The Cincinnati Enquirer from Cincinnati, Ohio on May 22, 1990 · Page 18
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The Cincinnati Enquirer from Cincinnati, Ohio · Page 18

Cincinnati, Ohio
Issue Date:
Tuesday, May 22, 1990
Page 18
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B-6Features the Cincinnati enquirer Tuesday, May 22, 1990 ROCK -M- ROLL CSO road show to play 10 Japanese cities BY RAY COOKLIS The Cincinnati Enquirer The Cincinnati Symphony Orchestra has announced the itinerary and programming for its October-November tour of Japan. The CSO and Pops will play 15 concerts in 10 Japanese cities, beginning with an Oct. 25 CSO program in Gifu, Cincinnati's Japanese sister city. The orchestra is scheduled to leave Japan Nov. 16. Music Director Jesus Lopez-Co-bos will conduct eight classical concerts, with Pops Conductor Erich Kunzel leading seven pops concerts. Cities hosting the orchestra: Tokyo, Osaka, Kyoto, Nagoya, Gifu, Fukuoka, Matsudo, Chiba, Mi-yazaki and Hachioji. The Pops will draw heavily from its A Hollywood Spectacular and Gershwin albums. Among the music it will play: Tchaikovsky's 1812 Overture, Gershwin's Rhapsody in Blue and Symphonic Suite from Porgy and Bess, Grofe's Grand Canyon Suite, Elfman's music to the film Batman, and themes from Star Wars, Star Trek, Goldfmger, and Gone With the Wind. The CSO will feature Bizet's Carmen Suite, Ravel's Daphnis et Chloe Suites and Rhapsodie espag- The Cincinnati Symphony Orchestra and Pops ) 4? jCJL will perform in these cities during their "jf October-November Japan tour. J Matsudo Osaka ! I A ?-.. Jj Paelfleji Ocean !ijR jK Mlyazakl ' 'j 0 50 II 00 liilillBlIllliiiiill h.-.V.W.V.V.l. V,w i ....i ... - nole from its recordings, along with Dvorak's New World Symphony, Tchaikovsky's Pathetique Symphony and John Harbison's Remembering Gatsby. While in Japan, the orchestra will have several free days, and will take the bullet train for travel between Tokyo and Kyoto. Other trips within the country will be by Tne Cincinnati EnquirerRoo Scnuster bus or plane. The final Japanese concert will be Nov. 15 in Hachioji, about a 90-minute bus trip from Tokyo. Negotiations still are under way for a possible side trip to a second country in the Far East. If it is confirmed, the orchestra will travel to that country Nov. 17, play three concerts, and depart for the United States Nov. 20. Cincinnati Bell and GE Aircraft Engines are sponsoring the tour. The CSOPops itinerary: Oct. 23: Arrive at Tokyo; reception in Gifu. Oct. 25: CSO concert in Gifu. Oct. 26: CSO concert in Nagoya. Oct. 29: Pops concert in Kyoto. Oct. 30: CSO concert in Tokyo. Oct. 31: CSO concert in Tokyo. Nov. 3: Pops matinee in Osaka. Nov. 4: CSO matinee in Osaka. Nov. 6: Pops concert in Tokyo. Nov. 7: Pops concert in Tokyo. Nov. 8: CSO concert in Matsudo. Nov. 9: CSO concert in Chiba. Nov. 10: Pops concert in Matsudo. Nov. 12: Pops concert in Fukuoka. Nov. 13: CSO concert in Miyazaki. Nov. 15: Pops matinee in Hachioji. Japan CONTINUED FROM PAGE B-l glish and speak English. The school provides extra study in Japanese. "Education concerns many Japanese parents who come here to work temporarily. I'd say about 80 to 90 of them enroll their children in the Saturday school." On a recent visit to the school, most of. the Japanese students were not griping about the extra day of studies. "I like to come here," said Norio Saito, a lOth-grader at Beechwood High School. "It's a chance to meet other Japanese students and speak Japanese. "I've made a lot of American friends. But there's something special about also being able to be around other Japanese, too." For Sycamore Junior High eighth-grader Hiromi Mori, the school provides her best opportunity to socialize. Her family moved to the United States eight months ago. "I don't have any American friends," Hiromi said through an interpreter. "I don't speak much English, and that makes it very hard to make American friends. The Saturday school is a fun place for me." The school was started 15 years ago by Japanese parents. It began with 30 students meeting at a Cincinnati church regularly as an effort to maintain their Japanese language. Its enrollment is now 190 and increasing every month. Grades K-12 meet in 14 rooms in Swift Hall on the University of Cincinnati campus. Japanese is taught, but math and social