Let the Festival Begin, Page 4A 2A Thursday, February 27,1986 Daily Nexus

Let The Festival Begin, page 4A 2A Thursday, February 27,1986 Daily Nexus

London Actors Something special is brewing at in Residence N J C O L E T ir S atUCSB

Enter our "Guess the Number of Coffee Arts & Lectures presents Actors Beans in the Jar” contest and win a from the London Stage, a touring valuable prize! ensemble of professional actors from the Royal Shakespeare 1st p rize—Espresso Maker Company and the National Theatre and Demi-Tasse Set of Great Britain, in four per­ formances in Campbell Hall. On G ourm et 2 n d prize—Coffee Maker Feb. 28 at 8 p.m. and March 8 at 2 Coffee Tasting! 3rd p rize— Coffee Grinder and 8 p.m., the ensemble will per­ form a special five-actor full-length THURSDAY version of Shakespeare’s Measure Plus free literature, information, for Measure. On March 4 at 8 p.m., FEBRUARY 27th balloons, and coffee experts to the actors will present Beckett This Evening, an anthology of playwright 10:00 AM -2:00 PM answer your questions about this beloved beverage. Samuel Beckett’s writings as well as Sponsored by: writings about his works. MAIN FLOOR of Headlining this year’s tour is Lisa Harrow, who starred in the recent the University Center Masterpiece Theatre production of Come one, come all! The Life and Times o f Nancy Astor on PBS-TV and in Other Halves, a Bring your friends and film from New Zealand. Also par­ get it while it9s hot! ticipating are actors Julian Curry, THE COFFEE DEVELOPMENT GROUP Paul Whitworth, Stephen Jenn and Joseph Marcell, who was the first black actor in several decades to play Othello on stage in London. The actors will be in residence at UCSB until March 8, spending one week with classes in the department of English and one week in the SENIORS! department of Dramatic Art. In addition to their four Campbell Hall WE’VE CHANGED OUR ON-CAMPUS RECRUITING DATES performances, there will be two free public lecture-demonstrations: “ On Playing Hamlet” with Whitworth on Feb. 27 at 2 p.m. in the Studio Theater; and “ On Playing Othello” with Marcell on March 5 at noon in the Main Theatre. This special version of Measure for Measure emphasizes the ver­ satility of classically trained actors, as each actor plays several starring and supporting roles. Actors play both male and female roles. The anthology program Beckett This Evening features dramatic readings of works by and about Beckett in the first half of the program; in the second half, Curry performs the Beckett play Krapp's Last Tape.. Beckett This Evening was devised by H. Porter Abbot of the English department, with the intent “ to reacquaint us, in the space of two hours, with Beckett’s distinctive language, his ear, his sense of timing — the range of what could be called his theatrical music.” Tickets are selling rapidly for all performances. For more in­ formation, or to charge tickets by phone, call the Arts & Lectures ticket office at 961-3535.

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IK S —FR112:164:66 MOST EXTENSIVE SATMMY IM I 111 SELECTION OF SNNT12MS-MI CYCLING APPAREL Marc Hughes and Laura Keller (CLOSESMOflOAV) IN SANTA BARBARA Tulsa B a lle t Strong and Well Developed THOSE WHO KNOW, CHOOSE Perhaps the Tulsa Ballet Theater wasn’t aware of the recent visit from the Trocks when they decided on Swan Lake, Act II as the first piece in last Wednesday’s program. Titters could be heard throughout the dance as part ( g f e V e l o P h c t of the audience recalled the male baílennos performing their version of the ballet. 5880-C HOLLISTER AVE. • GOLETA But the Tulsa Ballet’s Swan Queen and her horde of swans were absolutely not men. In fact, one of the most remarkable aspects of the company is that (Opposite Santa Barbara Savings) the dancers are indisputably women. They prove (and this is the most im­ portant thing they do) that a company need not consist of anorexic dancers who have no sign of muscles or shape in order to perform “ good ballet” by any critic’s standards. These ballerinas have arms, hips, and legs and they dance with as much grace, leap as high, and move as freely as any dancer made of twigs. The program was a well-rounded excerpt from Tulsa’s well-rounded repertoire. Swan Lake, Act II was, well, Swan Lake, Act II. If you haven’t grown cynical about the idea of grown men and women portraying swans en pointe and princes chasing after swans who turn into women for one hour a B&t PICTURE day, Tulsa’s edition was quite pleasant. The dancers are strong, move very smoothly, and the corps de ballet was rarely out of sync. The last piece in the program was “ one of the most popular ballets of our time,” Gaite Parisienne. This ballet is colorful at the very least, so if you really want to like classical ballet but haven’t been able to stay awake through one yet, Gaite Parisienne may be the ballet for you. The costumes are bright, Tulsa’s dancing strong, and there are some slapstick, if stereotypical, comedic bits. The dancers were lively, although the can-can dancers didn’t yip or yahoo as they traditionally do, and they didn’t throw themselves into their movements as freely as real can-can dancers would have ( the plight of ballerinas trying to exercise lack of control for once). The best piece in the program was Rhythmetron. This “ ballet” was originally created for The Dance Theater of Harlem by artistic director Arthur Mitchell. Rhythmetron was adapted “in Indian motif” for Tulsa Ballet Theater to honor Moscelyne Larkin, an Oklahoma Indian ballerina and one of the co-founders of the Tulsa company. The music, a galvanizing percussion, was a relief from the tra-la-la traditionally orchestrated dances. There are no tutus or flowing skirts. The dancing also is a relief from the flitting arms (or were they wings?) of moments before, with the movements marked by strength and nerve. Daring lifts and leaps abound and no grace is forsaken to achieve the effects of Mitchell’s potent choreography. I did find the little red feathers in the women’s “ headdresses” to be a bit much though. One wouldn’t dare miss mentioning the ever-so-sweet pas de deux, The First Kiss. It was as sappy as could be, set to a moving ballad by George Benson, about growing up and learning about the greatest love of all. Everyone dug it. The applause for the piece was the most thunderous of the