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iCapra... freshness df'tffe frrst pfeWht. lt makesth< filfn'feel rfatufal and not forced.” Before shooting a scene, Capra would not rehearse, just gather the actors together and “orient them to the setting,” Another of Capra’s techniques was the use of close-ups and the \very important reactive character.\ In Capra movies, the reactive character is the audience as he “reacts like the audience reacts.” The result is that people laugh not at the film but with the film. According to Capra, “If you use the reactive character at the right moment, it can avoid potentially destructive moments during a film.” On use of comedy as a medium to bring across his themes, Capra said that entertaining people was foremost in his mind. \You must entertain before you can hit people with a statement,” he said. He explained that all his films end optimistically because he is an optimist. \I hate films that say man should not bother living because it all doesn't matter in the end. There is always a tomorrow and I believe that man will always progress. Just remember, the big battles of man are yet to be fought and the best movies are yet to be made,” he said. As optimistic as his films’ endings, Capra left us with these words (after a screening of his State of the Union and It’s a Wonderful Life in Diefendorf), “I started out in 1920 as a chemical engineer. If I can make films, anyone can make films.” It is queslionnable however, if anyone can make them as entertaining. N —continued from page 7— Mew York City Ballet revisited c i4 prelude to more dance musing Editor's note: During the week of March 26, the famed New York City Ballet performed at Shea’s Buffalo. Writer Harold Goldberg attended the opening night of this eventful (for Buffalo dance fans) run. Unfortunately, due to the pressing nature of the Three Mile Island nuclear feature printed on April 4, his piece on the Ballet was gut because of space limitatibns. Though almost a month gfter the fact, / fee! the points brought out in the piece are stilr as insightful to the Sun reader and dance aficionado. It also seryes as a prelude to Mr. Goldberg's thoughts on the genera! \state of today's dance criticism which will appear next week, - j.H. squeaky pratfall. Whatever the reason, the Ballet performing jewels must be at ease but ready with soul because jewels is a ballet of plotless theme. To understand the beautiful significance of this ballet, the basic metaphoric images of \Emeralds “Rubies” and “Diamonds” should be worked with the utmost care, without the distraction of Ashly in “Ballo della Regina” were missed before we were seated — after a 20 minute wait. Ashlywithout flaw on Thursday, npt'only moving to the 100-year-olck_Verdi music, but cleverly capturing the notes, fashioning them to work for her. She moved with clear inspiration; her legs determined, her feet strong; her body moving with dashing grace. Easily she turned from ballet dancer to angel. Dances at a Gathering was dramatic in the sense that the various participants reflected coyness to the audience in their search for partners, a fine emotion because it can stem both from sadness or joy. Here, touching one’s temporary partner, whether male or female, was communal imperfection. The actors can act with their fates but more important is the sincerity from the waist down. There they must show envy, passion and elegance. ‘Rubies’ and ‘diamonds’ But in the beginning of the “Emeralds” section of jewels, the usually flexible, graceful and Philharmonic . . . continued from page 9- by Harold Goldberg anything, it was the wind section (especially the brass) whose sound was amplified by the gym’s high movement of the Sibelius) parts in which the section was featured alone, were more often than not lacking (e.g., Sibelius second movement). But despite some musical problems in the performances, the Orchestra did fine justice to these works. A great deal of the praise must go to Tilson Thomas, who never loses control on the podium. Although many times he will vary from his standard conducting position (left arm curled at his side, right arm slightly erect and in front of him), his motions are always fluid and precise. Often he will step dramatically toward a section (rocking his feet forward and back), when it is their turn to enter, or motion to them in the most demonstrative fashion, but subtly or overtly, he is always in command. When a conductor is firmly in control, the Orchestra is noticeably attentive. During the final bars of Ravel’s \La Valse,” with the demonic possession of the Waltz nearly complete, there is a complex matrix of activity throughout the orchestra. Tilson Thomas coordinated the various parts so adroitly that the perverse intensity of the piece reached a climax that almost shook sturdy Clark Hall. With the students well aware that he would never appear before them again, Tilson Thomas was given a three-minute standing ovation. He returned to the podium twice, and each time smiled warmly to the audience, clasped his hands in front of him, and bowed thankfully in return. I do not particularly wish to quote Clive Barnes in a review, but for the purpose of contrasting the New York City Ballet’s performance here with those in its home city, he will do. f irst off, in a rather lackluster performance at the Shea’s theater (sponsored by the Friends of Buffalo) on opening night, the Ballet presented choreographer and company director George Balanchine’s extravaganza, jewels. Back in 1967, when the three part dance was debuted, Barnes said that “It is open to doubt whether Balanchine has ever created a work in which the inspiration was so sustained, the invention so imaginative, or the concept so magnificent.