University Press (Beaumont, Tex.), Vol. 70, No. 13, Ed. 1 Wednesday, October 13, 1993 Page: 3 of 6
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Wednesday, October 13,1993
Page 3
Entertainment
University Press
Lamar University
Beaumont Music Commission
1993-94 season begins with ‘Oklahoma! ’
By Nedone Brantley
UP staff writer_
An exciting series of musical
entertainment is in store for the
music lovers of Beaumont and
the surrounding environment
for the 1993-94 Artist Series of
the Beaumont Music
Commission.
Just in time to mark the
golden anniversary of the most
successful musical in theater
history, “Oklahoma!” comes
sweeping across the country
bringing its own down home
brand of entertainment to a
new generation of family and
friends.
Slated for Tuesday, Oct. 19,
“Oklahoma!” will cross the
boards at Julie Rogers Theatre
at 8 p.m. with its 50th anniver-
sary show bringing back the
standards of a bygone era when
life was less complicated, and
humor was fresh and clean
about the simple things in life.
Meet Laurey and Curley,
stubborn and foolish and in
love. Although the road to true
love seldom runs smoothly,
with these two headstrong
romantics holding the reins,
love’s journey is as bumpy as a
surrey ride down a country
road.
Rogers and Hammerstein
changed the face of musical
theatre forever with this tri-
umphant classic. Hop on board
and experience the sass and
song that made Oklahoma! the
most popular musical of its
time.
On Nov. 3, Sharon Graham,
one of America’s leading
mezzo sopranos, will appear in
concert at the Julie Rogers
Theatre. Graham has per-
formed with the New York City
Opera in the title role of
“Carmen,” for which she
received the prestigious Diva
Award sponsored by Ungaro,
and as “Santuzza” in the new
production of “Cavalleria
Mexican vampires rock la casa
Rusticana,” telecast on “Live
from Lincoln Center.”
Graham has appeared with
the Florentine Opera of
Milwaukee, Greater Miami
Opera, Baltimore Opera,
Cincinnati Opera and with the
Opera Orchestra of New York
in Carnegie Hall.
On Tuesday, Jan. 18, 1994,
the Los Angeles Guitar Quartet
will continue to define the state
of the art for guitar ensembles
with brilliant transcriptions of
masterworks from
Brandenburg to Bluegrass,
Rossini, Stravinsky, Morley
and Mozart, to their own
ground breaking new music.
Forming the ensemble
acclaimed for its inspired musi-
cality, magnetic stage presence
and innovative programming,
are prize-winning soloists
William Kanengiser and Scott
Tennant, seven string virtuoso
John Dearman, and
composer/guitarist Andrew
York.
The Los Angeles Guitar
Quartet records for Delos
International and has two pre-
vious releases on GHA
Belgium. Current and future
releases on Delos include a col-
lection of dance music from all
ages, an album of Spanish
music and a disc featuring
American music for four gui-
tars.
“Cabaret,” which was thrice
crowned as Best Musical of the
Year when it opened in New
York, will have one perfor-
mance at the Julie Rogers
Theatre on Feb. 22,1994.
“Cabaret” is set in Berlin at
the beginning of the 1930s.
Though it captures the forebod-
ing atmosphere of the period
just before the Third Reich, it
dwells only incidentally on
doom and decadence. It is
chiefly a fun show from the
opening moment.
Oleg Volkov and Ilye Kaler
will close the Beaumont Music
Commission Series when they
appear together on Thursday
April 7, 1994. Volkov has
wowed audiences with his
challenging piano renditions
while Kaler has distinguished
himself as the only violinist to
ever win gold medals in three
of the most prestigious violin
competitions — Tchaikovsky,
Sibelius and Paganini.
All five of the BMC’s 1993-
1994 season productions will
be held at the Julie Rogers
Theatre. Tickets are $35 for
orchestra seats and $30 for bal-
cony seats. Students and chil-
dren receive admission at half
price.
Pictured counter clock-
wise are a scene from the
musical “Oklahoma,”
violinist Ilya Kaler and
the musical “Cabaret.”
Pictured from left to right are Jim Mankey, Johnette Napolitano and Harry Rushakoff.
By C.E. Louviere
UP editor
“So, where are the singing vam-
pires this time?” a friend asks.
“Mexico,” I replied. “I guess
they got a little tired of London’s
fog and Texas’ ghost towns.”
Once again, Concrete Blonde
utilizes landscapes and travel logs
as the framework for their latest
release titled “Mexican Moon.”
Complete with calypso guitar
movements — cha chas and all —
the band attempts this time to
weave a folk-like mystique through
a dark and murky (imagine that
from the Blonde) road show.
In the past we’ve followed the
band through the streets of L.A.,
down to the eerie quarters of New
Orleans, into the foggy streets of
London and back to the ghost
towns of Texas.
After cruising through their lat-
est voyage, one might easily advise
the band to hire a new travel agent
or to read their road map more
carefully — this album is not going
to any great lengths in discovery.
It’s a shame to see such a
promising and dynamic group shuf-
fle around with each album losing
strength. While there are some
I exceptional moments in “Mexican
Moon,” they are few and far
between.
The arrangements, for the most
part, seem to be carbon copies of
their past endeavors, only they
seem to be fading into toneless
images.
“Jonestown,” for example, is
about (you guessed it) the Rev. Jim
Jones tragedy. Though the subject
is potentially intriguing, the group
offers up some trivial and bland
parody instead.
Most of the songs on “Mexican
Moon” follow suit, especially the
title cut.
