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Show K Page CJ ms 0. By CAROLE Wednesday, July 20, " commercial vernacular, dance has come a long way, baby! Dance seems 983 and skiing as one of the most popular contemporary forms of recreation. The first of the disco movies, Saturday Night Fever set financial records and touched off always to have been popular with the masses, with the peasantry as well as the aristocrats. Early artists often depicted a with its own publications, angels singing and dancing around the throne of God. Indeed many believed this to be the angels principal pastime. Yet the clergy were nearly top-fort- franchises, charts, y sales conventions, catalogues of special equipment, and marketing agents. Disco music is not meant to sit down and listen to. It is meant to be experienced and it exhorts one to dance, dance, dance! three-da- y unanimous in condemning dancing, claiming that it resulted in uncleane kyssinges, clip-pyng- and other unhonest Medieval people handelynges. were told that dancing is the devils business. In our more enlightened modern world, dance has taken a variety of forms and is the basis for entertainment in an astounding number of ways. Small children often dance spontaneously to whatever music happens to be within earshot purely for their own entertainment. More structured dancing is learned in school, church and in formal lesson situations. Dancing, like most sports, is entertaining to participate in or to watch. Dancing has been a part, in one aspect or another, of worship, tribal ritual, social refinement, courtship, or entertainment for as long as man has been on the earth. On both sides of the Atlantic Ocean, society progressed from minuets and country dances to cotillions and quadrilles, and finally, to waltzes and then polkas. Waltzing quickly outgrew its initial wicked reputation to become one of the favorites of all time. Boogie, jitterbug, twist, rock and roll, and the current disco dancing fads all indicate that dance is a constantly evolving art form as well as an entertainment for all ages. In just one year disco exploded from an underground scene on the New York waterfront into a vast entertainment ever-popul- 1 industry. Today, disco vies with spectator sports such as tennis COLE Review Correspondent In the popular IB South Edition Lakeside Review ' ar Whether its the Virginia reel, polka, foxtrot, waltz, twist, or one of the quickly changing disco numbers, people all over the world dance. Little girls and a few brave little boys take dancing lessons. Teenagers twist and rock and roll in school and dances. Their parents often take a turn on the dance floor at church socials or church-sponsore- d supper clubs. Those not content with the oc- casional social dance find themselves performing or choreographing dance. They prefer to express themselves through the creativity involved in body movement set to music. They tell stories, express emotions, work out frustrations, exult, or despair, all through the medium of dance. Aerobic dancing capitalizes, on the fitness craze and dance popularity to kill two birds with one stone. In this age of fitness awareness and health consciousness, dance cannot help but be a popular form of enter- tainment. In Davis County, dances, par- ticularly for the youth but often for adults as well, can be found at churches throughout the county nearly every week. Whether your preference is holding the one you love close and dancing a dreamy waltz, gyrating to the disco beat, or watching the aesthetic and cultural ballet, you cannot deny that dance is one of our finer forms of entertainment. Bountiful Choreographer Works With Local Theater Groups By CAROLE O. COLE Rviw Staff , I guess I got startBOUNTIFUL ed in dance in high school no, thats hot really true it was in elementary, because I took tap and ballet lessons as a child. But even before that, my mother gave me ft tutu when I was two , years old, and I used to dance around ..the house. Marilyn Montgomery seems to have been destined to dance. Much of her life revolves around the world of dance and theater. She participated in all her high school productions. She is a Bountiful product, born Land educated there and is a graduate of Bountiful High. I got started in choreography with the young adults. I danced with a '.group after high school. We performed at at various functions