evening, and who could help loving Ena Naranjo as the girl receiving her first kiss; as someone sitting nearby so quintessentially put it, “ She’s so cute!” On the whole, the evening’s performance was enjoyable to those who like classical ballet and certainly bearable for those who don’t. The Tulsa Ballet Theater is a strong, well-developed company. Because they come from a part of the country not commonly considered a ballet mecca, the per­ formance was a pleasant surprise. _ Judith Smith-Meyer * We develop 110,126 and 35mm color print film in ON E HOUR S.B. Rim Fest Highlights * Custom Quality at no extra cost * All photofinishing services On Sunday at 12 pm, the Santa audiences insight into the hard Barbara Film Festival will present realities a photojournalist must face available a tribute to Orson Welles, when covering wars in such places * Open Every day Remembering Orson. This rare as Vietnam, Cambodia, the Middle footage of Welles will be screened at East, Central America and Ireland. the Santa Museum of Art and runs approximately 80 minutes. Ac- companing Hie film will -be Oja Love Songs will make its U.S. FR 0MEX INTRODUCES Kodar, one of Welles close friends, premiere on Friday at 2:30 p.m. at who will interact with the audience the Fiesta Four. A co-production following the screening. from France and Canada, the film 24 HOUR COLOR ERUROEMEHTS chronicles the friendship which Friday at 4:30 the Museum of Art develops between a beautiful talent will present a screening of There agent and two cocky but talented SPECIAL INTRODUCTORY OFFER Were Times, Dear, a heart- musicians who help her find new wrenching film about the dimensions in her personal and Bring this coupon in to receive a devastating effects of Alzheimer’s professional life. Disease, starring Shirley Jones and FREE 5x7 Color Enlargement with any Len Cariou. Other French films at the Fiesta Four will include Tea in the Harem color enlargement order up to 11x14. Salvador will make its West Coast of Archimedes, shown March 1 at (35mm, 126, llOColor Negative)» Expires March 31,1986 premiere this Friday at 9:00 pm and. 3:30 p.m., and the U.S. premiere of again Sunday at 12:30 pm at the He Died With His Eyes Open, 1229 State St. 966-2269 Fiesta Four Theaters. Directed by scheduled for 10:30 p.m. for the Oliver Stone, Salvador offers its same day. 4A Thursday, February 27,1986 Daily Nex |^ r^ /^ DDnnDnDODDDaDODaOOQQQQQQQQQQQnpQQg A Thriller on the Cheap L e t The f □□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□QQQ That’s the Mary Tyler Moore picture. Director Robert Mandel offers, with F/X, an imaginative, new angle on Why is there a special emphasis on New Zealand? thriller Rims. Although far from a picture of Hitchcockian subtleties and We’re saluting New Zealand as an emerging film nat: meticulous suspense, it does sweep you along. F/X is slang for special ef­ feel that New Zealand today is where Australia was fiv fects (note how you pronounce that last word). Don’t worry, this movie isn’t ago. Remember there were a whole bunch of pictui just a hodge-podge of cinematic magic. In fact, I was expecting more than there was. Breaker Morant, Picnic at Hanging Rock, Gallipot suddenly Australia became a major film power. We The story focuses on an effects man (Bryan Brown) whose talent is hi big salute to New Zealand, with the eight or nine pictui respected in the film world. He is approached by the Justice Department to are showing, plus some short subjects. They’re brin murder a mafia kingpin — his way. To facilitate the working of the Witness actors, directors, producers and they have an art s Relocation Program , they want Brown to stage a fake “ hit” to fool the un­ town. The ambassodor is coming from Washington and derworld into believing this godfather-turned-informer is dead. various parties. Brown has, of course, been duped. He has become a “ loose end,” in the The wonderful part about Santa Barbara as a festiva eyes of the bad apples in the Justice Department (C liff De Young and Mason is that it’s a walking festival. In other words, you ca Adams of “ Lou Grant” ). The rest of the film Brown has to rely on his wits from the Arlington Theatre to the Granada to the Mus and his special skills — F/X — to thwart those hunting him down. With a Art to the Fiesta Four... We’re making State Street kii couple of fine twists and some inventive tricks, the film is fun, but with all promenade. the potential involved it could have been better. The main charisma stems So then the film s will screen in many theatres? from the philosophy of self-reflexivity — art abqut art, in this case cinema Yes and thev will overlap because we have so much fi about cinema. However, it reminded me a little too much of The Stuntman. so little time.... We’re showing, for example, this very u However F/X is not of the same caliber as Stuntman and consequently pale Orson Welles tape that Jonathon Rosenbaum of our I in comparison. The suave performance of Peter O’Toole in the latter puts the brought back from Rotterdam. This is never befor mediocre talent gathered in F/X to shame. footage of Orson Welles...80 minutes worth. That’s goto The lackluster acting may be due in part to the extreme typecasting in­ at the Museum of Art. volved. The film abounds in cliches, and the characterization cannot escape Who initially put the Film Festival together? this. (I am unwilling to give the film the benefit of the doubt by assuming This is the third time this has been tried. There was that this was purposeful. When seen as a part of the “ film about film ” tempt made in 1974, which never got off the ground. Thei structure, the stereotypes could become amusing.) As a result, you never Paul Lazarus, professor of film studies 1981...a small group...tried again. This time i| was really get to see the individuals. The one character who communicates any principally through the day and night efforts of Phj individual insight and philosophy dies before the film ’s half over. Picciotto. She works for Metropolitan Theaters and bo( Brown reminds me a lot of Michael Caine (a plus in my bode) and I am Interview by Susanne VanCleave Riviera and Goleta theatres. She’s a specialist in art fill kind of taken by Australian accents. Unfortunately, he has not improved his Let the festival begin! Today marks the opening of the first is in and out of LA so