4
The Daily Tar Keel
Tuesday, March 23, 1S74
McSnell
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TTze jolksinger unwinds and lets loose a laugh
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Photo by Owen Gwyn
Kezz
uto
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by Barbara Holtzman
Asst. Feature Editor
Reading Shakespeare in the classroom
can be boring? Tommy Rezzuto would
probably agree.
Rezzuto, director of the Playmakers'
production of The Tempest, says, "1 don't
believe in people sitting for two to three
hours being bored just because it is
Shakespeare. You have to present , a
Shakespeare that people will enjoy."
Rezzuto is presenting the full version of
The Tempest, but he has cut some of the very
obscure Elizabethan passages that tend to be
confusing.
"The basic goal of theatre is to
communicate, and that communication
should be enjoyed," Rezzuto says. "You
have to make things clear."
Rezzuto, scenic designer for the
Playmakers and a professor in the drama
department for 15 years, has directed other
Shakespearean plays at Carolina, such as
Hamlet, Comedy of Errors and Much Ado
About Nothing.
"Shakespeare has all the elements of
theatre," Rezzuto says. "There is no better
training for drama majors than doing a
1
1 "
Cinema
"The Sting." Carolina Theatre. Con comedy
is itself a con with some pretty moldy material
being turned into excellent entertainment by
some talented hands. It's too big and tends to
drown in overproduction, but it's a sure fire
audience pleaser. 1:50, 4:10, 6:30 & 8:50. $2.
Ends Thursday, April 4. Late shows: Friday
and Saturday, "The First Circle." Sunday,
"Paper Moon." All shows at 11:15. $1.50.-
"The Last Detail." Varsity Theatre. Tale of
two sailors taking a third to prison. A
marvelously robust and human film, both
funny and sad, with an unusual
understanding of certain types of emotions.
Superlative acting. 1, 3, 5, 7 & 9. $2. Ends
Wednesday. Late show: Friday and Saturday,
"Eric Soya's Seventeen." 11:15. $1.50.
"Busting." Plaza I. Stars Elliott Gould and
Robert Blake. Story of vice cops got bad
reviews. 3:05, 5:10, 7:15 and 9:20. $2.. Ends
Thursday.
"Summer Wishes, Winter Dreams." Plaza I L
Story of a cold woman thawing. Has a few
touching moments (mainly due to another
superb performance from Joanne
Woodward), but the film as a whole is cliched
soap opera stuffed with pseudo poetry. 3, 5, 7
& 9. $2. Ends Thursday.
"The Exorcist." Plaza III. William Friedkln
brings to this devil film the same slam-bang
direction he brought to "The French
Connection." Some of it is effective at the
moment, but the film as a whole is pure
manipulative trash. Disgusting in more v ..ys
than one. 2, 4:30, 7 & 9:30. $3.
Free flicks: Friday, "Fires on the Plain." A
searing Japanese film on the horrors of war.
Saturday, "Lifeboat." Classic Hitchcock, with
Tallulah Bankhead. The entire film takes
place on a lifeboat at sea. Sunday, "Butch
Cassidy and the Sundance Kid." All films at
6:30 & 9 in the Great Hall.
Shakespearean play because they confront
every single problem that they will run into
doing theatre work."
Rezzuto is enthusiastic about directing
The Tempest because it is highly theatrical
and it has some of the best poetry and the
most interesting characters.
But Rezzuto is also excited about the play
because he is also presenting it to school
groups that come to visit the planetarium,
something he has wanted to do for years.
Rezzuto emphasizes that he is not doing
The Tempest as a children's production, but
the play does have a lot of elements, such as
the monsters and magic, that school groups
can appreciate.
The special performances of The Tempest
will be abridged, but only the longer poetry
passages will be eliminated and the essence
of the play will be retained.
This production of The Tempest is also
special, says Rezzuto, because it has an all
student cast, whereas many Playmaker
productions have townspeople as actors.
In addition, the set, costumes and lighting
were designed by students, and one student,
Nancy Boykin, wrote some music for the
production.
The Tempest will be presented at 8- p.m.
today through Sunday, March 31 in
Playmakers "1 heatre with a 2:30 matinee on
Sunday.
Reserve seat tickets, $2.50, are available at
102 Graham Memorial or at Ledbetter
Pickards in downtown Chapel Hill.
The abridged version, which runs one
hour, will be presented 1:30 p.m. Monday
through Friday, April 1-5 and April 8-11 in
Playmakers Theatre.
Tickets for the abridged production are
available for $1.50, but no tickets will be
available if the production is sold out to
school groups.
1 1
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ii
HEADQUARTERS FOR ALL YOUR
NEEDS: STUDENTS, BUSINESSMEN
OR VACATIONERS.
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$344 Stay Overseas 1 to 21 days. Save from $129 to $174.
$374 Stay Overseas 46 to 365 days. Add $60 for summer returns.
Save $144.
$150 Eurail Pass for 21 days.
$190 Eurail Pass for one month.
'$165 Student Rail Pass for two months.
Above rates effective through May 30, 1974.
tj
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SIR?
by Alan Bisbort
Music Critic
What did it mean? Joni Mitchell, this
hemisphere's answer to Nico (woman of
melancholy), had broken up in concert.
