University News (Irving, Tex.), Vol. 9, No. 11, Ed. 1 Wednesday, April 6, 1988 Page: 11 of 15
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New music invades UD
Sound of Music ends on high note
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between Maria and Elsa Schrader
(Janelle Todd), between his family
and his career, and between his
home and the Nazis, were quite
realistic.
Ronnie Cramer (Guitar), Michael
Benson (bass), and Lonnie Ray
(drums) provide admirable back-
up. Of the 12 tracks on You Make
Me Live in a Trailer, perhaps the best
is ‘What Does Your Heart Say’.
Tfce nans in the Sound of Music led by Kersti Payton
Even though the performers were
hindered by the poor acoustics in
Lynch and by the broken prop, the
entire company (cast, crew, and en-
semble) gave an excellent perform-
ance. One could see the teamwork
that put the show together, and the
unity that held it together. It was a
splendid evening of entertainment.
by: Colleen M. Monaghan
In honor of spring's advent and
through a pervading sense of guilt
over what I should have done last
semester, I will review several al-
bums that I’d put off for fear of be- ____
ing terrribly^bored in^the process of Unlike some of the other tracks,
aU elements (songwriting,
vocals, guitar, and rhythm section)
click.
While Alarming Trends does not
have the technical quality of sound
most bands enjoy, given the limited
possibilities of small studios, they
rise above this difficulty to present
an album which is ambitious and
rewarding.
Meet Danny Wilson (Virgin, 1987),
the debut album from the Scottish
trio , Danny Wilson, is a perfect al-
bum for warm summer days. Gary
Clark, Gerard Grimes, and Kit
Clark present a 13 track gem. Gui-
tar, bass, drums, and vocals blend
with apparent ease to form a melod-
ic, upbeat sound.
Unlike other bands from Scot-
land, Wales, and Ireland, Danny
Wilson does not employ the Celtic
influence in their music. Rather,
they provide an international sound
which is uplifting and fun. It is rare
indeed to discover an album that is
easy to listen to, as well as interest-
ing. The songwriting on Meet Danny
Wilson is innovative and alive, yet
not overbearing.
“Mary’s Prayer” is the most mem-
orable track on the album, address-
ing as it does, lost love in an incon-
gruously joyful manner. However,
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by Michael Schlebach
UD was alive with the sound of
music during Parent’s Weekend.
The Music Department under the
direction of Marilyn Walker, pres-
ented its rendition of Rodgers and
Hammerstein’s classic musical. The
Sound of Music, for three consecu-
tive nights - March 25, 26, and 27th.
Matthew Rodriguez, a recent gradu-
ate of UD, was the Production Di-
rector. Marilyn Walker was the Mu-
sic Director.
Opening night was electrified by
an air of intense excitement and ex-
pectation. The show sold out rather
quickly. Those who were lucky
enough to get tickets were in for an
extraordinary treat. It has been
quite some time since the Music
Department presented a show of
this size, but it was worth the wait.
As soon as the Chamber Ensem-
ble, conducted by Yves
LUelgoual’ch, struck its first note,
all eyes were focused on the per-
formance. The show was opened by
a resonant inspirational chorus of
nuns, led by the Mother Abbess
(Kersti Payton), Sister Berthe
(Bridget Dietz), Sister Margaretta
(Dawn Laremore), and Sister
Sophia (Amy Shulick).
Eileen Collins, as Maria Rainer,
was an excellent female lead. After
overcoming her initial stagefright
she led the show with her unique
characterization of Maria. She add-
ed an air of compassion and power
that carried the show.
The von Trapp children - Liesl
(Fran Lanham), Friedrich (Joseph
Behan), Louisa (Samantha Orr),
Kurt (Brandon Williams), Brigitta
(Kathy Seitz), Marta (Michelle
Belan), and Gretl (Jessica Thurow) -
gave a realistic, fun portrayal of
their respective characters. One
could sense a strong unity that held
them together, not only as charac-
ters, but as cast members.
Robert Rooney, as Captain Georg
von Trapp, was a strong male lead.
He performed with a certain hones-
ty that made his character endear-
ing. The struggles that faced him.
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willingness to use different methods
to achieve what she wants. “There
was a scene where I was supposed to
cry and I couldn’t . Mary had us
run lines sitting knee to knee look-
ing right at each other. Suddenly I
was struggling not to cry."
Her cast agrees that above all
what whines through in rehearsal is
her love for the play, interestingly,
she only stumbled upon it recently.
“It was coming down to the wire
and I had to choose a studio,”
Piszker said. “I camped out literally
on the floor at SMU library with a
pile of plays. I looked at everyone,
but I was really drawn to Williams.
I finally settled on The Long Good-
bye because it was short. I didn’t
want to cut a full length play into
fifty minutes.