she’s Very active in the film bui acting ability beyond his mediocre performance in Breaker Morant (1980). annual Santa Barbara Film Festival — four days o f in­ Somehow, by luck or design or brilliance, she put tog« His assistant, played by Martha Geyman, is not much better and has ternational film s and celebrities as well as workshops, board of nine people, each of whom is expert in a certai probably the worst lines in the film. Despite all this you end up liking these receptions, food, wine, special cultural events and more. she needed for the festival. Ranging from one man who caricatures somehow, and it almost becomes easy to cheer them on. It is Though the festival seems to have quietly crept up on us it is advertising agency downtown to a woman is a kind of qi even hard to condemn Brown’s more violent handiwork that comes at the guaranteed to open with a bang tonight at the Arlington Montecito who knows where all the money is...to lan B< picture’s end. Theatre when the local community and a whole host of who is the head of film at Brooks Institute, Shelley 1 The closure is completely predictable — but not until the end, which is the celebrities join to celebrate the christening of what will from the Museum of Art. I spent all my life in motk kind of paradox found throughout the whole film. So much could have been hopefully be the beginning of a long-standing tradition. tures...so I have forty years of knowledge and contact done with this that wasn’t. Instead we have a “ thriller on the cheap.” But Earlier this week the Daily Nexus spoke with UCSB teaching here at the university. We also have a i certain complexities and special effects keep the film on its feet. The plot professor Paul Lazarus (one of the nine member core com­ financier who handles the books for us and the mone whisks along, and besides, you’re not given much time to think about it mittee)'. Lazarus shared his thoughts about the film festival been a very hardworking, very scrappy group. Lots of anyway. The photography is handled well and the effects of John Stears are and what he hopes it will mean to Santa Barbara as a whole. but we somehow got it done. simple but — pardon the pun — effective. Though not in the league of silver What exactly is the Santa Barbara Film Festival? So most of the funding comes from local residents? screen greats, it is still charming and entertaining but only on bargain night. It’s a first flight by Santa Barbara into the stratified world of We started off with $20,000 that was given to us by th — Karl Irving film festivals. Originally I was not at all sure that we belonged That was the first big contribution. They did that becaus in that world. It didn’t seem, at the first glance, for there to be thought it would be good for Santa Barbara, for touris a good reason for us to join this tremendous number of film would attract people and focus attention on the city. Afte festivals everywhere, from Cannes to...Filmmex in Los up until now, all the money we’ve received has been fre Angeles. private sector. We’ve got seven people who have gi\ The reasons for Santa Barbara being the home of a film $5,000 apiece, a dozen-odd people who have give»$l,0001 festival are primarily that this has become a major motion and.. .a so-called committee of 500 who have each given $ picture community» We have so many people here who either looks now as if there’s a very good chance we will nnish are or did make their living in the world of motion pictures, black, which is unheard of for a first-time film festival. plus the fact that this is a retreat for most of Hollywood who Can anyone purchase tickets just by going downtown be love to come here for weekends— or for a film festival. We are screening? finding great support in Hollywood and this is going to be the The arrangement we’ve set up is that anyone who buys first, I ’m sure, of an annual Santa Barbara happening.... This festival ticket ($180) is entitled to everything or a film will fit along with Fiesta in August and Summer Solstice in ($120) has priority seating up until fifteen minutes I June. showtime. Then we will sell tickets for every available se Some people say the Santa Barbara Film Festival will, in the So the probability o f students getting good seats is fairly I future, rival Cannes’ — Very good depending where we are showing the film. I said that....It’s much more convenient than Cannes and a Fiesta, yes. We have 300-odd seats and it should be no pro better class of people. All the tickets are $5.1 think the smart ones who want What’s the theme this year? something like Lost Horizon, if it’s showing at 7:30, shoi There’s no theme other than survival. We really started there by 7:00 to wait in line to be among the first ones in. from ground zero. We have 30 pictures that we’re showing Do you feel it’s particularly valuable for students U from all parts of the world. We have pictures made in Santa ticipate in this festival? Barbara...and everywhere from England, France, Spain, I think it’s going to be a very exciting event. I think it’s mainland China, Canada, Italy — we’ve got submissions from to be exciting not only because it’s going to be a wide van all over. films but in almost every case there will be a personality We’re having a salute to Robert Mitchum, who is a local each film. An actor, a writer, a producer or a direci resident. The opening on Thursday night will be very gala. someone who will answer questions about the film aft« Growing Up With Ayla Not too long ago, Jean Auel wrote a refreshing and sequently left hanging in a hodge-podge of “tran­ original book presenting a fictitious account of the slations.” > “ dawn of modern humans” entitled The Clan o f the The casting creates further problems in the film, Cave Bear. The storyline centers on an intelligent, making it unbelievable at times. Daryl Hannah’s perfect ingenious and strong-willed woman named Ayla. The looks do not seem to fit the image of a primitive mud- natural setting is the north of Europe during the covered deerskin-clad female. Her innocent looks Pleistocene Iceage, approximately 35,000 years ago. portray the immature Ayla very plausibly, yet as the gem Ayla, a Cromagnon (modern human being), is or­ character matures and acheives independence, Hannah torn phaned as a child and brought up by the Clan, a group of is unable to validly