The Daily lar Heel luesaay, August zS, 19845B
Carrb'oro ArtSchooPs fare
off
ers more than class
By ED BRACKETT
Staff Writer
Carrboro is the butt of many areajok.es: various
and sundry Chapel Hillians comically converse
about the so-called dismalness of their neighbor
to the west. But beyond all its joked-about minuses,
Carrboro does contain its share of pluses.
Undoubtedly one of the biggest of these is Can
Mill Mall's ArtSchool, a thriving, ever-expanding
non-profit organization dedicated to the promotion
of the arts.
As its name suggests, the ArtSchool is indeed
a school minus the competitive atmosphere
where a variety 6f subjects is taught, everything
from sign language to water color techniques to
drama.
In fact, this fall's class agenda (available locally)
gives specs for about 50 classes, all of which relate
to the arts in some way. Of course, each class has
its own fee. Some are small, others not so small.
Classes in dance (including jazz, aerobics and
improv) are generally the least expensive, while
those in photography and drama usually require
the largest fees. Classes in the visual arts (such
as "Beginning Calligraphy" and "Beginning
Drawing"), writing ("Poets' Co-op") and music
("Beginning the Mountain Dulcimer") entail
intermediate costs.
Judging from past attendence, however, money
is no object for the typical ArtSchool attendee.
Interest for each course is usually high, and,
according to one ArtSchool official, classes are
rarely if ever cancelled due to lack of
patronage.
But the ArtSchool is much more than a school.
A myriad events regularly fill its small but colorful
theatre, which forms the core of the ArtSchool's
four-studio facility.
A steady stream of films, plays, concerts and
more is presented almost daily, with a nominal
admission fee rarely exceeding four dollars. Not
bad, considering the excellent fare the ArtSchool
regularly offers.
This fall, that fare includes such movies as Akira
Kurosawa's classic The Seven Samurai, showing
Sept. 6; George Miller's The Road Warrior Sept.
14 and 15; The Harder They Come Oct. 1 1, starring
reggae idol Jimmy Cliff; and Hal Ashby's Being
There Nov. I .
Other events include an ArtSchool company's
performance of the Sam Shepard pl&y. True West
(six shows in late September and early October),
and "Doo-Wop Night" (Nov. 16), an a cappella
concert and sock-hop hosted by WCHL radio's
Dan Greenfield. Two area groups, the Love
Masters and the Tones of Harmony, will appear.
A Sept. 8 appearance by the Big Zucchini
Washboard Bandits, an Appalachian band,
promises to be the most unusual concert at the
ArtSchool this fall. Band members beat out
mountain tunes on all manner of instruments, from
jawharps to washboards to zobos, whatever they
are. Don't bother puttin' on yer Sunday-go-to-meetin's
fer this one. Uncle Jed.
Call the ArtSchool at 942-2041 for further details
on theatre events as well as classes, as the lists
above are far from complete.
Admission charges for ArtSchool events,
attended by some 50,000 people each year, are vital
sources of income for the ArtSchool: coupled with
class fees, they account for 65 of its total income.
Remaining fund-raising methods include Art-
School memberships, government grants, and
sponsorships from such local businesses as
Domino's Pizza, Village Cable and WCHL.
All monies raised by the ArtSchool pay salaries,
purchase equipment and pay rent. Any profits
earned go toward reinvestment.
Raising money from future projects is more
important than raising money for personal wallets
at the ArtSchool. "There's no money in this," said
Jacques Menache, founder and director of the
ArtSchool. "I make less money than the janitor."
Menache, a native of France, moved to Chapel
Hill in 1969. Five years later, after a bneHeaching
stint at UNC, Menache started the ArtSchool in
a downtown Carrboro loft, across the street from
the present Carr Mill location. Menache felt the
ArtSchool was needed because "there was nothing
going on for artists outside the University."
. Menache's "baby" has grown steabily in the 10
years since, despite recent, sobering cuts in federal
grants for the arts.
Today, the entire operation is well-oiled by an
impressive army of paid staffers and unpaid
volunteers, many of whom spend long hours
building sets, answering phones, coordinating
events, aiming lights, installing sound systems and
sweeping floors.
With all of these activities going on, it seems
that the ArtSchool has met its challenge to become
a successful community cultural center. And in
regard to the operation's finances, ArtSchool
Accounting Manager Teresa Flora quickly
acknowledged, "We're in the black."
"This is an exciting place to work;" said Publicity
Director Leah Talley, "exciting and challenging."
Prosperity is not without consequences, how
ever. The ArtSchool is becoming too small for its
own shoes. "We're saturated," Menache said of the
purrent situation. "WeVe run out of space."
