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Show Page B4 Thursday, June 17, 1982 The Newspaper JAGUAR 9 ' !" owe todry compare.. m wX jaguar xj b il il British Italian Motors 5454 So. State, SIX. 262-2683 Mceell WawrM by Kick Brough 'Star Trek IF fits spirit of TV series ffW" AT PARE CITY Open Friday and Saturday j ! from 8:00 p.m. to 1:00 a.m. June 18th and 19th j j SPACES Country Rock and Jazz t Summer Drink Prices are Drastically Reduced 8:00 to 9:00 a.m. Ladies free No membership required Draft beer and mixers 649-3500 2 for 1 Located at the Resort Plaza A Classic Recommended Good double feature material Time-killer For masochists only Star Trek II: The Wrath of Khan An old legend about the Star Trek TV series says that a new director on the show once asked actor George Takei (Lt. Sulu) to punch a certain button on his console. He refused, saying, "That'll blow up the Enterprise!" "Trek's" trademark was its absorption in detail and credibility qualities that are more present in "Wrath Of Khan" than the first "Trek" movie. The movie gets its force from the large and small elements of plot that reflect on and confirm the personalities on board the "Enterprise". When the ship holds a funeral in space, for instance, it is touchingly appropriate to have Engineer Engin-eer Scott (James Doohan) playing "Amazing Grace" on the bagpipes. Another neat touch comes near the beginning of the movie, when we see Lt. Saavik (Kirstie Alley) commanding com-manding the Enterprise through a tricky situation in the Neutral Zone. Sulu, still at the helm, shows an exasperated impatience with her commands. But, moments mo-ments later, the whole scene is revealed to be a training exercise on earth and what we thought was male chauvinism chau-vinism in Sulu is revealed as merely the friendly contempt con-tempt of an old pro for the inexperienced space jockey he's training. The maneuver is called "The Kobayashi Maru Test". It's a simulated battle situation for a starship which, ultimately, has no possible outcome except de-. struction. As now-Admiral Kirk (William Shatner) explains, ex-plains, it is a test of character to see how a trainee will face death as Basket workshops The Kimball Art Center is currently taking registration forms for three one-day basket-making workshops June 25, 26 and 27. The workshops will be taught by Susanne Abrams and Bob Ripley of Ramona, California. All of the workshops will meet from 10 a.m. to 3 p.m. The first workshop, to be taught June 25, will concentrate concen-trate on pine needle coiling, pirographing (burning on the gourd) and dyeing. The second workshop will deal with the Appalachian melon basket. This traditional structured basket is made using willow for the structure struc-ture and handle. The final workshop, to be taught June 27, will concentrate on the twined basket. Abrams and Ripley have participated in exhibits across the country, and currently have worked at the Kimball Art Center; Design Center Inc. at Bazaar Del Mundo; San Diego; the Canery in Salem, North Caroline; the Eyes Gallery in Philadelphia; and Hecho A Mano in Southhampton, New York. Cost for each of the one-day workshops is $17.50 for Kimball Art Center members and $22.50 for nonmem-bers. nonmem-bers. A minimum of 10 students are needed for each class. For information, call 649-8882. 7 649-4660, E 104 Park Meadow Plaza 11 Quaint and Charming New Listing 2 bedroom doll house in Old Town. Great value in land. Ideal for 4 plex. Vacant - LO has key. $130,000. I I I nlMllliir T-'iff- horseback rising AT THE JEREMY BUCB 1982 Prices Hourly Rate: Half-day Rate: Hay Rides (Weekends only): Twilight Ride: (7:00 to 10:00 p.m.) Group and Family Discounts Available $6.00 $15.00 $2.00 per person $20.00 per person (includes barbeque dinner) Call 649-2085 or 531-9007 between 7:00 a.m. and 9:00p.m. to make reservations. Reservations should be made at least one day in advance. Tlx Twilight Ride is by reservation only, and is available on selected nights. A deposit of $5.00 per person must be paid at least one day in advance. Located off Interstate 80, 10 minutes from Park City well as life in battle. The motif of facing death, seeking seek-ing it, or sacrificing life for the sake of other life, ties together the various threads of the movie's story, including includ-ing the much-hyped "Death" of Mr. Spock. In middle age, Kirk faces a different form of the test. He feels death creeping up on him. No longer on active duty, he and the old crew are assigned to training new recruits. He is estranged from his scientist wife (Bibi Besch) and their son (Merritt But-rick) But-rick) who are