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Major Barbara'loses Shavian Wordplay in Uncomfortable Setting

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Major Barbara'loses Shavian Wordplay in Uncomfortable Setting DAILY NEXUS ACTS AND LEISURE A rts Editors PA6E17 T h e B a n d : Farewell to Rock of Ages By Ben Kamhi • After posting a Thanksgiving dinner for over 5,000 last Thursday at San Francisco’S Winterland Arena, and performing more than four hours o f music during the concert billed as “ The Last Waltz,” The Band initiated their retirement from the stage after 16 years o f rock and roll. With the most prestigious group o f rock stars ever assembled on a single stage, the Band’s farewell performance — perhaps their best ever — became a monumental celebration of rock as well as a superb testimonial to the Band’s undisputed excellence. Even the presence o f Bob Dylan, could not overshadow the Band during its finest hour. Along with Dylan, Joni Mitchell, Muddy Waters, Neil Young, Neil Diamond, Paul Butterfield, Van Morrison, Dr. John, Bobby Charles, Stephen Stills, Eric Clapton, Ron Woods, Ringo Starr and Ronnie Hawkins all joined in the Last Waltz. Winterland’s doors opened at 4 p.m., and the Band’s guests filed in (at $25 a head) for a catered Thanksgiving dinner and dancing to the 38-piece Berkeley Promenade Orchestra, against a setting o f ballroom decor. The dance floor was filled, but few o f the rock fans actually waltzed. SAYIN- BYE-BYE TO THE BAND - tleft to right) Dr. John, Joni Mitchell, Rick Danko, Van Morrison, Bob Bay Area Pianist Dave Alexander spelled the orchestra Dylan, and Robbie Robertson. intermittently with his bluesy, barroom styled boogie. Photo by Ben Kamhi The band opened fire shortly after 9 p.m. with “ Cripple and louder than ever. While his guitar-work was hotter than o f quest stars. Creek,” then proceeded with a twelve-song volley, with simmering shit he relinquished his lines with a subtlty as yet Following Hawkins exit, Dr. John appeared, finally at support throughout the evening from a six-piece horn unsurpassed rock. right place at the right time along with Bobby Charles, and section. Consecrating the Band’s seven-album repertoire in Rick-Danko’s gangbusting bass and Levon Helm’s steady later blues harpist Paul Butterfield. its final performance (though the group will continue to drum pulsations provided strong rhythmic surges, while Muddy Waters, a veteran o f the Chicago Blues since the record together), the initial impact o f the opening number keyboardists Richard Manuel and Garth Hudson added thirties, delivered the most dramatic performance o f the was overpowered by the increasing energy and momentum their own richly flavored elaborations. And with Danko, gueststars. Together with Butterfield and Robertson, Waters .of each o f the twelve following songs. Helm, and Manuel sharing the vocal duties, both the presence constituted an unbeatable blues combo. After his Leading the Band, guitarist Robbie Robertson, usually harmonies and leads effected were velvet smooth. first number, Both guitarists Clapton and Woods (the new shy in his stage manner, was every bit as bold last Thursday Without interrupting the set, Arkansas rockabilly singer Rolling Stone) could be seen in the audience howling for as he was brilliant, and his ear-to-ear grin was equally Ronnie Hawkins, Who originally formed the Band as the more. irrepressible. Robertson’s licks were crisper, cleaner, tighter Hawks, tiis back-up group, started an hour and forty parade ( Please turn to p. 22, coL 3) ‘Major Barbara'Loses Shavian Wordplay in Uncomfortable Setting By David Hodges make her son Stephen heir apparent to the There are plays o*n words, there are words on Undershaft industries, despite the bothersome plays: a review. There are plays without words. tradition that allows no blood heir to assume There are wordplays, there is Shaw, Bernard Shaw control o f the industry, but rather a foundling who plays with words, not actions, at least in the which Mr. Undershaft has yet to find. current production o f “ Major Barbara,” as directed Each character defends their beliefs with a by graduate student Donna Lee Crabtree. passion. Unfortunately this was not apparent in the Not that Shaw never uses actions in his drama, UCSB production, there was a subdued air about but he uses them sparingly, always to support the the actors that didn’t Cohere with the words o f the intent o f his words. Shaw cannot help it if he revels play. Only Undershaft, played by Stephen Harding, in language, whether it be philosophical, dialectical, achieved a credible portrayal o f a ruthless, but merry or tragical. And as such his drama, “ Major sensitive businessman with an almost utilitarian Barbara” in point, is ill suited for outlook. Karen Calvert as Major Barbara seemed theatre-in-the-round, (note the UCSB production), quite mild compared to her