4 The Daily Tar Keel Tuesday, March 23, 1S74 McSnell 4 : ir-r' TTze jolksinger unwinds and lets loose a laugh it 41: A. . v. LJ Photo by Owen Gwyn Kezz uto d irects dram -7 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 it if I ii HEADQUARTERS FOR ALL YOUR NEEDS: STUDENTS, BUSINESSMEN OR VACATIONERS. SAVE ON EUROPE . . . IT'S STILL A BARGAIN!!! Save from $60 to $174 round-trip jet to Europe this winter. FLY ICELANDIC AIRLINES. New York-Luxembourg. Savings are against lowest comparable fares of any other scheduled airline. $266 Stay Overseas 22 to 45 days. Add $15 each way weekends. Save $60. $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 h ! 5 M For Information Write Or Call CIRCE TOURS' Durham 206 East Chapel Hill St. 682-5478. Raleigh 4509 Creedmoor Rd. 782-4921 . inc. IMWZ Chapel Hill 1 23 West Franklin St. 942-41 96 Research Triangle Park 100 Park Dr. 549-8488 3" FlffST fOU SWOOP IN ALL THE I '5 ....THEN HOJ POP IN ALL THE DOTS.... IF TUEV COME OlT EVEN. THAT'S 6000 PENMANSHIP.' a o o m (n to cz 5 J4- v THE FIRST PART OF 7MB SPEECH I liAVT A STR0N& COt&SWiXriON OF 7HS PIS- TORJEP VIEW THAT AMERICA s FROM Tr!R, X UANT TO WORK UP V AN APPEAL FOP. BOOP AMERICANS TO STAND UP FOP UtHATS R5HT UITH THE AMERICAN PRESIPENCYf SMI iPlllpM f- Y H p h F3 tr:yjr S THAT YES-..X IT. SiR? THINK THAT V ABOUT COVERS & V IT.. 4 r . ir; ujiul you BE C0MPARJN6 OH, RJ6HT YOURSELF TO PUT THAT LINCOLN A6AIN, IN, TOO.. 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 i -V -V S, o . 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. 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