I ACTS and I FISI C F I

TH U RS DA Y. MA Y 1. 1980 PAGE 1A I ACTS AND I FISI C f I A Romance With Dance By JEAN MATTOCK choreographer Jose Limon, whose cers, much of the solo duty falls to horrendously-pastelled, droopy proximity of thè attractive (over- Spring -culminates in per works continue to be performed William Hansen and Delila tutus underscore the broad, but attractive) costumes against the formance for most local dance worldwide. Moseley, who also often partner never slapstick comedy. black field is surprising and ef companies; accordingly, recent In her own work, Condodina each other. Hansen has danced Bobby McFerrin’s score tran fective. Scaramouche looks more weekends have each been studded blends Limon’s emotive cathartic with Alvin Ailey and Jose Limon’s scends parody, invigorating his like a noble but forlorn Don with concerts. One evening of sdrama, expansive motivating companies, with the San Diego and chosen forms from All Feets Can Quixote as he bats his jutting grey- dance is still coming up. breath, dynamic use of weight, and California Ballets and teaches here Dance humming disco to an angst- beared chin. Repertory-West Dance Com sculptural but fluid design, with a at UCSB. Moseley has worked in ridden . Wagnerian lieder. pany, Santa Barbara’s only rhythmic depth and complexity the companies of Alvin Ailey, Movement ridiculousness — tap The koto sounds almost like a resident modern dance company that parallels the demanding but Joyce Trisler, Donald McKayle dancing on pointe,plies with the harpsichord with dynamics, and will perform at Campbell Hall on exquisite music she uses. and Agnes DeMille and teaches at arms, chicken flapping elbows, the greatest surprise is how long it Friday, May 9. The varied Repertory-West aims for sub SBCC. pigeon necks, buckling knees — is takes to realize that Vivaldi (Four program ranges from a joyously stantial variety by also performing accented by the bright, exacting Seasons) is not being played by a spilling break-neck romp set to Leo the works of other choreographers Impeccably rehearsed, Valerie delivery. traditional western orchestra. Kottke guitar music to a stark, such as Jacqui Coleman, quite well Huston Dance Theater’s Commedia del’Arte is a lusty Marc Wilde’s Koto Vivaldi also powerfully dramatic evocation of known on the local scene for her delightfully balanced program at vulgar form that gains most of its presents another, perhaps unin the ancient Greek Dytheramb, teaching and performing, and the Lobero showed the variety charm from its lack of it. Valerie tended, tension. Two skirted accompanied by the unique per Betty Walberg, who has worked possible to an artistic vision that Huston’s Scaramouche aims for a women on pointe are partnered by cussion orchestra of American with Martha Graham, Jerome doesn’t segregate the classical more delicate palate and is seldom two bare-chested men. Another iconoclast Harry Partch. Robbins, and extensively on from the inventive. anything but sweet, silly and three women in pants suits Besides heading her own New Broadway and in film musicals Marina Harris’ Eight Short pleasantly mollifying against seemingly form a third sex — York-based company, artistic (West Side Story, Fiddler on the Dances, which premiered in a Milhaud’s jazz influenced score. perhaps just in the context of the director Alice Condodina worked Roof, Funny Girl). studio concert last summer, The dancers’ first entrance is in extensively with the great Among Rep-West’s eight dan converts to a full stage well. New, front of' the curtain, and the ( Please turn to page 4A) PAGE2A DAILY NEXUS THÜRSDA Y. MA Y 1. 19S0 ----------- ; ------------------ j# Letters INSIGHT Ranting & Raving The Real Dr. Doolittle By CRAIG ZEROUNI In 1968 Paul Winter, already a vastly successful jazz musician, Arts Editor, Daily Nexus: murder as graphically as possible; was invited to hear the songs of the I have never written a letter to his prints fairly drip with gore. humpback whale at Rockefeller the editor before but I feel now that On the other hand Roger Boyce’s University. Hearing those songs, I must. I have just seen a show at images are obviously homosexual he now admits, changed his life. the UCen Gallery. It is ap and radiate a mocking brutality. “ If something is sensitive, soulful, propriately titled Mondo-types. To When not dealing with the thoughtful, we call it human. Hpw put it bluntly this show is homosexual theme Mr. Boyce is arrogant. It’s really a sound which disgusting! David Bottoms ap content with garish colors and says, ‘I am glad to be feeling.' It's pears to be obsessed with blood indecipherable themes. Some work an affirmation,” he says. and death and presents