in the valley malls, at parties. I worked with Bryan ..Bowles who is now the drama teacher at Bountiful High School. The first production I did under his direction rwas Cinderella at the Valley Music Hall now the LDS Regional Center. ' Marilyn is currently involved with ...the Robber Bridegroom production ..soon to be presented at the Bountiful- . . -- I Davis Art Center beginning August 4 and running through August 20. Once a show is choreographed and the steps taught to the dancers, is a choreographers job over? No, no, it goes right up until the very last day. I believe that you can change things right up until the very last moment if its going to look better. You start by doing the things youd like to do, with the things youd like to accomplish, see what the capabilities of your people are, and work those two things around to make the production good. You cant expect people who are inexperienced at dance or who are not as good at one thing as another to do something that is going to make them look silly. Marilyns work as a choreographer has been primarily with plays. Perhaps because it is the one she is currently working on, Robber Bridegroom seems to be one of her favorites. I saw it done in Washington, D.C. at the Ford Theatre. I was on a theater tour and had no idea what it was about. But I just loved it. Its really fun you laugh, and its kind of hoe-dow- n. Dennis Ferrin, the director ol Robber Bridegroom, has directed it salvage a few pictures but these now once before, at the University of Utah, fit in a small wicker basket rather than so he really likes the show, too. I was the eight drawers she once had. One of the shows she completed reglad to hear he had decided to do it for the CenterStage Company. cently was the choreography for the Marilyn has no one particular style Gilbert & Sullivan production Pirates she aims for in her choreography. She of Penzance, performed at the Protries to fit the dance to the particular mised Valley Playhouse in Salt Lake mood and objective of each play, and City. She also worked on H.M.S. Pinawithin that, each scene in the play that fore and loves to do the Gilbert & involves dance or choreographed Sullivan shows. Center-Stage- s She also did Working, movement. I listen to the music, and I the for to I first production listen to the music, and listen it, Art Center. Other plays she and I listen again. It talks to me, and I do whatever it says. That doesnt has choreographed include Guys and How to Succeed in Business, necessarily mean Im going to do a Dolls, Dames at Cinderella, Carousel, specific style. I think you can incorpoa total of some 30 or 40 plays. rate several different styles within a Sea, show, depending on what its saying to Marilyn met her husband, Bart, while both danced for a July 24 producyou. Marilyns home was one of the more tion of This Is My Country. They severely damaged homes during Davis started dancing in Sherrie Coles Countys recent flooding problems. dance group and performed for about Her basement filled with mud, and five years at ward dinners and as both front and back yards were wiped entertainment at various occasions. Bart and Marilyn danced as a team out under four feet of mud. Among the most lamented possessions she lost to and competed in a variety of competifile tions including swing, adagio, and the mud were two Bart helps Marilyn with the drawers filled with her dance records, notes, souvenirs, memorabilia, scrap- choreography she develops. I dont books, and scores. She was able to know what Id do without him. Hes Bounti-ful-Dav- cha-ch- four-draw- er is a. and understanding. Its very helpful not unusual for me to wake up in the middle of the night and wake Bart up and say, What do you think of this, do you think this will work? One of Marilyns favorite projects recently has been working with Bountiful Highs Madrigals. The madrigal groups have movement integrated with their singing, whereas choruses do hot. For the past two years she has traveled with the Madrigals to competitions in California where they are judged in anticipation of gold, silver and bronze medals. For the past two years Bountiful Highs Madrigals have taken silver medals. Ive just been thrilled with them. They work hours upon hours to develop the three songs theyre allowed to do. We practice right up to the time they go on to perform. she does with Marilyn e