Even the would-be brow raiser,
“Jesus Forgive Me (For the Things
I’m About to Say)” is somewhat
silly and half-baked; a far cry from
their thundering “Tomorrow
Wendy.”
A few bright spots are evident
on the “Moon.” Both “Rain” and
“End of the Line” are Blonde “bal-
lads” of noteworthy quality. “(Love
is a) Blind Ambition” and, at times,
“Close to Home” are worth repeat-
ing. “Home” is wonderful musical
success.
But, as a whole, the exceptional
songs are overshadowed by |he
heavy and lifeless weight of the
majority of the sounds on
“Mexican Moon.”
It may simply reinforce the
notion that when Concrete Blonde
is good, they are great — when
they are bad, they grate.
If you are Blonde fan, then
check this one out. It is actually,
over all, better than “Walking in
London.” If you are not a fan, then
I would not recommend going out
of your way to purchase this one;
borrow it from a friend and tape
the good songs.
Gabrielle Anwar and Michael J. Fox in “For Love or Money.”
‘For Love or Money’
Fox, Anwar deliver
beleivable, charming
romantic-comedy
By Seames O’Grady
UP film reviewer
In the Golden Age of
Hollywood, actors were given the
chance — usually several times
in the same year — to play in dra-
matic and comedic films. The tal-
ents of Jimmy Stewart, Cary
Grant and Gregory Peck were
able to get laughs or tears from
their audience. And of course,
best of the bunch and thankfully
still working, is the mighty Jack
Lemmon. But today actors are
Movie Review
simple unwilling, or more to the
point unable, to be funny and
serious. However there are two
actors who are very willing and
very able to take the risk. The
first is Tom Hanks and the second
is, with the release of his latest
film,’’For Love or Money,” co-
starring Gabrielle Anwar, is
Michael J. Fox.
Fox is Douglas Ireland, a con-
sierige — not a bellhop — at the
Bradbury. He’s a crafty guy who
can get anybody anything. But
what he wants most of all is to
own his own hotel. He just simple
doesn’t have the money.
However, the man who does have
the money is having an affair
with Andy (Anwar), the woman
Douglas is crazy about.
Fox is completely charming in
“For Love or Money.” When Fox
“When Fox is
portraying Doug's
fast-talking side
he recalls Gary
Grant's classic role
as Walter Burns in
‘His Girl Friday.’”
is portraying Doug’s fast-talking
side, he recalls Cary Grant’s clas-
sic role as Walter Burns from
“His Girl Friday.”
Anwar, who knocked every-
one out as the girl who danced
with A1 Pacino in “The Scent of a
Woman,” is wonderful as Andy.
Director Barry Sonnenfeld
shows, with the film’s camera
work, that he started out as a cin-
ematographer. The camera work
utilizes lots of low- and high-
angle shots and tracking shots as
well as use of the fish-eye lens.
All these camera devices success-
fully heighten the mood and
express a character’s personality.
Sonnenfeld also gives a nod to
his first film,’’The Addam’s
Family,” by having Doug watch-
ing some old episodes of the
“Munsters.”
The one thing that a romantic
comedy must do is suspend your
disbelief. No matter what hap-
pens in the film you must believe
it. The film has to suck you in at
the beginning and take you along
for the ride and that is the mark
of a good romantic comedy.
And that is what “For Love or
Money” is.
1
HeittbikUst
This Month's Question: If You Were Trapped on
Gilligigan's Island, How Would You Escape?
David H. Hubei, 1981 Nobel Prize in
Medicine: "You could send up smoke sig-
nals, or if you had any electronic equip-
ment, you could try to assemble some-
thing that would transmit....I suppose
[you could] try to get off on some sort of
raft. It would depend on how far the
land is....Are you in the middle of the
ocean, with hundreds of miles between
you and any shore? I’d certainly think it
over before I started swimming."
Val Fitch, 1980 Nobel Prize in Physics: "[My
escape] depends on the circumstances on
which I was trapped. You mean, just iso-
lated on an island somewhere...so the op-
tions are to build a boat and to go where
you want to go? Of course, one can al-
ways use the stars to navigate, so that’s
not a problem....[Building a boat] de-
pends on the materials available....What
are you giving me? If you’re giving me
just sand, then there’s a problem, because
I wouldn’t have anything concrete to
make a concrete canoe. If one has trees,
then you make dugout canoes, just like
the Polynesians. [But] now you have to
make a fire. One might be able to start a
fire, and then you can burn out a log.
One time in my life I started a fire by
twirling some twigs____I’m a survival
type.’’
Donald J Cram, 1987 Nobef Prize in Chemistry:
“I’d look around to see what materials
would be available to start fires....One
would be with flint, if you had anything
that would generate a spark...and the other
is simply to use friction, as you do by tak-
ing a piece of wood and hollowing it out
and then taking another piece of wood
that is slender...and coiling it around some
string and then pulling on it and rotating
one with the other. This is the way I did
it when I was a Boy Scout. That was part
of a merit badge I got. I’m 72, and I ride
a surfboard. By virtue of surfing, I’ve been
around the ocean a lot. I feel comfortable
with the interface between land and
ocean....I have some feeling for currents.
You can tell a little bit, now and then,
about how distant a landmass is from
backwash waves....Some of the ancient
people that navigated were able to use that
sometimes in navigation.
—Gfegg Stebben
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Louviere, C. E. University Press (Beaumont, Tex.), Vol. 70, No. 13, Ed. 1 Wednesday, October 13, 1993, newspaper, October 13, 1993; Beaumont, Texas. (https://texashistory.unt.edu/ark:/67531/metapth499896/m1/3/?q=music: accessed July 17, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Lamar University.