represent her character. James drai Neanderthal men and women. The plot of the story Remar as Broud does little more than frown and rant trad revolves around conflicts between Ayla and Broud, the and rave like a spoiled child throughout the entire dan« Clan’s future leader. As she matures, Ayla develops self- movie. Though Pamela Reed, acting the role of Ayla’s rhyt reliant skills of survival and mannerisms that do not foster-mother and teacher, exemplifies the most insti n conform to the strict rules of the Clan woman. These believable Neanderthal woman. But on the whole the T1 unique qualities form the basis of the prolonged power “ Neanderthal” actors and actresses lack the charac­ Sen« struggle between Ayla and Broud, with positive results. teristic stocky, powerful build one would expect in and Though directly based on the novel, the movie version primitive humanity. Even Bart the bear lacks A Touch of Senegal Thei of The Clan o f the Cave Bear fails in its representation of credibility as he yowls and growls, but is quickly quieted as“ Auel’s original tale. This failure centers on the types of by two men armed only with fire-burned sticks. Drums pound out relentless rhythms two month tour after an absence of five wi communication utilized to relate the story to the Clan of the Cave Bear is not, however, a complete loss. which become increasingly complex as years. It performs one show only on ethn audience. It seems the long hours of debating this The movie is not without its positive qualities. The tempos change and excitement builds. March 6 at 8 p.m. as part of the Arlington intin subject between the director (Micheál Chapman) and cinematography is truly fantastic, capturing perfectly Singers join musicians in hypnotic Celebrity Series. popi the producer (Gerald Isenberg) were resolved by in­ the essence of the Pleistocene environment. The cave chants, with haunting melodies played on Its first performance for an American in p cluding a little bit of everything. The results are a movie gatherings, the musk-ox hunt, the river fishing, the plant traditional Senegalese instruments, such audience was part of an Afro-Asian tatio that flows erratically from scene to scene, as a com­ gathering, and the scenery depict Iceage people’s as the Balafon, a marimba-like dance festival at the Brooklyn Academy that bination of sign and body language, single-syllable lifeways fairly accurately. To compliment these keyboard, and the Cora, a 21-string of Music in 1971. As interest in ethnic of a words, subtitles and narration provide the movie’s scenarios, the costumes, make-up and props are also melodic harp made from a giant gourd. dance has grown, so has the popularity of view conversation. Instead of overcoming' the language credible representations of Neanderthal material The dancers, rocking their hips back and the group, and this marks its 10th tour of Iti barrier, the script writers have succeeded in thoroughly culture. / forth splay their seemingly boneless the United States. theal confusing the audience. We are left not knowing if an As a film for pure entertainment, it is average, sup­ limbs in huge sweeps of line and color. Ethnic dance, generally defined, Fo action’s meaning will come from — subtitles, overt plying everything from suspense to visually pleasant The National Dance Company of embodies the values and beliefs of a by tl narration, or our own interpretation — and are con­ (See AYLA, p.7A) Senegal returns to North America for a group of people who share specific 1317! Nexus Thursday, February 27,1966 5A U C S B Dram a Festiva/ Begin! A 'Parade' of Fine Actresses

screening. “ Nice and tight!’’ yells Janet (Diana Ward) over and We’re showing one film from mainland China and we have over at the beginning of UCSB’s production of John i nation. We the head of the China Film Import/Export Company coming. Murrell’s Waiting for the Parade. With that, she inad­ is five years He speaks very good English and he’ll answer questions. I was vertantly sums up her character. She is a small, brown- ictures like amazed to find out that last year mainland China made over suited woman on every war effort committee in town in llipolli, and 140 pictures, that’s almost as much as Hollywood. a desperate effort to make up for her husband, part of fe have this What does the future hold fo r the Santa Barbara Film the “ essential services” (he reads the radio news twice ictures that Festival? Will it be a yearly event? a day) who did not join the Canadian men fighting in bringing in Yes. We are videotaping this festival as well as Europe. The phrase also describes the play. art show in photographing. We’re going to apply for grants and it will be a At first, the structure unfamiliar, the rapid succession and hosting continuing event. We’re very pleased at the amount of at­ of scenes within each of the two acts seems a bit too tention. The media will give us support and the community will brisk. The house lights are not dimmed before the first stival home support us. We don’t want this to be an elitist operation. We actress is on stage, a small acting area in the Studio u can walk want this to be a community operation. I would like to see next Theatre surrounded on three sides by the audience. But Museum of year the festival expanded into more theatres, a greater once the audience catches on to the vignette-like et kind of a variety of pictures...We had someone criticize us because we character of the play, the abrupt and rather unexpected didn’t bring in any Spanish languange pictures for the Chicano pace at the beginning serves to soften the transition to population in Santa Barbara. Well, it was not a deliberate that world, Canada, during World War II. The brisk ch film and slight but it didn’t seem like a neccessary part of the film pacing keeps the narrative going at a fair clip. Murrell’s ;ry unusual festival. We have a picture from Spain but I think it’s better for work is indeed “ nice and tight.” our faculty the Film Festival to have pictures seen by everybody rather The play is often amusing, as life is indeed wont tefore seen than to say we’re going to ghetto-ize just for people who speak to be. Ward’s cheery “Vegetable Sandwich” presen­ going to be Spanish. tation is unforgetable. And Cindy Cooper, married to an We want this to be a major yearly happening. We don’t