supposed religious which requires unstrained movement to arouse the passion and dominant personality. Her lover interest o f a four-sided audience — a dreadful beast, Cusins, played by Ron Bofonkay, exhibited none or bore perhaps. o f the stuff that would make him doggedly follow “ Major Barbara” can always entertain with the Barbara. In all, the actors did there best to smother strong support o f the words, it could be read in a the power o f the language with irrelevant actions monklike monotone and still retain interest. For which failed to support the faltering play. within the play each idea combats its opposite, Shaw instructed his actors to merely read the morality vs. immorality, charity vs. greed, and war lines, nothing more. Perhaps this is a simple vs. peace, o f course. Each character is fitted in understatement, but its fundamental message o f moral armor and sent to battle their antithesis. paying attention to what is said was overlooked in The plot is simple, -the ideas complex. Barbara, this production. daughter o f Munitions magnate Andrew Undershaft It is unfortunate that Director Crabtree accepted has joined the Salvation Army. Adolphus Cusins, a the conventions o f arena staging for this particular charlatan professor o f Greek, falls desperately in play. Shaw’s verbal intrigue finds an uncomfortable love with her, and despite his own dubious home with the four-sided beast breathing down his religiousity takes to carrying a drum for the neck; the tension is even greater for the actors S H A V IA N D IL E M M A - Karen Calvert as Major Barbara joins her Salvation Army Band. Meanwhile back on the home tasked with carrying his message. Yet it is a credit to mother, Lady Britomart (Susanne Standish-White) .in a bit of front, Mrs. Undershaft, who hasn’t seen her the author, as wells as several o f the^actor-s, that the Shavian wordplay. •' -v . / , '•••. Photo by W. Swatting husband, by choice, for some years, is trying to language manages to persevere. PAGE 22 DAILY NEXUS THURSDAY, DECEMBER 2,1976 The Band's Last Waltz (Continued from p. 17) burned by Robertson’s tamer sounds. B u t Clapton quickly complementary work, still searing During a forty-minute disappeared from his seat, and more inventive. intermission, several Bay Area resurfacing onstage after the Neil Young, Joni Mitchell, and poets, Lawrence Ferlinghetti, Waters set. Clapton wanned up Neil Diamond were next on the Emmett Grogan and Michael with “ A ll My Pastimes,” and lineup, allowing the Band to slow McClure recited their works as a » i f farewell tribute to the Band. began to cook on “ Further On down from the grueling pace it Up the Road,” only to get had maintained thus far for the When the Band returned, ^ V L Hudson led an expedition into t h e outer limits with ,rn m m m m m j c û i p ever-changing keyboard You can too! improvisation, “ The Genetic Method,” which evolved (as it always does) into a thundering CaU: 969-5971 rendition o f the “ Chest Fever.” What you hear may change your life! “ The Last Waltz,” composed H t n 'i Life of Santa Barbara so recently that cue cards were within the Band’s eyesight, was debuted, but the unfamiliarity o f the melody stunted both the audience’s enthusiasm, along with TOSHIKO Manuel’s proficiency, apparent when he missed his verse. “ The 4KIKOSHI Weight” followed, then Robertson announced the Band’s I ß T next guest. No introduction for Bob Dylan T A B A & Q t i was necessary. Together the band and Dylan struck up a brief five-song medley, which started 0IG84ND and ended with “ Baby Let Me Follow You Down,” with “I Sat. Dec. 4 Don’t Believe You,” Hazel,” and “ Forever Young” sandwiched ONE PERFORMANCE between. Carefully, Dylan avoided any classic works, ONLY AT preventing the Last Waltz from turning into his show. 8 pm - UCSB pOfTN=NCKZO-PK.Iq lOTILfc OSILT-milWU 10 TIL 10- Th e entire cast o f guests, •0fTOK.il-24- lOTiLIOWtt^iSr.*# : including the unrehearsed Campbell Hall Englishmen, Ringo and Woods, returned for the “ final” number, $4 Students/$4.50 UCSB “ I Shall Be Released.” Faculty & Staff/$5 General. The UCSB Dance Division presents With the concert officially Reserved seating. On sale over^Robertson then invited the Arts & Lectures Box Office, audience to his “ party.” Eager to UCSB; Lobero; & Hitsville. (Please turn to p. 26, col. 3) C.A.L. DANCE j>ooeoaoeeeeoaaoaftaaaaaaaeaeoeaeaoo ^floaoonagooooooootmo m bluebird directed by *0 Isa Bergsohn M cafe f t Fri, Dec. 3 - I The Lonesome Tumbleweeds Sat, Dec. 4 - Robin Williamson Sun, Dec. 5 - Decem ber 1-4 8 p.m. UCSB Main Theatre Byron Berline Students 91, General Adm ission 92 33 West Anapamu ^ A r t s & L e c t u r e s T ic k e t O f f i c e Ytnr»-ra~im rrinnnryTrrrrdTi'ar ALWAYS A PLEASURE TO SERVE YOU whether it be outside in our garden or in our inside dining room with a fireplace for these cooler nights.
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