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Show REVIEW, 12 U, Names March 3, 1966 Director Oedipus Rex Packs Them In, Symphony Grabs Spotlight Too Major stories of the past week included the Utah Symtenth subscription phony's concert featuring pianist Byron Janis, Sophocles' Oedipus Rex in a University of Utah production starring Jose Ferrer, and the University of Utah Qpera Company's second production of the season. Janis proved himself one of the cnost popular artists to ap , music out of them than we have previously heard. The orchestra lent superb support, enabling the soloist to illuminate the works strategic moments. The maestro welded the divergent forces into a meaningful whole. pear with Maestro Abravanel and the Utah Symphony, making his third appearance within the space of a few years. And for good reason. He brought new insight into two of the literature's flossiest Second Piano Concerto and Rachmaninoffs Paganini Variations. Showpieces that they are, Janis nonetheless got more actual share to the delightful Ferrer Magnificent In spite of the in his of the His resonant voice Oedipus. and stage presence made him central figure throughout. Grace Coppin as his wife Jocasta was most convincing. Her scenes with Ferrer were tension-pack- ill-fat- ed and among the ed plays finest. Boyer Jarvis Creon was forceful and and William Wrights thankless but important role as leader of the chorus lent an to important the presentation. McGrath, in fact, had two choruses: the citizens of Athens and the three priests whose linereading was in perfect unison throughout. ed, Oedipus Rex... Insult To Audience by Terese unity-continu- ity Coe g Oedipus Rex, directed by Byron McGrath, Pioneer 4 Memorial Theatre succeeded in attracting a nationally- famous name to its stage, but the performances were weaker than those of most student-ca- st plays. Jose Ferrers Oedipus hardly suffers, and is certainly never tragic: never the Sophoclean tragic king who, in trying to escape the crimes he is fated to, commits them. He is a pompous, impotent old man whose most 4 violent emotion is demonstrated by feeble His mechanical running-throulines is an impatient p parody of important poetry, ana an insult to the audience, Anger, for example, is merely the same tone, the same brusque careless speech, perhaps spoken more rapidly. When he shouts 'Villain! to Tiresias, the blind sage who impugns his future, it is the shout of a boy whose baseball bat has been grabbed away. f Sometimes professional gestures are flailed around by Mr. Ferrer, but they are empty, the more so because he uses them several times to conceal uncertainty of lines. f In the discovery that a stranger he killed on a country road was his father, and that Jocasta, his own wife, was also that mans wife, he slashes out his eyes then returns $ to stage and incredibly, no pain is expressed, no humilia-tio- n, no outrage; only a more halting, croaking speech. As his 'Slay me, the polluter and the murderer," If Oedipus rings false, so does his the King cannot eradicate his hybris, there is no sympathy A here, no catharsis, no Greek tragedy. Indeed, this is not that significant myth concerning mans power to shape his life, but some novel version, more pedestrian. t Ancient Thebes had no part in the mood finally set. Melodramatic, diffuse, and anachronistic elements were 1 injected. Tin J liturgical chants, inter- spersed with lonely backstage wails, gave the chorus an aura of Hollywood spectacle rather than Greek religion. Bongo drums and maidens supplicating the gods in contemporary nightclub exotic dancer poses Jolted some h of the audience to snickers. Could these be the des- - 1$ pairing victims of a plague-ridd- en Thebes, begging for For LOWELL DURHAM ' arm-wavi- Busy W&ek It was a busy week. Wednesday night saw a continuation of AG -- Food town Supermarkets sponsorship of a Utah Symphony pops evening. The 'family night" concert ng. gh f f of popular favorites spotanother educational lighted dimension of the orchestra. The maestro has built abroad base for future audiences, and the 'family night" series is one of his most worthwhile projects. It played to a packed house of all ages. It was a gala affair as Few scenes have the integration which provokes audience concentration. And the declaiming, rather than comprehending, of William Wright as the priest and Boyer Jarvis as Creon robs the spectacle of not a little meaningful poetry. There are several performances, however, worthy of the playwright. Harold Folland, Professor of English, emphasises the accusing, prophetic lines of Tiresias, the I seer. His words reverberate with importance. Contain- lng the slight petulance of a neglected wisdom, they are t entirely convincing. I Jocasta, the queen, is the sole majestic figure. Actress f Grace Coppin gives us a sophisticated, modulated per- -l formance, whether in worship, interrupting an argument, or spasmodically shrinking from her husband when she I sees him as the son she had ordered destroyed. (She, like Oedipus, intended to cheat fate; but the shepherd s? to whom she entrusted the infanticide Juggled destiny himself by pitying the child and giving it to a Corinthian shepherd.) s. Georgia Garff, Lynne Fisher, and John Bixakls are f sensitive, as the messengers who relate Jocastas suicide i and Oedipus They understand the poetry , and express it realistically. The choreography