\ This lavish praise was added to the comparison to the Globe Theater Troupe made by the Friends of Buffalo earlier in the day at a press conference; so the ballet had its work cut out for it that evening. And consequently, excitement was not really buried by boredom but by near tedium. One reason may be \our” fault. As far as it goes, Balanchine has prided his company on the lack of having a star system, but for press given Baryshnikov /\and Peter Martins, therethe idea, especially outside New York, that these ballet folk are celebrities, tried and true. Along with being perfect and flamboyant actors on and offstage, they are expected to dance, to evoke feeling as might a subtle Seurat painting. And if they’re billed as the kin of Shakespeare artistically, they must keep the prestige they have earned, covef the esteem they've been given T even if Misha and Martins don't appear. The hype expects too much; legendary the company > is not; nor is Baryshnikov as great as is said; Noverre is legendary; Noverre is dead. ceiling. Sum of parts The brass, for the most part, performed superbly. The blend within the section and the section’s balance within the Orchestra was seldom off. When a section blends well, it becomes difficult to discriminate between the various instruments. The total sound is thus bigger and more exquisite than the sum of the parts. When the brass got a chance to really show off, as in the first movement of the Sibelius (at the key change to B Major) or in the Ravel, the result was truly glorious and not a bit overstated. One criticism, and it is a small one, concerns the second theme (banging of Thor’s hammer), of the final movement in the \Sibelius Symphony.” The series of half notes played by the french horns was not attacked as aggressively nor did they ring out as brilliantly as the part called for. The listener should be swept away by the enormity of this famous theme. In contrast, the short trumpet solo in the Allegro Moderate of the first movement, was played with considerable warmth and Expression to the point of* being tastefully schmaltzy. silent Merrill Ashly quivered on her tiptoes, quavered like a voice and appeared to nearly lose her balance. Later, when she went forward to her partner with her leg high in the air, her arm shook violently. with light happy teasing. The dancer’s near bumps and fumbling seemed smooth and particularly noteworthy, combining intricacy with tender comedy. More so than Sara Leland, Kyra Nichols outclassed the rest of the troupe since both her face and body found pleasure in dramatic moments. These feelings apparently made her feet seem shy and light, veiling her obvious command of the onstage evening Heather Watts shined radiantly in ‘'Rubies,” flaunting quick, funny modern steps with the ease of perfect passion, with the sly, scat coaxing of a gay '90’s chorus dancer. Robert Weiss kept up with her, never taking the spotlight from the red ruby. In “Diamonds,” Suzanne Farrell was so elegant that she flowed. But in some elegance, there seems to be the flow of conceit. Suzanne Farrell usually gives no performance of such footloose detachment. Perhaps because she was dancing without her usual partner, Peter Martins, she was visibly unfamiliar with the tall Sean Lavery. So she flowed, but sometimes without feeling. By Thursday evening, the Ballet seemed more accustomed to the Shea’s stage, but because of poorly trained ushers in the balcony, two dances by Merrill The blend in the woodwind section suffered throughout most of the evening. Although individual passages were often played exceptionally, (such as the bassoon solo in the first gathering. Stars and Stripes was a truly American spectacle. Like a hometown parade on July 4th, it exuded patriotic feeling and was very bright The pop Sousa music everybody knows, the familiar costumes, the acrobatic solo leaps by Adam Luders contrasted by the massive regiment of ballet dancers, stepping, stepping proudly; all of these made Stars and Stripes a finale befitting both the independent and group-minded folks of any town’s audience. The New York City Ballet proved to Buffalo audiences that it’s not only the Big Apple, but Mom’s apple pie too. THE FINEST, MOST DELECTABLE CHINESE RESTAURANT TheLtcOpfe Resfcniai£ • 11^ | » * iimftly Invito* you to onjoy xcollont Chlnooo Cuioino ■' • . 5$’ Try our Chinese food Northern Stylo. The largest selection and menu from New York to Toronto Shea's stage flawed *■ Maybe the Ballet was simply tired of doing Jewels, but this is easily disproven. During the afternoon, the company practiced with vigor and excitement. Merrill Ashly appeared quite lithe and at the same time speedy while premier principal dancer Suzanne Farrell (who took time out to greet a child whose mother said she wanted to dance when she grew up) was mysterious, demure but energetic. Sean Lavery was jumping well, to say the least. And tall. One thing is certain — the company is not used to the Shea’s stage which makes any sort of unbalanced footfall a loud, Our Specialty PEKING DUCK Splendid Drinks The Center for Theater Research at 681 Main Street will present the world premiere of Eric Bentley’s Fall of the Amazons from April 23-May 13. Starring are Lorna Hill and David Lamb as the mythic figures of Penlhesitea and Achilles. We serve Luncheons and Dinners daily 2249 Colvin Blvd. (at Calvin Exit Youngmann txpwy) Open daily 11:30 am to 11 pm Mon. thru Thurj. Fri. 11:30am to 1 am; Sat. 4 pm to 1 am; Sun 1 pm to 11:30 pm The new University theater group, STAGE, will present their second production of the year at Amherst’s Woldman Theater. The lucky work chosen is the ubiquitous Neil Simon’s Plaza Suite. To show just how many talents there are in STAGE, each of the play’s three acts will have a different director. The show runs this April 26 and 25 at 8 p.m., April 27 at 2 and 8 p.m. Admission is $2. WIRC highlights Friday — 1 p.m. — \Dinosaur Village” — obscure, annoying A interesting. Sunday — 4 p.m. - The Top 40 of classical music. Monday — 7 p.m. — Paul Savini with the week's new releases. Tuesday — 8 a.m. - \Regressive Rock” — The Not Really Classic Album is the first by the Quicksilver Messenger Service. Wednesday — 8 a.m. — The Cactus Hoedown. Take out service and delivery for parties Most niu/or credit cards accepted. ni, OlC 11CT Plenty ol free parking mOHC OS5-5S22