want old stogy man who perpetually broods about the war, it to get stuffy. We want it to be fun. says she occasionally leaves the sugar out of his mor­ was an at- That will set this festival apart from others like Cannes won't ning grapefruit juice. “ It makes his whole face pucker Then about it? up!” she says triumphantly. These little victories at was done Yes and we’re going to have a lot of people in from home render the war tolerable. Phyllis di Hollywood for opening night. We’re directing them all up to the The plot is not without its serious side, its moments of d books the parking lot at I. Magnin where they’ll be put into antique cars tragic irony, however. Allison Gendreau, an older *t films and and driven down State Street to the Arlington. And of course, woman, takes ill and writes two letters to her sons, a business, following the screening there will be...a buffet in the long forgiving them for leaving her alone. “ The paper in the together a arcade and our Montecito lady called around...and everyone envelopes was blank,” says Wendy Tasker sadly. “ She ertain area wrote with the wrong end of the pencil.” The five fight who has an their battles against lonliness, against discrimination, of queen of and against men, without a man ever appearing on in Bernard "It's much more convenient than Cannes stage. The conflicts are a lot more important that the ley Ruston and a better class of people... " actual war on in Europe. notion pic- The actresses assigned to the wildly diverse parts ntacts plus — Prof. Paul Lazarus have turned out solid, if not remarkable, performances. a retired about the S.B. One of the most notable of these comes from Dana Lynn noney. It’s Kopfer. She plays a stoic German woman (Marta) who ts of fights International Film Festival at first, like all German emigres of the era, is hassled. She is entirely seperate from the main narrative much of the first act, sitting on darkened steps blowing >y the city, said yes. So we have twelve restaurants who are supplying cigarette smoke out elegantly, scornfully. When she Marta (Dana Lynn Kopfer) cause they tables of food. Firestone Vineyards is giving us wine for 2000. laughs, it is almost chilling. When she speaks, her Durism. It We’re getting great support and this has become kind of a German accent is perfect. After that, bandwagon. slightly bookish “ educator” who, when not squealing The others are excellent too. They represent more during air-raid drills, is prancing around, practicing n from the People seem to feel it’s a good thing for the community and “ typical” women insofar as they are neither outsiders e given us they want to be part of it.... fake machine-gun fire, and belting out anti-Hitler dit­ nor the driven responsibility-seekers Ward’s character ties. Allison Gendreau is an older woman. She handles ,000 apiece Is there anything in closing you would like to say to students in represents. Wendy Tasker leads as the spirited factory ren $500. It particular about the Festival perhaps to motivate them to the role extremely well. Not much has been done to age worker, plunging into the role with verve and en­ hish in the participate? her cosmetically, but her slow, full walk is utterly thusiasm. Cindy Cooper is a contrast, as a girlish and convincing as a world-weary, slightly fatalistic widow. V al. What I would like to do is to encourage students to more nt before a actively participate in this next year. We’ve had over 100 On the whole, the acting is ac­ volunteers who have worked at our headquarters, who will be complished wthout artifice. The buys a full ticket takers and ushers and escorts for the stars. I would urge play has not many props. One set of film ticket that students get some exposure and find out what the festival costumes perfectly complements tes before is like this time and next year.... It may very well be that in the cast, with the exception of tie seat. future festivals part of it will move onto campus. The Chan­ Cooper’s rather out of place penny irly high? cellor is on our honorary board and he’s very much interested. loafers. The set, a minimalistic ilm. In the Something of special interest to students is the number of metal structure, represents the 0 problem, free events that are available. Sunday night the closing at­ location of the moment, rendering /ant to see traction is the Maori Dancers. They are a New Zealand group the performances all the more in­ , should be who will be dancing at 5:30 and at 8:00.. .We have a program 0f tense with little drawing-room ¡in. films by Santa Barbara filmmakers showing at the Museum distraction. Periodical vintage radio its to par- (of A rt)...10:00 am Sunday, and that’s free, and the film broadcasts and popular songs of the makers will be present. Then at 12:15 at the Fiesta we have era add a truly wonderful and 1 it’s going another Santa Barbara made film called Habeus Corpus and authentic touch. “ Kiss me...” goes i variety of that’s free. So if people are short of dough they (can still one, “ it’s been a long, long time...” lality with participate). We have a fun spirit about this. Parade is excellent, and it will be a lirector — long time until it is matched in tight, i after the For more information about the Film Festival, call 963-9591. cooperative acting and force of ______characterization. Director and four cast members — s. M.Wenrick

The dancers of the □ , # □ * 0 National Dance Company ■ S * Parisian Street Life in Concentric Circles The latest film in the Arts and French society — from the Lectures New Directions in Film of Senegal bourgeoisie to the common thief — series is Favorites of the Moon, whose lives revolve endlessly described by many as kaleidescopic. around a finite group of art objects This is no exageration for Favorites that are stolen and re-stolen as the genetic, linguistic and cultural ties. The is just that; a kaleidescope of m characters lives crosscut each other form carries a history retold in dance characters and objects that never in a complex pattem/dance. There drama and depicted in ritualistic cease turning round and round in a is a fam ily of burglars, a gun traditions where every aspect of the rhythmic pattern of concentric salesman, a corrupt policeman, a dance is important: color, costume, visual circles. coquette, a mechanical genius, a rhythmic patterns of dance, and