of their i movement is excellent. ' The muted colors and fluidity ofSereta Jones' costuming and the imposing set designed by Vern Adix are effective visual artistry. The classical, simple steps upon steps and clear horixon contribute to especially theatrical opening and closing scenes. Fire glow red seems to symbolize the epidemic embracing the city; and the rhythmic, slow filing out of characters and chorus in several directions, accompanied by single beats of a drum, soberly bares the stage for Tiresias' philosophy: f 'Call no man fortunate until he is dead. The dead are free from pain." self-afflicti- on. Featuring JO ANN HARMON MARCH SUNDAY, its box-offi- 13- -8 PM $1.25 PER PERSON ORGAN LOFT 3331 EDISON ST. (145 EAST) ' You 11 love the orchestras symphony and a battle company second to none between East and West coasts. Opera Battle The next logical development U of U opera man Ardean is the establishment of a genWatts continues his fight for uine, professional opera comle local professional pany. While the orchestra and ballet have come intoFed-erati- on opera with a solitary performance of Alessandro Scarlattis grants this might also delightful period piece, The be the path for the Opera Penitent Rogue, in Kingsbury Company to trod but in Hall. due time. Savings... full-sca- Midi a flameless ELECTRIC The most expensive and form in the performing arts, opera, is gaining a secure foothold via the University of Utah Opera Company headedby Mr. Watts. As it does elsewhere in the world, opera needs an angel... financial, that is. The local performances we have seen of the U of U Opera Company leave very little to be dedifficult-to-bring-- off DRYER run in Pioneer Memorial Theatre. Byron McGrath productions always sired artistically. possess a professional tone. No little part in the stagings no excepOedipus is certainly tion. And while the classics success is that of Ariel Bal-l- if who designed the clever are not thought to be good sets and lighting effects, as I predict a highly well as the splendid costumes. successful run for the SophThe 8 ocles play. performers com Oedipus is all red meat. Mr. bined to make a cast. There were no weak McGrath uses the chorus incast. geniously and John Bizakis links. It was expertly stage solos and musical The romantic leads of the UU added much to the Theatres production of score dr&matla effect ' i Rex opened Oedipus rf nhe gjwPTTtwnacnrrai gamorecs itairpiecerairdritmons"" Cfcairfifety girl's head, and so few sure IhUl ftdM&at they must watch one another's faltering lips for cues? Concert at the Organ Loft - f f by Athletic Director James R. 'Bud Jack. Mr. Jack said Dr. Clegg has given die University time and services for several years without holding any official position on the athletic staff. He explained that Dr. Clegg will not be paid a salary by the University, but will continue to It seems a shame that such a polished production should see only one performance... and that to a partially filled Mr. Watts Kingsbury Hall. and his cohorts may find it more to the overall, long-ran- ge success of their opera coordinate and direct all medcompany to program the remore popular ical needs of the U, of U. pertoire s Athletic Department. pieces exclusively until they At the recommendation of reach financial stabilization. Delightful though the Rogue the new athletic medical director, Dr. Burtis R. Evans was it may prove more profitable and sound to attract and was named as his assistant. Dr. Evans has also given medbuild a permanent opera following of some dimensions. ical assistance to the UniveOnce that is done the artier rsitys Athletic Department. pieces could be scheduled without loss of audience. We can give only the Opera Company our best wishes for success. Salt Lake City now has one of the countrys major Ferrer was magnificent GOO Dr. Clegg was recommended even- ing. line-throw- ing concept Salt Lake physician Reed S. Clegg, longtime donor of personal professional services to University of Utah athletic teams, Monday was given the title of Intercollegiate Athletics Department Medical Director by the University Board of Regents. The official appointment of ce, well-balanc- ed f tinued Gf eel , Greek. Organum and more sophisticated harmony did not come into common practice until 1200 years later. was The performance greatly enhanced by the offstage percussion and both on and off stage chorus. Mr. McGrath achieved a wonderful overall rhythm in the production. The gradual of both star Jose Ferrer (Oedipus) and his stage wife Grace Coppin McGrath was most effectively conceived and brought off. While is true that Ferrer was the show's star in actuality and by sheer force of the title role, it was nonetheless true that Hal Folland came off top performer on opening night. As the blind prophet Tiresias Prof. Folland brought off a near -- perfect performance while Ferrer seemed unsure of his lines, a fault which no doubt was remedied as the show continued its run. He must rank with the bloodiest Oedipuses of all time, eye-open- r Igllice veterans Miss Hills combined personal charms and musicality made her the cynosurfe of the production. But in many ways it was Larry xi MODERKFOLDS new folding door Jr. as Stowe, Ricardo who topped all performers. He was very effective both vocal and dramatically. But this was a ALDER'S well-balan- cast. 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