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4 The Daily Tar Heel Friday. April 19, 1985
Glee Clubs ''concert
By ELIZABETH ELLEN
Assistant Arts Editor
Equally capable of singing sacred
works and folk songs, members of
the UNC Glee Clubs are "some
extremely talented people," said
director Michael Tamte-Horan. The
men's, women's and mixed groups
will present their annual spring
Music on the program is by both
British and U.S. composers. "We
programmed with the idea of being
part of the 400th anniversary (of the
Roanoke colonization) celebration,"
Tamte-Horan said. English madri
gals and recent U.S. songs will be
performed by the men's and women's
The men will perform a very
challenging sacred work by 16th
century British composer Thorrias
Tallis. 77ie Lamentations of Jere
miah is the most difficult work the
clubs have studied in the two years
Tamte-Horan has conducted, said
Men's Glee Club President Lynn
Woodruff. One difficulty presented
by Lamentations is a male alto part.
"We have guys with extraordinary
ranges," Woodruff said. "The part
is a little out of their range, but
they've worked hard on it."
Although Lamentations is unde
niably serious music, Woodruff
emphasized that the concert would
also include lighter pieces.
Several U.S. songs, which Wom
en's Glee Club President Stephanie
Wade described as "fun and funny,"
will be sung by the women. "We're
doing some crowd pleasers," she
The men and women will join
forces to perform Frostiana, a work
composed in 1958 by U.S. citizen
Randall Thompson using text by
poet Robert Frost. "The poetry
matches the music perfectly," Tamte
Horan said. "The poems are tied
together thematically." The text
includes poems such as "The Road
Not Taken," "Stopping By Woods
on a Snowy Evening" and "Come
In." The piece closes with "Choose
Something Like a Star," which
Tamte-Horan called the deepest and
most symbolic poem used in the
work. Wade said he preferred the
lighter poem "The Telephone,"
about a young man who mistook a
flower for his girlfriend.
Few members of the Glee Clubs
are music majors. "We are a diver
sified group of people with one thing
in common we love to sing,"
Wade said. Membership in the Glee
Clubs is demanding, however; the
groups rehearse four days a week and
perform up to 16 times a year. "These
people are extremely committed,"
The UNC Glee Clubs will perform
Sunday at 4 p.m. in Hill Hall
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Starring CHER SAM ELLIOTT
The desire... the fantasy.. thenigliit::: ?
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3:15 o 5:15 o 7:20 o 9:20 Angola Landobury
DOLBY STEREO AREA OCCLUSIVE
Dsomni9 is lhi51sirioiiii9 drannkeini day at the Faces
By SALLY PONT
As if these sunny days were not enough, Wednesday
night's performance of the UNC Department of
Dramatic Art Playmakers Repertory Company's
production of Epsom Downs shone with exuberance
and the warmth of the heart. The show was a medley
of springtime moods: blithe innocence, beer-in-the-sun
drunkenness and a final note of sadness in the
acknowledgement that, like all things, the spring day
The actors hit their stride when they were at their
Epsom Downs is a comically desperate portrayal
of a day at the races. People of all walks of life eagerly
participate in the betting, drinking and general
mayhem that surround the event, but there is more
to the race than mere drunkenness. One family bets
its life savings on the" race. For all the spectators,
the race is an encapsulation of their lives, a rarification
of their values.
The most endearing spectators were two children
played by Mahlon Bouldin and Margaret Jemmison.
Bouldin with his Indian feathers and Jemmison with
her stuffed Kermit the Frog captured the spastic,
innocent spirit of the play, as did Mike Wilson's
drunken Senator, whose toy was his bottle. All three
actors exude& sheer pleasure with the day and life
itself duetto the blindness of youth and the blindness
of alcohol. - : ...
Kenn Russell andSibby Anderson provided perfect
contrasts to the children and the Senator. They
clumsily fought the vices of the race gambling and
drinking but . woid have preferred to take part.
Despite Russells stylishly bumbling delivery, he and
Anderson portrayed the saddest figures in the play,
characters who Ipould not lose themselves in the
The underlying message of Epsom Downs that
gambling, drinking and irresponsibility make life most
full seems a little bleak, but this performance
convinced the viewer that such behavior is fine. There
was an egalitarian feel to the day. The children were
elevated and the Senator was brought down to their
level. The European playboy Aga Kahn, vividly
portrayed by Russell, stepped off a human helicopter
and was reduced to the status of spectator. The only
thing celebrated was the day itself.
Bouldin, in the allegorical role of The Derby, and
Tania Drummond, as The Stakes, were the celebrated
figures. They stood before the crowd looking as
polished, cheap and exciting as an airbrushed album
cover. When Drummond's sultry-eyed sexpot clung
to Bouldins leg, she expresssed the pervading lust
for the daythe worship of the race.
Throughout the play there was a sense of familiarity.
No character was on stage for long, so each had to
expose his heart to the audience as soon as he emerged
from behind the curtain. That honesty made every
bit of contact, between the actors and between actors
and the viewer, as exhilarating as Drummond
touching Bouldin's leg.
In the end, trash covered the deserted stage and
luna& m grey shirts cleaned up. Still, this gruesome
image provided not so much a warning against vice
as an expression of desire to go back to the time
of the race, when the stakes were highest and life
was at its fullest.
Epsom Downs will be performed through Saturday
at 8 p.m. and Sunday at 2 and 7 p.m. in PlayMakers
Theatre. Call 962-1121 for ticket information.
Check record reviews to avoid discs that flop
Eric Clapton. Behind the Sun. The
Clapton name conjures up visions of
a virtuoso blues guitarist, the original
in his field, imitated by thousands.
