L sr· i 3 : ' _ ':iPAGE 10 ,The lMch:'FRIDAY, MARCH 1, 1985 . I I i -· ii .1 W

i i Mis magnificent Marc-el Morceau Maed Marcen, at the Colonial Theater renowned clown character created by Mar- mance. A t th e e n d of r the show, afteer some until Sunday. -ceau in 1947. The audience's enthusiasm considerable timie's] pent lingering back g For Technical reasons not of my mak- l l X 1 L was well received by Bip, -who appeared in stage, (and after obt;aiining an autoograph; . | i ing, I arrived at the Colonial Theater when J · his usual attire: white dungarees, gay WOW) I - learned,.t that there ha(d been the-first half of the performance was al- striped pullover and the battered, some problems with the lighting, hich i most d Monsieur M over. !i had missed. some of Mar- A beflowered opera hat. had greatly displeases [arceau. J- I i ceau's classic numbers such as, -Walking, V In Bip as a S;ater Marceau's body con- In all honesty, as-p,-lmember- of thie audi- a 1 Againsthe'e. Windand Tade; Bureaucrats. It trol leaves one both in admiration and full ence, I had not noticed any. Unque ,C I gz , / estiona.- was fortunate enough,,:however, to -catch _ i -1 o I of laughter. Marceau could be described as . bly, Marceau. was -t hrown by the slight ,, the end of The Seven Deadly Sins. " a veteran of pantomime, but his cpordin- echnical hitch, and; as a result cotuld not - f The:first half of the show finished with tion and range of motion are as.youthful keep the audience en;amoured with his last 4 ! F The Mask Maker,'In this famous skit, . . and extensive as his spirit-and creativity. somewhat metaphysic:al skit. I supIpose he Marceau.plays an aftisan mask maker who Judging by the copious laughter and ap- felt the atmosphere wvas all wrong. At one i ·I ·1 i tries on-the masks he produces. He flirts plause, the audiences favorite number-was point it seemed as tho)ugh he was stzaring at r i with the idea of trying. them on and off, the classic Bip Plays David and Goliath. the light panel baclkstage to verify the r r alternatinga sad mask with a happy mask.. Marceau's one-man Ham would have us gravity of the situaticon. The tragedy Of'his struggle is believe there are two actors on stage. ithle, if any, c - funny at .I-: we 'The- finai hitchi-Aif- damage first; but eventually stirs some deeper feel- . all know, of course, there is only Marcel 4o the performance (of the master mime. ings within us-- perhapsthe same feelings' , ! Marceau with all his resonating energy one The evening was,-,well Iworth the sotmewhat ·· ·I we use to change our own masks.The ini- moment as D:avid, soon after as Goliath. prohibitive prices (foir students thatt is). · tial humor r shared by the audience turned I\ / The exquisite and sophisticated i own legend i i·· ' nature of Marceau began his in 1946 .i into an almost eerie .)· stillness. Marceau's Marceau's humor emerges at the end of when he enrolled as a student in ¢Charles i ability. to' disassociate 'his bodily move- W the skit, when upon taking his bow as G;o- Dullin's School of Drramatic Art in Paris. ments from his facial expiression a i is aston- 'l 'a l liath, Marceau calls' David to come and Since then his talent Ihas graced eveery cor- onishing. The "style pantomimes" n i of the 'i '~'L [1 take his bow simultaneously. ner of the globe. He iwill be i Bostton un- first half ended with numerous crashing . The last number, Bip in tie -Modernand --L· _. 1. til Sunday night. e I encores. Future- LIjVe., uackw MIC via;+Uty mu,_%.-el D%.,A pa ;s Theshow's second half featured Bip,- the which characterized the rest of the perfor- Corrado Giar : i .mbalvo '-