specific The film’s director Otar musician, a group of prostitutes, and instruments. Iosseliani, expatriate of Soviet an outrageous punk vocalist who The National Dance Company of Georgia, has a cinematic style that collects paintings of nudes. Senegal — a group of 40 dancers, singers operates like the masterful shuffling and musicians — presents a colorful mix. of a brightly colored deck of cards. Their performance has been described In actuality, Iosseliani . uses Co-screenwriter Gerard Brach as “ joyous.” elaborate and detailed storyboard describes the Favorites of the Moon While the stage is a false setting for drawings which he organizes into a as a non-story; “ just time passing ethnic dance — which by its nature is an visual blueprint that he later with exciting ups and downs, but not intimate community ritual — the translates to film. Only this kind of Parisian street life in ‘Favorites of the Moon.' what we are used to seeing....It’s a popularity of the Senegalese group is due _ elaborate planning could produce a film about time, life passing by.” It in part to its documentary-like presen­ □ film such as Favorites of the Moon. seems only a director with the of the players to and fro creates a particular social and moral stance. tation. Material is edited for the stage so □ In addition, Iosseliani’s prior ex- varied background and skill that non-story that, though utterly The film ’s concern is less with ex­ that an audience can capture the essence 13 perience with music (as a composer Iosseliani has could successfully chaotic, makes perfect sense. plicit narrative value than with the of a culture from the experience of □ and conductor) and with create such an anti-constructionist With Favorites of the Moon essence of life’s ironies, comedies of viewing its dance and hearing its music. □ mathematics has greatly influenced piece and have it remain accessible Iosseliani has captured the essence errors, and pure rhythmic in­ It is a history told with few words; live □ the composition of his film. The and intriguing for the most common of Parisian street life with its many teraction. theater at its most exciting. q result is a mosaic of characters and audience. Favorites of the Moon is a ironies and comedic players. Each The cast is composed entirely of For tickets and information call or stop □ objets des arts that move like visual gem. It will screen this character is not tremendously amateur and character actors which by the Arlington Theater ticket agency, □ participants in a tightly Sunday in Campbell Hall promptly developed within the film but in­ lend to the overall aura of the film as 1317 State St., 963-4408. □ choreographed dance. The rhythm at7:30. stead draws depth from occupying a a playful and funny critique of — Susanne Van Cleave 6A Thursday, February 27,1986 Daily Nexus Grandmaster Will Rap in S.B. effective mixture of smooth soul and street rap, something that few other rappers on the scene have been able ACTORS FROM THE to accomplish. Sign of the Times LONDON STAGE continues the tradition of social awareness, and the remainder of in Shakespeare’s BIG ART upbeat material (and even a ballad) Measure fo r Measure fill a satisfying, if not completely Friday, February 28 / 8 PM impressive package. Saturday, March 8 / 2 PM and 8 PM Joining Grandmaster will be Campbell Hall Fishbone, who definitely deserve in Beckett This Evening equal attention. Frat rats will surely remember their antics at last year’s Tuesday, March 4 / 8 PM Campbell Hall ISVT party. Just barely out of high school, Fishbone serves out a wildly The acting ensemble we’ve come to love: original stew of everything from artists-in-residence from the Royal Shakespeare Company and the National sold to punk, combining swift and Theatre of Great Britain. Sec. II Sold Out simple guitar with a touch of brass and one helluva lot of energy. R eserved S eats: $ 9 1 $ 7 .5 0 1 $ 6 UCSB Students: $7 / $ 5 .5 0 / $ 4 Their debut E P is typical, with Yeah, I know what you were dancers. His current group includes each song providing a new surprise. Presented by UCSB Arts & Lectures 1986. thinking. Thought that rappin’ soul two holdovers from the former days “ Ugly,” a stormy number pointing Tickets/Charge By Phone: was stale, lost in a haze of of Grandmaster Flash and the out a well-known political figure, 961-3535 monotonous drum machine drones Furious Five and three new reminds one of that favorite and generic deejays. Well lay low all members. He pulled the new band childhood chant (U-G-L-Y you ain’t you soul junkies cuz the Grand­ together after a two-year break got no alibi!). “ Party at Ground master is back with a renovated from recording. With the aid of a Zero” is a relentless assault on the band, an aptly titled new album, more widely distributed record feet (keep them movin!) while They Said It Couldn’t Be Done, label, he should soon be seeing a lot “ Lyin’ Ass Bitch” has one of the best and a tour which will bring them to more action. endings since Johnny Rotten’s the Arlington tomorrow night along Catching a quick glimpse of the moans on “Never Mind The with Fishbone and the Vandals. new boys in tuxedoes scared me at Bollocks.” Originating from the streets of first, but upon turning the album Seems fitting that in light of Black the Bronx, Grandmaster and his over I was reassured that those History Month two all-black bands entourage are one of the originals in rappin’ leather cowboys hadn’t should finally be able to headline a their music form. Justly known as changed that much. While not quite show, especially in this mecca of the king, of rap, Flash cleared the on the same level as Greatest beautiful people and pasty way for an endless flow of proteges Messages, a personal favorite mix republican banquet hosts. who currently fill the airwaves and of searing social commentary and Highlighting the music of two highly dance floors. His scratching, mixing lighter party music, They Said It acclaimed bands as well as L.A. and phasing (a sort of musical Couldn’t Be Done luckily avoids quasi-legends the Vandals, the show montage combining bits of various being lumped into the frivolous rap should surely wake up Santa Bar­ records) techniques created new category, a genre which was en­ bara’s concert goers. So head on sounds and rhythms, yet Flash has tertaining at first but has since lost