light-years away dabbling in their own matters of life and death. Their "Genesis Project" involves a biological bomb that, when exploded over a barren planet, will generate new chemical processes of life. (The only catch is that it also destroys any pre-existing life forms.) A third attitude is represented repre-sented by Khan (Ricardo Montalban) who seeks nothing noth-ing out of life but vengeance against Kirk. Writers Harve Bennett and Jack Sowards give the impression they actually bothered to watch the original 1967 TV episode in which Khan met Kirk, was defeated by him, and grimly accepted the challenge of civilizing the savage planet where he was exiled. Circumstances have changed the noble tyrant. He is bitter because, while hardships killed his wife and other settlers and disasters changed the already-rugged planet to a sterile hell, Star Fleet has never lifted a finger to check on their welfare. So when the opportunity oppor-tunity presents itself, he hijacks a starship helmed by Commander Chekhov (Walter (Wal-ter Koenig) and Capt. Terrell Ter-rell (played in rather milquetoasty fashion by Paul Winfield, which is a sour comment on the post-Kirk post-Kirk generation of commanders.) com-manders.) Montalban gives a fiery, but TV-sized performance, as he sets out after Kirk and the Enterprise, which is on a training mission when it is called back to active duty to handle Khan. Director Nicholas Nich-olas Meyer does a good job showing the cat-and-mouse combat between the two starships, though Khan ends up looking more foolish than villainous when Kirk is constantly able to slip through his traps. The old TV performers fit into their roles like old shoes. And the newest character, Lt. Saavik, a Romulan-Vulcan Romulan-Vulcan officer, shows promise, prom-ise, played by novice actress Kirstie Alley with the right blend of rigidity and callow-ness. callow-ness. The first "Star Trek" movie was mounted like a creaky reunion. It crudely copped old ideas from the TV series, and pondered to nostalgia. (Science-fiction fans still remember the notorious set-in-molasses scene of Kirk circling around the Enterprise for about an hour!) But it was worth sitting through to get to "Star Trek II", which advances ad-vances the characters instead in-stead of just exploiting them. Utah Arts Festival will include horse operas The Utah Arts Festival, scheduled in Salt Lake for June 23-27, will bring dance, theater, and art to the great outdoors of downtown Salt Lake. But the great indoors will also feature blazin' six-guns and pounding hooves. The Utah Media Center will feature a collection of Western films during the festival. No Western festival would be complete without John Wayne, and two of his best are featured here. In John Ford's classic "Stagecoach" he plays the vengeance-seeking Ringo Kid. And in "Red River", Wayne is unforgettable unforget-table as the tyrannical trail boss who eventually drives his hands (including foster son Montgomery Clift) to rebellion. Other films in the festival look at the troubled side of the Western myth. "The Magnificent Seven" examines exam-ines the noble, but lonely gunfighters who come to the aid of an oppressed Mexican town. (The seven include Yul Brynner, Steve McQueen. Charles Bronson, James Coburn, and Robert Vaughn.) In "High Noon", sheriff Gary Cooper is deserted de-serted by the cowardly citizens when an old enemy comes to visit. A late-period Western, "Viva Zapata", shows that a revolutionary leader (Brando as Emiliano Zapata) may lose touch with the ideals he fought for. And "Little Big Man" strikes parallels to Vietnam as it gives Dustin Hoffman a front-row view of the exter mination of the Red Man. Another category is the elegiac Western. Sam Peck-inpah's Peck-inpah's "Ride the High Country" is not just a story of two aging cowpokes; it was the swan song for movie heroes Joel McCrea and Randolph Scott. (It was also the first film appearance for a young Mariette Hartley.) In a more modish tone, the end of the West is seen in "Butch Cassidy and the Sundance Kid", the biggest box-office Western of all. Finally, we've got the kinky Westerns. Mel Brooks' "Blazing Saddles" stars Cleavon Little as the black sheriff with Gucci saddlebags, saddle-bags, and Gene Wilder as the gunfighter who's "killed more men than Cecil B. DeMille." 