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L?en&ry( February 11, 1274
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by Crt-ra Kcltsmm
Feature Writer
A dramatic study of woman and her age
old search for identity is the central idea of
Viveca Lindfors' one-woman show, Am A
Woman.
The two-hour program will be presented
at 8 p.m. Wednesday in Memorial Hall.
Admission is free.
The show, on limited engagement prior to
its formal off-Broadway opening, is co
sponsored by the Union and the Association
of Women Students in coordination with the
Women's Festival.
Conceived and arranged by Lindfors and
director Paul Austin, the program draws
from over 35 writers including Ibsen,
Shakespeare, Brecht, Nin and Plath.
Lillian Helllman's lines from Pentimento
accurately sum up Lindfors message: I
want to see what there was for me once and
what there is for me now.
f.lsrcc! f.larccsu
Marcel Marceau, acclaimed as the world's
greatest living pantomimist, will perform at
8 p.m. Monday, March 4, in Memorial Hall.
Student tickets, $4 and $5, go on sale
today at the Union desk.
Marceau's amazing ability to fashion
concrete reality of nothing and his baffling
gift of seemingly defying gravity were first
demonstrated to the American public in
1955-56.
His altcr-ego, Bip, created in 1947, is
perhaps the most unique aspect of his
performance. Marceau claims that
American audiences . respond to Bip's
representation of man and his society.
Marceau says that mime is the form of
dramatic expression that appears as being
closest to man. It is an art of illusion, but it
does not permit any trickery. "Our art is not
alone physical even though it appears to be
an art of action. The reason for the action
must come from the soul," he says.
Edward Villella
Edward Villella, considered one of the
finest dancers in the world, will bring his
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company of 12 dancers to Chapel Hill for the
second Chapel Hill Concert Scries program
of the semester.
The company will perform Sunday,
March 3, in Memorial HalL
Tickets for season ticket holders arc now
available at the Union desk. Student tickets,
$2, go on sale Monday, Feb. 18.
Deep Jonah
Maude Babington and Deni Tyler will
perform from 8 to 1 1 p.m., Saturday at Deep
Jonah in the Union basement.
Both will play folk and popular songs on
the guitar.
The performance is part of the Women's
Festival.
Admission is free.
Free Flicks
Fine acting dominates this weekend's free
flicks.
Carmen Jones with Dorothy Dandridge
plays Friday. Dandridge became the first
black actress to be nominated for the Best
Actress Oscar for this film, considered a
ghetto adapatation of the opera Carmen.
Suddenly. Last Summer, Saturday's flick,
concerns the struggle between two women
for the love of one's son, the other's cousin.
Tennessee Williams wrote it, and Elizabeth
Taylor and Katherine Hepburn star.
Costa-Gavras of Zdirected Sunday's flick.
State of Siege. It is an account of the
kidnapping of an American diplomat by
South American revolutionaries, based on
fact. Yves Montand stars.
All flicks shown at 6:30 and 9 p.m. in the
Great Hall.
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Julie
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by Betsy Flanagan
Drama Critic
Once, after hearing a young conductor's interpretation of
his music, Brahms was asked to comment. He answered that,
yes, it could be played that way, too. The symphony can be
played many ways.
The recent Laboratory Theatre production of August
Strindberg's Miss Julie was a symphony played a different
way. And it was played well.
Watching it, I had the feeling that I was seeing a
modernized version Strindberg updated. Time changes all
things, it is said. The impact of Miss Julie has certainly
changed, or perhaps it is more accurate to say that people's
attitudes toward the world it presents have changed.
Countesses are few and far between now; footmen seem to
have vanished altogether. It's harder to take their problems
seriously these days. The audience laughed a little too often,
but there's no accounting for the relativity of taste.
With the help of Arthur Housman, the three-person cast
directed itself. This non-traditional approach had fine
results. Cigdam On&t as Miss Julie and Warren Hansen as
Jean played together beautifully. Their exceptional
awareness of one another created a tension that provided a
foundation for many abrupt transitions. This tension kept
the play moving; it gave the play its shape.
Linda Norflett and Kristin, Miss Julie's cook and Jean's
ed ensemble
sweetheart, displayed a keen sensitivity to the balance of the
ensemble.
The first act was more perfectly realized than the second.
In the first act, Onat succeeded in showing the frightening
power of her character's will; her performance was nearly
flawless technically.
She had more difficulty showing the weakness of Miss
Julie in the second act after she falls from the position of
countess. Yet Onat's finest moment came then the scene in
which she reacts to Jean killing her beloved pet bird to clear
the way for their escape.
Warren Hansen's performance was extremely graceful.
He maintained throughout the show a composed,
aristocratic bearing without being in nay way sterile. This is
the composure which almost enabled Jean to win the fight
against his low birth, and in the end enabled him to order
Miss Julie to suicide.
The setting was a limiting factor. Both Onat and Hansen
belong a greater distance from their audience on a larger
stage rather than on the small, intimate set they had. The
lighting made problems. There was a dark spot down center
that was excessively annoying. Each time a character crossed
through this spot the audience lost him.
Nevertheless, Miss Julie stands out as the polished,
balanced production I've seen in the Lab Theatre. True
ensemble playing is seldom seen; it was a rare treat to view
three carefully harmonized characterizations.
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