suicide and by other artists in the show are Winter’s music is also an af firmation, a statement on the beauty of being. It is perhaps COUNTY MUSIC at the Galleon Room appropriate that the astronauts on Apollo 15 took a tape of the Paul [THURS • FRI • SAT IMITES Winter Consort into space. His music is a combination of jazz, symphonic, African, Brazilian and European renaissance. It is WILDWOOD ethereal, shifting. By Winter’s own Featuring the Fabulous admission, it is “ very eclectic and Paul Winter: of whales, wolves and men. (it) baffled the record companies PATTY KISTNER as to how to merchandise it. because they never knew what bin tour of 23 Latin American coun- ***** ********** to put it in. " triies. We spent six months there, pleasing and decorative but it is Winter first came to musical often playing in village squares to 1979 "Female Country Vocalist" and not worth digging through the light in 1961 at Northwestern crowds of barefoot Indians. They "Top Bass Guitarist" of the vulgarity of Boyce and Bottoms for University, where his jazz group loved it ." No. Calif. Country Music Assn. the few morsels of art to be found took first prize - at the In Soon after hearing the whale there. I would advise art lovers to tercollegiate Jazz Festival. Soon songs for the first time. Winter was THURS at 8 pm • FRI and SAT 19 pm stay away from this exhibit unless after, they became the first jazz introduced to someone who was GALLEON ROOM —. Orchid Bowl they are gluttons for punishment. group ever to perform at the White probably the most instrumental in 5925 Calle Real • Goleta - Ph. 967-0128 House. “ The next year the Ken stirring his environmental Jeff Kaisershot nedy Administration sent us on a awareness. That someone was a wolf named Jethro, an animal that, to Winter, “ had a presence and almost mystical charisma that 1 find hard to explain. After that I went to see Jethro whenever 1 could. In 1973. you know, someone t steife*® , poisoned those two marvelous animals." In 1975 Winter took his alto sax »re10 t% lfl<ïaUi5'S V s and a cassette recorder to a wildlife research center high in California's Sierra Nevada. There, he played to thirteen captive wolves. At first, they ignored him. * ? * * $ $ & “There was- no mystery." he says. "I was just another creature standing out there with q golden object. Then I began playing at SQÜ \We \ o A 0Ln cB - night, from some distance away lite 5 ! V J v o e f ' e th e down the mountainside, and this for U's set off the wolves. I found that one of them kept howling answers to my sax long after the others had stopped. She even fit the length and shape of her phrases to mine. It was the most exciting duet I've ever improvised." Winter has also played for whales, on a Greenpeace boat ofl Vancouver. He was able to call whales to his boat with his sax. "T o everyone's astonishment," recalls Rex Wyler of Greenpeace, "they gathered in a circleand stuck their heads out of the water to see what was going on.” In concert, the wolf howl has become a sort of Winter trademark. "I feel that howling is a kind of celebration for wolves, and I wanted to share this celebration with my audiences," he says. That, and he would like to get across his ecological message. He is soft-spoken, but determined: “ we've got to save animals from extinction not because our ecological systems will collapse without them, but just because they are." Winter brings his musical blends of nature to Jhe Fleishman Auditorium Tuesday and Wed nesday, May 5 and 6. EXCLUSIVE PREMIERE ENGAGEMENT . REV FEA TURE-LENGTH COLOR TRAVEL-ADVENTURE FILM mn Produced & Narrated IN PERSON by KENNETH RICHTER From London to Land's End a fas cinating film of BRITAIN & her people. RESERVED SEATS NOW: $4.00 at the Lobero Theatre Box Office, 33 East Canon Perdido Street, phone (805) 963-0761. 8:15 p.m. MON. MAY 5 LOBERO THEATRE ^Onl^Santa^arbar^^tea^Showing^ THURSDAY, M AY 1. IMO «•or s a ★ ★ ★ Billboard ★ ★ ★ Film Attractions Art A COMEDY FILM FESTIVAL, featuring silent movies PHOTO-REALIST PAINTING. IN CALIFORNIA: A by such notables as W.C. Fields, Laurel and Hardy, Charlie SURVEY will be on view at the Santa Barbara Museum of Chaplin, and Harold Lloyd will be shown at the Lobero Art through May 11. Dr. William Spurlock, curator of Theatre Tuesday, May 6 at 8 p.m. Gaylord Carter, an exhibitions and contemporary art has selected works by. the organist who performed in theaters during the silent era, following outstanding artists: Robert «Bechtle, Douglas will accompany the films with organ music. Admission is Bond, D.J. Hall. David Ligsfre, 'Richard McLean, Shirley $3.50. Pettibone, Barbara Rogers and Joseph Raffael. The Kris Sugich Auditorium will present MR.

Load more