down to the Arlington, cuz Flash is kept a pretty low profile. much of its appeal. fast, Fishbone’s cool, you miss this Flash even prefers to give up the The album is kind of a rebirth fdr show, you sure to feel the fool. stage spotlight to his rappers and Grandmaster and maintains ‘ an — Brent Anderson Selina Glater - A Musician in Residence Music appreciation (Music 15) and music fun­ also gain additional insight and assistance in how to damentals (Music 11) students have an advantage this write bgtter concert reviews,” says Glater. (A complete quarter. In addition to being enrolled in two of the music listing of her preview times and dates for spring quarter department’s most exciting courses offered for non- will be available from the Arts and Lectures ticket offce majors, they can now attend lecture/previews for at the beginning of the quarter). concerts. Glater is a graduate student in musicology and a T L C B e n j a m i n L e e ’ ’ O f ' Many students need some assistance in understanding violinist. She performs with the Montecito Chamber ( —S ttLet-r JD 3-) classical music. Veteran teaching assistant Selina Orchestra and teaches privately. She is a newly elected Glater provides this needed information. Her in­ member of the national music honor society, P i Kappa NO COVER. CHARGÉ formative lecture/previews are offered free to students Lambda. 2.1* MUST SHOW I.D. interested in learning more about the composers, the Glater can be heard on KDB radio starting on March 1 967-9012 performers and the music which will be heard in up­ in her monthly special broadcast of Music is Alive with coming concerts. Her presentations take place Sundays Selina Glater. The new monthly program highlights the 5111 HOLLISTER AVE. MAGNOLIA CENTER prior to Arts & Lectures concerts. upcoming concerts of both the Santa Barbara Symphony Her next preview will highlight the Anton Kuerti and UCSB Arts and Lectures. It will be heard for the concert presented on March 5 at 8 p.m. in Campbell Hall. first time on March 1 from 7:30-10 p.m. and will follow The preview will be given on March 2 at 7 p.m. in room the same time slot on the first Saturday evening of each 1145 of the music department. “ These preview sessions month. Her successful Santa Barbara City College Adult i are designed to provide beginning music students with Education class, Music is A live: Behind the Scenes with the necessary background to help them both enjoy and Musical Events in Santa Barbara inspired the radio -UCSB STUDENTS- profit from their concert-going experience. They will program. “ROCKY HORROR” HAS MOVED TO THE Master Pianist to Play Campbell Pianist Anton Kuerti comes to Campbell Hall on Beethoven specialist; his repertoire includes concerti by March 5 at 8 p.m. for a concert of works by Beethoven, 12 composers and his recordings of Chopin, Men­ RESTA 4 THEATRE Schubert, Schumann and Brahms. An acknowledged delssohn, Schubert, Schumann and Scriabin have been master interpreter of Beethoven, Kuerti will play called “ unsurpassable indeed” by High Fidelity Beethoven’s Sonata No. 24 in F-sharp Major, Op. 78. magazine. “ Not since Schnabel, or Serkin in his prime, has late Born in Vienna, Anton Kuerti immigrated to the THIS Beethoven been given such intelligent and fiery per­ United States and later made his home in Toronto, // % formances,” wrote Fabion Bowers in Musical America. Canada. He is an avowed arts advocate and shares the i f “ One left the hall saddened by only one thing: Beethoven interests of many artists concerned about social FRIDAY! himself never heard a performance of these sonatas, responsibility. and if he had it could not have been a more profound Kuerti will be in residence at UCSB March 4-5 and will experience than that which Kuerti gave us.” give a free public Master Class on March 4 at 2 p.m. in Kuerti has recorded the complete Beethoven sonatas Music 1145. on.the Columbia/Odyssey label. But he is not just a For more information, Arts & Lectures at 961-3535. FIESTA 4 Ü THEATRE Jill I f / DON’T MISS... 963-0781 CHINA CASTLE GRANDMASTER RESTAURANT FLASH AUTHENTIC MANDARIN SZECHUAN HUNAN CUISINE AT THE MIDNIGHT ARLINGTON THEATRE TOMORROW NIGHT ONLY!! 8:00 P.M. a V f Q Open Sun.-Thurs. 11:30 am to 10 pm L/V/v/lm 1 i i l L w Fri.-Sat. 11:30 am to 10:30pm CoM pllam tary After Dinner Beverage 1 2 0 2 Chapela St., S.B . 9 6 2 -6 6 0 2 a 9 6 5 -9 2 1 9 (at til« c o r a n of A aap «B > ) 2 9 0 G Stork« Rd., Goleta (Nat to K-Mort) 9 6 8 -1 3 0 8 Daily Nexus Thursday, February 27,1986 7A ¥ COMPACT DISC 9* 3?$*f CONTRIBUTORS: HOTLINE Brent Anderson (Continued from p.4A) scenery. As a thought provoking CALL OUR CD HOTLINE Kart Irving film, it is terribly disjointed. Once FOR UP TO DATE again Hollywood has taken an in­ INFORMATION ON Judith Smith-Meyer teresting and intriguing bestselling COMPACT DISC NEW Cover Photo: Cynthia Zutter novel and turned it into an average From Laughing Camera I film, misrepresenting many integral RELEASES AND HARD- by YvanDalain. parts of the book. TO-FIND TITLES! — Cynthia Zutter 968-6625 MOBNINGLORY MUSIC “A TOTAL DEUGHT...C0MPLETELY 910 Embarcadero del Norte, Isla Vista CAPTIVATING, REFRESHINGLY OIFFERENT. Open 10-1Q Daily • 12-8 Sundays • 968-4665 Rex Reed. NEW YORK POST ' A ' * * * “GET READY FOR THE MOST ORIGINAL MOVIE SCHEDULE FOR FRIDAY, FEBRUARY 21 ST THROUGH THURSDAY. FEBRUARY 27TH MOVIE IN YEARS! William Wolf. GANNETT NEWSPAPERS THE COW MUST BE

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I.V. THEATRE FRIDAY, FEB. 28 • 6,8,10 PM & 12 AM $3.00 ABARBARA Spons. by International Laurel Hall "Compelling, Live downstairs tension-pocked, gripping!' Arlington M urphy’s ¡g g g ^ G u y Flodey. Cosmopofcan^^M Entertainment OPENER IKHT Rom ance Sub Baton ______B l ANTON KUERTI, piano Fita Festival ‘ Ju»t Friends’ Wednesday, March 5 at 7:30 F.N, BIG ART Campbell Hall / 8 PM This celebrated concert genius plays 2/28- Bnndiiiiitar Flash 5:15.7:50.10:25 upstairs works by Beethoven, Schumann, Brahms 3 /3 - David Copperfield upstairs and Schubert. Kuerti is “an intellect of 3/4&5- Jackson Browns The Terror starts the the highest technical and spiritual order” 3/6- National Dance Co. at Senegal moment he stops! THE (D ie W elt, Berlin). 3 /8 S 9 - S.B. Symphony Reserved Seats: $10 / $ 8 1 $6 DELTA UCSB Students: $ 8 1 $ 6 1 $4 FORCE Presented by UCSB Arts & Lectures 1986.