for choreography. She works Xerox in a supervisory position training new personnel and in customer service, but her life is identified with dance. Its what I do. Someday I may want to have my own dance studio and teach. Im not sure. But thats thinking way ahead to the future. loves-wha- t full-tim- SW(Pi Story of Bountiful Handcart Days Events By CHERYL ARCHIBALD - Review Correspondent BOUNTIFUL Pack up the lawn chair, ice chest, camera, baseball bat and swim trunks dont forget the wife and kids - and be ready for a week full of events in the annual Bountiful Handcart Days. Celebration of the Days of 47 begins with softball tournaments and the annual musical production at the Regional Center. Here is the complete schedule of events : PIONEERS, PLUMBS, AND PEOPLE PRODUCTION July 20, 21, 23, at Woods Cross Regional Center at 8 at 7 p.m. Spep.m. cial performance for elderly and hahdicapped on July 19. (See article on production.) Pre-sho- w PARADE July 22, starts at 6:30 p.m. at 1200 South Main Street, marches down Main to 400 North,' disbands at Bountiful Park. Viewmont High Schools award winning band will lead over 100 entries in the parade.' BOOTHS AND RIDES . July 22, after the parade in Bountiful Park until 10 p.m. July 23, from 9 a.m. to 7 p.m. BATTLE OF BANDS AND CONCERT July 22 at 8 p.m. at Bountiful Park. Free admission. CULTURAL ARTS EXHIBIT July 22 after parade, and July 23 from 9 to 4 p.m. at the National Guard Armory on 400 North. , MUSICAL MELODRAMA July 22, 8 p.m.,) Bountiful Community Theater musical melodrama at 1st West and Center Street. 10 KILOMETER RUN July 23, 7 a.m., begins and area between National Guard Armory and Bountiful Junir High. Signups at 6 ends in $5 fee. CHUCKWAGON BREAKFAST 6 a.m. to 10 a.m., at Bounti- Pioneers and Plums Today a.m., ful City Bowery and Woods Cross High School. Sponsored by Winegars, tickets are available at each location that morning. SKYDIVING AND PRECISION LANDING July 23, noon at Bountiful City Park. ICE SKATING SHOW at 2 p.m. to 3 p.m. at the Ice Skating Rink in the Recreation Center. Free admission. July 23, , HORSESHOE TOURNAMENT July 23, 9 a.m. at the Boun- tiful Park horseshoe pits. Sign up at the pits. Adult and youth trophies presented. July 2E FIRESIDE 24, 7 p.m., at Bountiful Woods Cross LDS Regional Center. President Eyre, speaker. Richard An original musical play, and- Peo- Pioneers, Plums, ple, will be presented July 20, 21, and 23, at the Woods Cross Regional Center at 8 p.m. This production, which , is a tribute to pioneer spirit past and present, is dedicated to all who were in any way involved in the recent flood disaster. Written by Carolyn Dunn Newman with music by Even Allred and David Dahlquist, the play is part of the tradi- tional Bountiful Handcart ? Days celebration. John Morgan stars as John Stoker, first LDS bishop and senator from Davis County. Stoker was also mayor of Sessions Settlement (now Bountiful). Somewhat like the stage manager in ThornOur Town, ton Wilders Bishop Stoker returns to view his city, share insights of earlier times, and comment upon current conditions and the coming years. Drawing upon talent from 13 LDS Stakes and other Bountiful churches, an 'energetic cast of 350, ranging in age from 3 to 83, present a panorama of songs, choreography and historic vignettes. The play also features a fine orchestra and chorus. Pre-sho- w events will begin at 7 p.m. and will include mountain men, a courting carriage, pioneer candy, butter and bread- making - The producer and director the play is Tibby Milne, with assistant directors Dan Collett and Elaine B. Clark; orchestra director, Evan Allred; choral director, Brad Keeler; vignette directors, Dixie Rose, Sandra Lewis, of -- 1 Kim Brimley, Dan Collett, and Dorothy OBrien; Board-machoreographers, Jan Greg Call, Donna Phillips, Dan Collett, Lisa Lindsay and Dorothy OBrien. Others of the production n, staff are stage manager, Shanna Schaefermeyer; set design, Allen Adamson; sound, lighting, and special effects, Richard Siddoway; stage properties, Ilene Hess; costume director, Ellen Jeppson assisted by Margaret Nielsen and Marge Armstrong; makeup artist, Lou Ann Gillette; programs, Scott Storts and Paul Williams; and publicity, Elains S. McKay. Free tickets for the July 20, 21, and 23 performances are available to the public at all Bountiful LDS wards and community churches. . K |