i hies oft Two Against. ,,- ~~ One no Massacre tonArts un- ofe Jp The Golden Palomrninos Present "Two launched and maintained the careers of short chromatic riffs, odd time signatures, I Against One" in concert at the 's most stellar talents. Recently and high-energy mb~alv c Boston the solos. ify three Shakespeare Company, Saturday, Feb. 23. trend in jazz trios has been'to support col- Two Against One treated us to new ren- damagein - The "power trio" - a bass// lective improvisation, where no single solo ditions of "Killing Tdme," "Legs," "Aging i drums grouping - is as old as rock and voice is predominant. Air and Boston's With Dignity," "Corridor," "Bones," and j roll itself. In the hands of Elvis Presley, own The Fringe are leaders of this trend. "Surfing," plus "Conversation" from Las- Scotty Moore and Bill Black, the trio re- , progressive rock guitarist well's Baselines album. The pieces unfor- presented rock at its most basic, most vital extraordinaire and prominent member of tunately were recognizable only to those level; when utilized by Jimi Hendrix, Noel the New York avant-jazz axis, in 1980 who had heard them from the recording Redding and Mitch Mitchell, the trio ex- formed Massacre, his owvn "power trio." because of a gross sound imbalance plored the farthest reaches of the genre. -Bassist and drummer Fred Laswell's bass completely overpowered ·At its best,. the trio served as a vehicle Maher, both from the pioneering jazz Frith's guitar. !m for the presentation of brilliant musicians ensemble Material, joined Frith in his (Cream, for example);-at its worst, it venture. served up bombastic gentility and egotistic Massacre was meant to recapture the soloists (Rush and ElP .come.ton mindl) raw energy-:of early rock and roll, and Variations on the trio have been attempted infuse it with the creative sensibilities of - keyboard improivisational jazz. or saxophone in the place of It succeeded admira- crashing the party, treading on the toesof the guitar -but the guitar remains the bly with its two recordings: the album Kill- Frith's.solos with loud atonal bu.rsts of preeminent voice of the power trio. ing Time and one side of Frith's Spebch- bass feedback. - The trio is also-the foundation less. Massacre of jazz, was incorporated in 1983 W.hat finally undermined the where the bass/drums/soloist format into a larger perfor- has- band, the Golden Palomrninoss, mance, however, founded by drummer was the inclusion c)f three . middlebrow, heavy metal excursions This , intro- historical background is necessary duced by' Frith as to "our psychedelicc num- understand the context of last Satur- ber? One of these tunes day's performance might hayre-been_~~~ and the highly qualified regarded as a joke, but three point title " Present ted out 'Two all too clearly Two Against One's Against O)ne'." Only three of the eight or 's basic problem: They had succumbed to t nine Palominos - Frith, Laswell, and Fier the ego - _performed,' displays that have ruined all great power i but since Fier was drum- The free Improvisations, apat from sf- trios. ming in Maher's place, the ensemble fering from the same sonicdifficulties as -While Fier, Frith, and Laswell are all couldn't fairly represent themselves -as the set pieces, were a -disappointment. Massacre. outstanding musicians in their own Iright, Frith, who has an incomparable approach they could Representation aside, what not completely abandonRthem- we heard on to producing sound from the guitar - uti- selves to the collective the BSC stage was clearly a Massacre per- spirit that prcopelled [] lizing feedback, bowing the strings, and Massacre's brilliantS first perform 1t formance: a series of structured lances. J pieces in- placing objects on the strings, was given Two'Against terspersed with bouts of free improvisa- One was indeed an apt name: little time to explore new possibilities. Frith and tion. The group culled the pieces from Fier against Laswell, buit none the While Fier provided the perfect percussive came Killing Time record, characterized by out the winner. foil to Frith's antics, Laswell's bass kept David G.· Shaw

i : . ... i m f i (1' . vea I ss ential Moza -rt .. 7:1 Yehudi Menhuhin The adagio opens gently with a pene- ,5; plays Mozart's . XI Concertos Nos. 3 & 5 and conducts the trating introspective beauty. Menuhin's' ·F violin produces a concentrated $: Bath Festival Chamber Orchestra; Angel sound. that a , 4AE-34409. wends its way through a silken orchestra a .s a 'ii4 The smash hit release of 1985 turns out lost as in a dream. The listener, too; can-, ·1 :·1 to be. a recording easily become lost in the movement's from 1962. The tape pure 1 which will bring a smile to the most 'Insti- serenity. i '' tute-jaded face The concluding rondo was recorded by Yehudi has a rhythmic .- I .;i ' Menuhin at .his prime, and has now been thrust to it, transporting us to the end of 1 I ·.,· digitally remastered by'Angel. The perfor- the piece with an infectious gaiety.. - ., * + e manee speaks eloquently by itself, but the a T openness of the digital sound adds an ex- The determination of Menuhin's entry .:- tra dimension of communication which to the allegro aperto of Mozart's Vioin- I .warrants the recording's place in everyon- Concerto No. 5 is matched by its free- 1 . : e's Walkman. flowing dance-like quality. In Menuhints a 1 a The first movement of Mozart's Violin playing we see a glimpse of the unfath- . Concerto No. 3 opens with a huge burst of omable Mozart: Child-like on the surface, energy. The orchestra - under Menuhin's but with myriad complexities underneath. ,. baton before he takes up his bow - builds The adagio continues in like vein, an over- up an enormous sense of anticipation cre- whelming grandeur conveyed With refresh,- i 1/ ing I i ::i::- ating -music of both elegance and simplicity. a wit. Both Menuhin Then Menuhin enters and develops his and-orchestra provide a I sensational - opening theme with supre e intensity, yet finale in'the tempo di men- uetto. At first thereis a questioning, 1 sweetness too. The orchestra plays in close plain- r tiff touch to the solo music; the orchestra' :IL\. . :touchwith Menuhin, the remarkable grace r . -, of .the accompaniment highlighting the then takes on a drone-like quality, the so- loist playfulness of the soloist caught in Mozar- flying free above. 1 tean joy. . The most demanding of difficulties are produced with the utmost facility; each" . .Menulhin takes 'off into a cadenza of phrase gives pause for careful consider- datamss:afid light, loneliness and fullness ation; the- work ends leaving the mind that.is'. quintessentially Mozartean. The or- clear and sparkling to contemplate on the _hes~trai:returpns for a stuonning drive home eternity of Mozart. _ ,.the end, of.the movement. ·1 Jonathan Richmond ,

I C