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FEBRUARY 2-4-MARCH 12 UCEN Gallery

Fteception: February 27, A- 6 pm

S ficfn* (fana, Beckenstein. “ Why should I take from only one language? It would be a waste of so many great things I ’ve gone through.” The majority of the group’s rhythmic structures, however, are more derivative of rock, soul, and Latin than they are from jazz; and they also offer occasional rubato improvisations in which elements from both mainstream and avant garde classical can be heard. But perhaps the most noticeable thing about this seven-member group is that they are unbelievably rhythmically tight. The rhythm section of drummer Richie Morales, percussionist Gerardo Velez, and bassist Kim Stone never wavers, providing as strong a rhythmic ? * ; \è foundation for the extrapolations of the other players as is possible. And s4i Santole Spyro Gyra’s story begins in growing up in New York, Becken­ above this pulsating rhythmic Buffalo, New York in 1975, when the stein was constantly exposed to a structure are placed the work of and, like World War II, give our small sign outside the club an­ variety of cross-cultural musical Beckerstein’s soprano and tenor ‘boys’ our strongest support. In­ nounced them as “ Tuesday night — experiences. He was an avid listener saxes, fellow composer Tom stead, it exemplified the old adage, Jazz Jam.” From those rather to Latin music on the radio and to Schuman’s keyboards, Julio Fer­ “ East is East and West is West and humble beginnings, the group has the traditional jazz of his father’s nandez’ guitar, and Dave Samuels’ never the twain shall meet.” It was a gone on to a position of international record collection. Later, in college, marimba and vibraphone, for a war where Western ideals clashed stature, and they are now out on tour he played classical and avant garde wonderfully varied amount of dif­ disastrously with age-old Eastern in support of their ninth album, the music in academic classes and ferent voices and textural colors. attitudes. recently released “ Alternating recitals, while playing rock, blues, Often their pieces contain sections of Al Santoli, a highly decorated Currents.” The primary mover and and jazz in the clubs at night. All of unisons between different com­ Vietnam veteran, has taken the shaker in this group’s development these influences are present at one binations of these melodic in­ Everything We Had: an oral words of 33 men and women who has been leader and saxaphonist Jay time or another in the group’s struments, such as sax/marimba, or history of the Vietnam War by served in Vietnam and bound them Beckenstein, whose initial vision of a music. “ I grew up with jazz, rock, soprano/guitar. In these sections thirty-three American soldiers who in a compassionate volume that tells band not limited to a particular Latin music, and classical, both both the blend and the execution fought it. A1 Santoli, the author, will their war stories in their own words. genre holds true to this day. As a boy historical and avant garde,” says were as good as it gets. speak on Thurs., March 6 in Lotte The descriptions are shocking, Lehmann Hall at 7 p.m. The lecture sensitive and provide an intimate is free of charge. look at the conditions under which The Vietnam War was never a war military personnel struggled in fa d tf, (fauHO M ^Çacdlà, that prompted Americans to cheer Southeast Asia.

As a singer, songwriter, and guitarist, Judy Gorman-Jacobs draws on an unusually wide & uvdic (jo tt repertoire of songs and styles: blues, jazz, traditional and con­ As a right brain flake — I will only temporary. Jacobs will perform for face facts in life threatening a UCSB audience on Wednesday, situations. Finals are coming up March 5 at 8 p.m. in Lotte Lehmann. soon — is your life in jeopardy? If so, Tickets are only $3 for students and Charlie Gott, an Adjunct Professor $5 for general admission. at eight universities and a list of With wry humor and deep caring professional affiliations that won’t she sings “ songs about women and quit has insight on how to deal with working folks’ troubles, songs about boring and unreasonable professors. lovers and people who struggle.” 7 Monday March 10 at 8 p.m. in the From another of her songs, “ This UÇen Pavilion B and C is your Earth,” her words are “ Don’t you chance to learn how to communicate 1981 Nobel Prize Winning right want to taste freedom, and peace in with your professor like you neve brain/left brain research of Dr. this life? I believe we can make it have before. Roger Sperry. It regards the object whole again, I believe we can make The communication model used of all communication — the human it whole.” by Dr. Charlie Gott is bsed upon the mind. In a personal statement Jacobs with themselves, to each other, to nurturing.” said, “ I want people to have fun, people who they might not deal as Judy Gorman-Jacobs, Wed., which is why it gives me pleasure to easily with. I think that the purpose March 5 in Lotte Lehmann. Special make an audience laugh. I want of art is to make us more fully thanks to the Women’s Center and people to be a little more connected human, more nurtured and more the A.S. Status of Women.

*7W ßonfoteM HO , CIAL EVENTS We couldn’t find musicians who believed that the music was everything — these L.A. players all wanted money and guarantees. Well, there aren’t any guarantees. But a good song, and a good voice singing it— that was your ticket out. True Confessions of a guitar player ^tictcuf' Tf7 — Brian Richard. The rest of the band has a few confessions of their own to make — let them spill their hearts for you in the Pub. What a better time to lay truth or dare. The eleven member band not including the Hammond S t U S » * organ will let you in on some of their secrets tonight. This page written and edited by Janell Pekkain.