'Godspell' cast announced Steven Hunt, guest director direc-tor for Park City Performances Perform-ances production of God-spell, God-spell, has selected his cast for the July 23 show. The ensemble piece will be performed by Dana Bishop, Kim Comprix, Amy Finegan, Ruth Ann Fitzgerald, Leslie Luyken. Maggie Reno, Curt Graf, Scott Morgan, and Richard Russel. The popular musical is based on the gospel according accord-ing to Matthew and features a number of well-known tunes. Jaynee Welty will serve as the musical director who will take the case through such tunes as Day by Day, and Oh Bless The Lord My Soul. Warren Ger-ritsen Ger-ritsen will be the set designer. de-signer. Godspell will open at the Egyptian Theatre on July 23 and run in repertory with the Night of the Iguana for three weekends. Reservations can be made by calling the Egyptian at 649-9371. MdDttg ffjyqpifflii EiAC New exhibits promise something for everyone by Corke Pepper How many artists do you know, who make their own acrylics? Michael Ashcraft does, which makes him somewhat unique these days. I remember studying with a protege of Braque's when I was a student some hundred years ago. We didn't go so far as to concoct paint like Renaissance artists, but we did prepare our own canvases with a gesso made of skin glue and gypsum, a formula imparted to our instructor by his famous French master. Things are different today. Now an artist wouldn't anymore make gesso than he would concoct paint except for Michael Ashcraft. This dedicated artist combines a special high quality pigment he purchases in New York with Liquitex Acrylic medium to form a paint as durable as the Moab terrain that influences in-fluences his work. You will be able to see the results in the Kimball Art Center Main Gallery for three weeks beginning June 27. Ashcraft, who received degrees in painting from Syracuse University and Rhode Island School of design and subsequently instructed at both institutions, came to Utah in 1974 to teach art at the Moab extension of Utah State University. There he fell in love with the oonDosition and color of Moab's distinctive terrain. You can "fel" it in his paintings. I say "feel" because Ashcnft's work is highly emotional. Tne mysterious shadows, sandstone sand-stone folds and haunting crevices of Moab's geological formations, abstracted in Ash-craft's Ash-craft's paintings, have a dramatic impact upon anyone familiar with that land. The Main Gallery will also feature an exhibition of two Phora wood sculptures. Phora, who uses only one name, comes from Southern California. Although her sculptures are familiar to viewers in California and Europe, hers will be the first exhibition of minimal sculpture at the Kimball Art Center. Cen-ter. This new movement introduced in New York has achieved worldwide recognition during the past decade. The object of minimal painting is to rely solely upon simple sim-ple forms and flat color for effect, thus rejec ting space, texture, subject matter and atmosphere. at-mosphere. Minimal sculpture, similarly, relies upon the simplest geometric forms and the power of presence for effect. Of monumental size, such work is typically free of personal overtones. The idea is to take the "art" out of art to distill it to its absolute essence. While minimal art may not be for everyone, this coming exhibit is, because the Lower Level Gallery will include work by Angelo Caravaglia, one of the world's leading sculptors, and paintings by his wife, Marilyn Stillman-Caravaglia. The Caravaglias are exhibiting here at my very special request. About five years ago, when the Kimball Art Center first opened, I happened to visit Park City and see an exhibition featuring sculpture by Caravaglia in the Main Gallery. I never forgot it. So when I returned here as director of the Kimball Kim-ball Art Center, one of my first moves was to request a repeat show of his work. He was not particularly receptive. About to depart on a sabbatical from the University of Utah art department, he preferred to schedule a show after his return with a new collection. Meanwhile, our jury was negotiating with Marilyn for an exhibit of her paintings of the walls of our new Lower Level Gallery. In the opinion of our staff, this gallery is enhanced with three dimensional work on the floor. The Caravaglias agreed, and voila, Angelo agreed to show with his wife. In contrast to minimal sculpture, Caravaglia's work is intensely personal. Although he says that the product of his work is of less importance to him than the pleasure of construction, the random collection of natural manmade objects that inspire, is a reflection of his personal choice. Marilyn's work also is personal in context. Choosing to elude artistic trends, movements or popular techniques, her free-spirited approach ap-proach extends to jewelry design and fiber as well as paintings. This promises to be an exciting show in both galleries controversial, as well. |