Behind the Sun features Clapton under
the eye of producer Phil Collins and
surrounded by sessionmen ranging
from the legendary "Duck" Dunn to
members of Toto. The controlled
urgency in Clapton's voice is still intact,
as is the fluid guitar work that earned
him his awesome reputation. Behind the
Sun is certainly not his best work, and
some of the songs don't quite work, but
this album is worthy of the Clapton
name, which is really all anyone could
ask for. (M.D.)
Go West. Go West. Someone at
Chrysalis Records did a good thing
when he signed this British duo to the
label. With some help from about nine
guest players, these two have managed
to produce one of the most unique
sounds to come along in quite a while.
'This sound, though heavy on synthes
izers and keyboards, has an originality
and freshness about it that most synth
funk bands have failed to capture. Peter
Cox's strong lead vocals add to the
band's distinctiveness. "We Close Our
Eyes," the album's first single, is fairly
representative of the rest of the album,
but the refreshing part is that the rest
of the songs are not merely reworked
versions of the first single. These guys
will be around for a while. (A.K.M.)
Jesse Johnson. Jesse Johnson's
Revue. Johnson is a Prince clone, but
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he comes by it honestly. The Time's
former guitarist has created an album
of Timelike jams that don't really break
any new ground. Instead, Johnson has
opted for a harmless party album, with
floor-hoppers like "Be Your Man" and
the aptly-titled "Let's Have Some Fun.
Still, it's the same old Time sound, with
the characteristic smattering of guitar
solos and a double dose of synthesizers.
Johnson obviously wants to reap a little
of the phenomenal success of Prince and
The Time, and who can blame him? But
any future effort from this talented
musician will have to be more daring
and original. (A.M.)
Howard Jones. Dream Into Action.
Jones' electronic sound is in the same
league with Thomas Dolby and Herbie
Hancock's rock and funk efforts, but
his songs lack the substance of those
artists' songs. Jones' jumbled, confusing
lyrics may sound nice in front of his
beat-heavy, synthesizer-rich songs, but
they just don't make any sense. The
better songs, "Things Can Only Get
Better" and "Life In One Day," are laced
with the same optimism that made
Jones' first album, Human 's Liby sound
so fresh. But Jones hasn't resolved any
of the problems of that album, and he
can't be taken seriously until he does.
Graham Parker and the Shot Steady
Nerves. Pity Graham Parker. For
almost a decade, he's been making
tremendous R&B-based rock 'n r6ll
albums with little popular success. In
an effort to gain the popularity that has
long eluded him, Parker has abandoned
the use of studio musicians and once
again assembled a band, the Shot, to
back him up. The Shot includes former
Rumour lead guitarist Brinsley Shwarz
but boils down to a bunch of has-beens
or never-weres going through the
motions on a set of sub-standard songs.
Although Steady Nerves sometimes
hints at the old power, it is easily the
lamest LP Parker has ever made. A
more apt title would have been Lost
Tom Petty and the Heartbreakers.
Southern Accents. A masterpiece for
the 'SOs. Tom Petty has long been one
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of the United States' most consistent
rock n rollers, and on this album he
completely lives up to all of his
tremendous potential. Southern
Accents is in part a concept album
about the South and in part an 'S'Os
approach to U.S. soul traditions, with
the outsider-looking-in help of Euryth
mics Dave Stewart. The album has a
remarkably diverse set of musical
textures, insightful lyrics and the finest
playing yet from one of the best bands ,
in the world. "Dont Come Around
Here No More" is the most adventurous
pop single since "When Doves Cry" and
a fairly stunning reworking of the
Heartbreakers' basic sound as is the
entire LP. (E.H.)
Richard Thompson. Across a
Crowded Room. Another interesting
chronicle of marital problems, this time
with the experience of a divorce from
wife Linda to roundthings out. The
music ranges from adventurous pop to
dreary dirges, and it's never as accessible
as 1983's Hand of Kindness. And while
the guitar work is still excellent,
Thompson had better be careful lest he
find himself in a not-too-interesting
musical rut. A sometimes fascinating
but flawed record, Across a Crowded
Room points out Thompson's limita
tions more than any of his albums in
a while. Recommended with reserva
'Til Tuesday. Voices Carry. Lead
singer and lyricist Aimee Mann has a
voice which falls somewhere between
Missing Persons' Dale Bozzio and Kim
Wilde, and her lyrics are one of the most
distinctive features of the album. The
band's sound is based in large part on
strong bass lines, rhythm guitars and
beautiful harmonies to back up Mann's
lead. These harmonies are especially
evident on "Love in A Vacuum," one
of the best songs on the album. The
title track, recently released as a single,
is good, but the rest of the album is
even better. What Til Tuesday lacks in
originality they certainly make up for
with quality production, lyrics, and
. Mark Davis, Eddie Huffman, Alex
andra K. Mann and Alan Mason
contributed to this report.
CdmpilS Calendar 7P-m- North Chapter IVCF senior
L night chapter meeting, 224
II CI CI y 7:30 p.m. Opeyo Dancers spring recital,
: Memorial Hall.
Noon The Hunger Responsibility ; ;
Committee sponsoring a ben Qri trri
and rice meal and informal 03111 iday
discussion on hunger, the Pit.
12:30 p.m.International health forum 9:30 a.m. The Anglican Student Fellow
planning meeting, 228 ship, Saturday Breakfast,
Rosenau. Chapel of the Cross.
How you live
may save your life.
WIIHII.IIHII .JMi'MiMMiwimiiini" .iiu'i'l MU-" I. -' nuz&- I """" ' mm a www m
What The Creators Of "Police Academy
Did For Law Enforcement Is
Nothing Compared To What They're
Doing To Traffic School!
This Movie's Been Clocked at 55 Laughs Per Minute!
SHOWS NIGHTLY 7:00 9:05
SAT & SUN MATINEES 2:00 & 4:05