The ArtSchool will, most likely, go house
hunting when its Carr Mill lease runs out in 1987,
Menache said.
Until then, at the ArtSchool, it's A-OK, steady-as-she-goes.
Entertaining ' Dreamscape' certainly no yawner
The summer's trend toward light, fast-paced film entertain
ment forges on. Summer may be winding down, but Dreamscape,
a new science fiction adventure, should keep things hopping
for a while at the box office.
Dreamscape was screened at the Cannes Film Festival in May,
but it is definitely a cut below the fare usually associated with
the festival. Still, the film creates enough excitement to hold
the interest of its audience, and the high-quality acting and
directing outweigh the flaws of the script.
Like last year's Brainstorm, Dreamscape deals with one
person's ability to enter the mind of another. In this case,
psychiatrists Paul Novotny and Jane de Vries seek to help
patients who are troubled by bad dreams. Their experiment
involves psychics who project their conscious minds into the
subconscious minds of sleeping, dreaming test subjects. Once
this "dreamlink" is achieved, the psychics become active
participants in the patient's dreams.
Jeff Grove
Review
Novotny and de Vries already have a few psychics under
their wing, including the cold, aloof Tommy Ray Glatman. But
Novotny wants the assistance of Alex Garner. Alex has worked
with Novotny before, and is in hiding after growing tired of
the dog-and-pony shows displaying his unusual powers.
The film's major subplot focuses on Bob Blair, head of a
covert and officially non-existent intelligence agency ("These are
the guys even the FBI and the CIA are afraid of," one character
says). Blair is interested in the project's applications for the
president of the United States, a man tormented by nightmares
of his dead wife caught in a nuclear holocaust.
Screenwriters David Loughery and Chuck Russell provide
ample substance for the actors to use in building their characters,
but the dialogue varies from the pseudo-profound to the
unintentionally humorous.
The actors all of whom have key roles rise above the
material to make it interesting.
Dennis Quaid, fresh from his success as Gordon Cooper in
The Right Stuff; plays Alex in a winning manner. When the
film bpensAleK i an- affable but hardly likeable joanHe sees
women as objects of sexual conquest and he mes his telepathic
powers to make a killing at the race track. Alex's brush with
the dream experiment, however, teaches him some measure of
responsibility. Quaid's fresh, natural acting style vividly portrays
the character's growth.
Newcomer Kate Capshaw, seen earlier this summer as the
heroine of Indiana Jones and the Temple of Doom, shines as
de Vries. While a love interest develops between Jane and Alex,
the sex of Novotny 's partner is not gratuitously chosen. Jane
de Vries is tops in her field because she is good at her work
almost too good, for she puts her career ahead of herself
at all costs, never opening herself up to others until Alex's psychic
powers force her to do so.
Veterans Max von Sydow and Christopher Plummer square
off nicely as Novotny and Blair, but the script provides them
with less stable ground than Quaid and Capshaw. At times
Plummer even resorts to mannerisms and gestures he used for
such totally different characters as Captain von Trapp in The
Sound of Music and Rudyard Kipling in The Man Who Would
Be King.
In the more subsidiary roles, Eddie Albert of Green Acres
fame fills the president with inner conflict and desperation, and
David Patrick Kelly makes Tommy Ray the most chilling screen
psychopath since Anthony Perkin's Norman Bates in Psycho.
Director Joe Ruben, who collaborated with Russell and
Loughery on the script, sets up his three plotlines clearly and
concisely. He even throws in a good measure of comic, relief
in scenes that break the tension without diverting the action.
The dream sequences have a fascinating surreal quality akin
to the dream Salvador Dali designed for Hitchcock's Spellbound;
elements of each dream seem to be glaringly unreal among
otherwise normal settings. The special effects, however, seem
more derivative of Ray Harryhausen's Sinbad films than the
latest high-tech effects, and this may disappoint some jaded
movie-goers.
The film also may break open another ratings controversy,
for it carries the new PG-13 rating, although it was rated R
before the new symbol was adopted. It seems that PG-13, touted
as a 'way of informing parents which PG films are unsuitable
for young children, actually will prove to be a way to slip "soft"
R-rated films to younger audiences. . .
The tense episodes in Dreamscape, particularly the president's
climactic showdown and the surprise ending, fully merit the
warning of the new rating. And despite some lapses of logic
and some supposedly sophisticated equipment that looks like
it was built from assorted stereo systems, Dreamscape is a
welcome interlude between the major film blockbusters of the
U summer and fall. . r : : " -,vj?
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