians in any production. After all, the music is extremely difficult, the words are in Shakespearian English and, heck, a good portion of the cast is fairies. But this rather formidable goal was admirably achieved Friday night by the UNL Opera Theatre to the delight of the audience in Kimball Hall. The production established a vi sual sense on stage quite in tune with Britten’s musical descriptions of the supernatural domain of the fairies. The costumes, always crucial for those mischievous woodland fairies SS&tSSSSR tacular clothing of the airy king and queen of fairies, Oberon and Tytania. Praise must also be given to the innovative set design. Quite eerie and enveloping, the forest scenes con sisted of curtains draped down from the ceiling to the floor, giving a sug gestion — with the help of some impressive dramatic lighting — of large dark tree trunks. But for the all the visual elements, it was the dramatic performances that sold the production. . As one would expect, the work men of Athens stole the show, led by the lively and impressive vocal per formance of Robert McLoud as Bot tom the weaver. Britten’s music is quite clever in describing thcdim-witted.overacting Bottom, and McLoud showed him sclCcapable while every bit playing the buffoon. The other workmen did just as charming of a job in performing the “serious mirth” of their play “Py ram us and Thisby” in the final act of the opera. The Wall and Moonshine did ter rifle jobs of intentionally singing badly. And while the workmen won the audience’s laughs, David Daniels as Oberon won tnc audience’s respect with his tremendous vocal ability. Considering the infrequent num ber of countertenors, Daniels can look forward to a fine career. Other good voices included Lissy DeGrazia as Helena and Richard Walcnline as Demetrius, who per formed their comic roles well while showing their vocal ability. Paul Sieger proved a very convinc ing Puck from the moment he jumped out of the orchestra pit and danced up the aisle. His energetic acting was enjoyable whenever he was on stage. The orchestra, conducted by Rob ert Emile, played Britten’s very diffi cult music admirably throughout the performance for two and a half hours. Overall, the opera was thoroughly entertaining. Considering extensive difficulty in performing an opera of this kind, all involved in the UNL production should be proud. UNL English department to honor International Women s Day Today is International Women’s Day. Everyone is invited to celebrate with readings, food and fun during the English Department’s first-ever Shakespeare’s Sister Day: a day of come-and-go readings from women’s literature. The Andrews’ lounge will be open from 10 a.m. to 4 p.m. Sign-up sheets lor volunteer read ers have been posted (and arc almost full). Volunteers read for ten minutes from favorite books and magazines. Reading material will also be pro vided for those whodrop by the lounge. The celebration is similar to the popular Shakespeare birthday party, which is also sponsored by the depart ment each year and where all the bard s sonnets are read m order. But Shakespeare’s Sister Day takes its name from a line by Virginia Woolf in ‘‘A Room of One’s Own,” in which Woolf wonders: What if Shakespeare had a wonderfully talented sister? Would she have been allowed to shine? Refreshments will be provided. — Staff Reports Members’ tragedies make Def Leppard like a family By Jill O’Brien Senior Reporter By now, if you’re a fan of Def Leppard, you’re probably aware that the group plays tonight at the Pershing Auditorium. Perhaps you saw them last De cember when they played in Omaha or in Lincoln back in 1988. Even if you’re not familiar with Def Leppard, chances are you’ve heard their singles, “Let’s Get Rocked’’ or “Have You Ever Needed Someone So Bad,’’ songs from their newest release, “Adrenalize.” Regardless, whether you’ve heard of them or not, don’t let this concert pass you by—Def Leppard only tours every four years. But when they do, they lour extensively and extravagantly, sparing no ex pense when it comes to creating their stage in the round. Singer Joe Elliott has said their round stage offers the intimacy of a theater, giving Def Leppard fans four frontrows instead of one. Even fans in the back rows are assured a good view. ; • The fact that the band releases a new album every three years ex plains why Def Leppard tours are ent. r reason for the infre quent touring has to do with the tragedies the band has encountered: In 1984, drummer Rick Allen’s left arm was severed when his car overturned. Fortunately, because of the friendships and family closeness of the band members, Allen wasn’t told “Forget it. We’ll just look for a new drummer.” Instead, with the support of his wife and band mates, Allen adjusted to one-armed drum ming, then resumed recording and touring with Def Leppard. The worst was yet to come. In January 1991, guitarist Steve Clark, recovering from cracked ribs, accidentally overdosed on alcohol, painkillers and anti-de pressants. A ftcr Clark ’ s death, Def Leppard reconciled, hiring Phil Collen and Vivian Campbell as guitarists. Elliott, not discouraged by the setbacks, was quoted as saying that tragedies are likely to happen to any band together for 15 years — just as tragedies happen to fami lies. Adversity has made Def Leppard a tight-knit group, sup ported by band members with a reputation for possessing an undefeated attitude. Def Leppard has also acquired a reputation for showing up at con certs on time. So, tonight, be there at 7:30 sharp. You won’t want to miss them.