Broken up laughing. ! saw it, I swear. I was
on the second row watching while battling
bizarre camera clickers and jaded stonies
(people getting stoned to listen to Joni
Mitchell?!). This would be the Joni Mitchell
concert Sunday night in Duke's packed
Cameron Indoor Stadium, right? (No. man.
You were so stoned that you were watching
the ACC track finals and thought it was a
concert.)
Earlier in the evening, a girl with a very
pained expression had said, "Why doesn't
she smile, she looks so sad?" (She said it like
Joni was her big sis). That girl got more than
she bargained for. In the course of the
evening, Joni unwound, let loose and
showed herself with a sense of humor. She
moved. She smiled. And hey, she even
laughed.
It took awhile, though.
Tom Scott's L.A. Express, her back-up
band for most of the night, opened the show
alone. Looking like out of the same hair
spray-club circuit mold, they all got their
solos and went home happy. Tom Scott
played everything that had a mouthpiece and
then some (very versatile, in other words).
Roger Kellaway played electric keyboards.
7
Robin Ford (ex- of Jimmy Witherspoon's
band) played electric guitar. Max Bennett
(ex- of Zappa's Hot Rats band) played bass
and John Guerin played drums. A tight
outfit indeed.
When Joni Mitchell walked on to too-loud-to-be-customary
applause, there were
roses waiting for her, one on her grand piano
and twenty more in a huge vase behind her.
She didn't appear to notice. She was
delicately and beautifully unemotional for
the opening half. To say she appeared
melancholy or near breakdown would be
striving for manufactured drama (making
heroes live out OUR fantasies). Who can
ever say what motivates those on stage and
what brings out great performances? Crowd
expectation, maybe? Thousands of words
are wasted on such matters daily. Sports
heroes, political figures, musical artists.
Wasted words.
Joni Mitchell was a magnetic performer.
Eyes stayed focused on her. From when she
opened with This Flight Tonight until she
closed with the encore Twisted, the crowd
appreciated every gesture, no matter how far
she ranged from the album versions of her
songs.
The first half of the concert was haunting.
Backed by the L.A. Express, she performed
songs mostly from her post Blue period. She
said very little to anybody (including the
band), never breaking into anything
resembling confidence or happiness. At
times, she would open up and let pure
uncensored emotional sound flow. It
sounded like beautifully controlled wailing
from the depths of despair. She was
detached, like a quiet stranger. Just like our
fantasies wanted it, right? (A little touch of
Norma Jean in the night.)
But she must have had a talk with her
coach at halftime, because after
intermissions she came out alone, siing up
thecrowd by herself. That's when she smiled.
It seems that something in her song Big
Yellow Taxi reminded her of a recent event
in her life w hich she retold to the audience. I n
one swoop, she went from Guru Maharaj Ji
("wish him a lifetime supply of Cadillacs") to
Eskimo women with cateye glasses doing
frug-like dances in the village square.
From that point on, she was in command
of how she would attack her songs she was
determined to have a good time.
Although some avid fans might have
objected to the "desecration of her career's
earlier works with band backing(CfW.v, for
one) and her nonchalance with serious songs
(like when she broke up laughing several
times during The Last Time I Saw Richard.
they can never say that she wasn't in control.
It wasn't a manipulation; it was more like
taking things as they came. With a performer
like her, who does relatively few concert
tours, it is almost accepted that people are
goingto have their expectations raised above
human capability.
Still, I am reminded of the girl sitting
behind me. In the frenzy of the encore, she
had a near religious conversion, speaking in
tongues and everything.
So. What did the laughing mean? It meant
that all singcr-performer-pocts are
ultimately human and subject to all the
fragility and capacity for humor that comes
with humanity. You hear her perform The
Same Situation and People's Parties and
think that any minute she will break down.
Then, you hear her do Twisted or Raised on
Robbery and wonder if she's not more in
control of things than she thinks. There are
no happy forever after endings. Some
moments are better than others.
Sunday night in Cameron Stadium was
one of those moments.
R
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Ill 1 ft Oili MKMoMfr'j Win
Director Rezzuto
UNIVERSITY
OPTICIANS
oss Terrill to speak
Ross Terrill, the CBS commentator during President Nixon's trip to China, will
speak at 8 tonight in Memorial Hall on "China: The New Cultural Revolution."
The author of 800.000.000 The Real China. Terrill is speaking as part of the
Carolina Symposium.
Following the speech, Henderson Residence College will hold a reception for
Terrill in Connor Dorm.
A native of Australia, Terrill attended Wesley College in Melbourne, the
University of Melbourne, and Harvard University, from which he received a Ph.D.
in political science in 1970.
He won the Sumner Prize from Harvard for his Ph. D. thesis and since 1 970 he has
been a lecturer on government and a Research Fellow in East Asian Studies there.
In 1972. Terrill won the National Magazine Award for Reporting Excellence and
the George Polk Memorial Award for Outstanding.Magazine Reporting. Since
1970 he has been a Contributing Editor for the Atlantic Monthly.
Terrill has made approximately fifteen trips to the Far East, including visits to
China both before and after the Cultural Revolution, He has had extensive contacts
with Asian political leaders.
Terrill has made frequent television appearances on shows such as Firing Line.
the Today Show and Not jor Women Only and he is a regular commentator for the
B.B.C., West German TV and other European networks.
During the past year, Terrill has addressed audiences at the American Academy
of Arts and Sciences, the Washington Press Club, Yale University. Columbia
University. Catholic .University and New College.
TS9BB
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