She added that the sroty touches
her as well. “I have a hard time
letting go of the past in some ways,”
she admits. “This play speaks to
that problem. I see the show as a
kind of bridge between the past and
the future; it speaks of the danger of
living in the past, but in the end the
hero overcomes that tendency.
There’s always hope. ”
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By Becky Ryskind
The Long Goodbye, a play by Ten-
nessee Williams, will be the first of
three Senior Studios which will be-
gin April 12 in the * Margaret
Jonsson Theater .
Senior Mary Piszker will be pres-
enting the first Senior Studio, a re-
quirement for all drama majors.
Rehearsals have already begun for
the presentation of the Williams’
play.
The setting for The Long Goodbye
consists of a homy, run-down flat
with realistic furnishings— a manu-
al typewriter, old desks, and lots of
clutter—but the windows of the flat
hang suspended form the ceiling in
a dreamlike manner. It is a good
backdrop for the earliest of Wil-
liams’ “memory plays”
A pre—cursor to William’s award
winning Glass Menagerie , the Long
Goodbye is about a writer’s struggle _______
to leave his troubled past behind - also some of heZdesigners
him. In addition to the writer lead, ■ •
the play features two standard Wil-
liams characters: a tragic mother
figure who tries to preserve the
sensibilities of past days in contem-
porary life and the flawed daughter
■
Comic relief was amply provided
by Paul Starr, in his larger-than-life
portrayal of Max Detweiler. His se-
cret plottings with Elsa Schrader
against the good Captain were both
humorous and terrifying. He main-
tained an abounding energy
throughout. Janelle Todd, as Elsa,
was an excellent femme fatale. Des-
pite falling through the broken
staircase, she maintained her cool
and concentration.
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Students stage Senior Studios
who abandons youthful idealism in
favor of some banal “happiness.”
Most critics agree that this familiar
trio is a rather thin disguise for Wil-
liams himself, his mother, and his
sister.
But if the characters are familiar,
Piszker’s production promises to be
anything but stale. All but three of
the nine players are new to the UD
stage. “I think there’s a freshness to
the acting that really complements
the freshness of this early work,”
said Piszker. “It is nice as a novice
director to work with people who
don’t come to rehearsal with a lot of
preconceived notions about the way
things should be. We’re having a lot
of fun.”
The newness of the cast, however,
means that Piszker has her work cut
out for her. Junior Mel Johnson
said, “Mary has a lot of extra work
because not only her actors, but
„ > are new
to the theater. She has had to really
be on top of even the most basic ele-
ments of the production—like stage
movement.”
Junior Brian Hoffman adds that
the cast has profitted from Piszker’s
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Brian Hoffman and Rachel Walter in a scene from The Long Goodbye.
reviewing. When I finally did put
stylus to vinyl, however, I was pleas-
antly surprised.
The first album. Ride the Bubble
(No Trespassing Records, 1987),
comes from the Austin-based band.
Ring of Power, a collaboration by
several musicians involved in the
Austin music scene. The 10 tracks
on the album are a curious mixture
of R&B, seventies-style ‘fun’ rock,
and a slight touch of the R.E. M.
style. Robert Gladwin (lead vocals
& guitars) sometimes sounds like
Michael Stipe and sometimes like
Lou Reed. The other members of
the band, Ralph Gilmore and
David Fore (drums). Clay
Windham (bass), Michael Ramos
(keyboards), as well as guest musi-
cians Rob Lockhart , Jo Wells, and
David Grissom, all exhibit first-
class musicianship. Ring of Power
plays well together, the individual
musical styles blending well to form
a distinctive sound.
All in all. Ring of Power is worth
a hearing. Their music is perfect for
an afternoon picnic in the sun.
The next band, based in Colora-
do, is called Alarming Trends.
Their 1987 album, You Make Me
Live in a Trailer (Scorched Earth), is
an interesting example of the
newest in the college music scene.
Alarming Trends has a vei_
sound, although some of their writ-
ing is a bit repetitious, making it ad-
visable to listen to the album in
snatches rather than in one sitting.
Lead singer Rebecca Watson has a
voice which is strong while not ex-
hibiting an over-extended range
and which bears a striking resem-
blance to Terri Nunn’s voice.
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;ry good ap of the tracks have good ‘hooks’,
strong rhythm sections, and intrigu-
ing lyrics. This album is good to
listen to, fun to dance to. and worth
thinking about.
Gary Clark's voice, while not
first-rate, exhibits great range and
ability, as well as enthusiasm and
depth of emotion. So... don’t miss
your chance to Meet Danny Wilson.
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April 6, 1988
University News
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University News (Irving, Tex.), Vol. 9, No. 11, Ed. 1 Wednesday, April 6, 1988, newspaper, April 6, 1988; Irving, Texas. (https://texashistory.unt.edu/ark:/67531/metapth1218334/m1/11/?q=%22~1~1%22~1: accessed July 16, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu.; crediting University of Dallas.