studies also are part of the curriculum. The Japanese Language School is managed by the principal and an eight-member board. It also has an active PTA, which meets monthly. The newly appointed principal, Kiyoshi Miyakawa, is a retired principal of a high school in Gifu City, Japan. He moved to Cincinnati in April. The school's 15 teachers are volunteers, usually parents. Previous teaching experience is not required. Because the school is a nonprofit organization, the $45 month ly fee the parents pay is for books, materials and the rental of Swift Hall. Classes start at 9 a.m. and end at 1:30 p.m. each Saturday, 11 months of the year. Classes come to a halt during August. The study sessions are punctuated with breaks for lunch. For the younger children, there's even time for horsing around. An American experience "From the Japanese standard level and depth of study," said principal Miyakawa, speaking through an interpreter, "I realize that one day of classes is not sufficient. It's survival at a minimal level. "Generally speaking, the children who go back to Japan after studying abroad have some trouble. They're usually behind other Japanese students, but what we do in here one day a week is much better than doing nothing." Tanizawa said they hayen't considered increasing the days of Japanese study in the summer. "They come over here to expe rience life in America," said Tanizawa. "They can't do that if we take all of their free time to study Japanese." Osamu Hazama, a lOth-grader at Lebanon High School, expressed some concern about his future. "I'd like to go to an engineering school back in Japan eventually," he said. "But I know there are, not many . there who would like to . accept a student who has studied in a foreign country. I might consider going to college over here." Mie, a student at Lebanon High School, has been here four years. She said she worries about adjusting to Japanese classroom when her family goes back. "In Japan they look like zombies sitting in the room because they don't speak a word during class," she said. "It's like there are no opinions to give to the teachers." Norio, who described himself as witty and outgoing, said he doesn't look forward to reining himself in. "I'm fine as long as I can still speak Japanese without an American accent." Movie CONTINUED FROM PAGE B-l assistant, M.A. Worobec, he has created costumes for Chains of Gold (a contemporary anti-drug film starring John Travolta that will be released in June), and Convicts (a film set in 1902 on a New Orleans sugar plantation, starring Robert Duvall and James Earl Jones; it debuted last week at the Cannes Film Festival). A native of West Virginia, Samples joined the New York design firm of Giorgio Sant'An-gelo shortly after graduating from Marshall University. As Sant'Angelo's first assistant, Samples worked closely with the designer, even helping him with the gypsy collection that earned him a coveted Coty Award in the 1970s. Eventually, Samples free-lanced as a fashion stylist for cosmetic companies, including Rev-Ion and Charles of the Ritz. After earning a reputation for avant-garde and experimental print advertisements, he was discovered by Italian Bazaar, and French and American Vogue magazines. Movies posed challenge Eventually he became bored by "constantly having to have a finger on the pulse of what was happening in fashion." He wanted inspiration and a challenge. So he joined the movie industry. The job of a costume designer is "not to make a fashion statement or to intrude in the picture," says Samples. "As a designer you're there to build on the script and build the character not to dwarf it or to take it too far over the top." "In the 1950s, Harlem was the heart and soul ... the heart of America," says the 37-year-old Samples. "It was New York City. It was jazz. It was fashion, nightlife, glamour. It was very sensuous, sexy and hot. The picture is about all that. "To be able to pinpoint to try to recreate that steamy, musical, soulful time in clothes and to build these characters is an amazing feeling." And astonishing to watch behind the scenes. Within the costume world of A Rage in Harlem, there are two major scenes: Scene 1: The wardrobe department, the fourth floor of an old Cincinnati building, that resembles a Salvation Army shop, circa 1950s. The department is made up of 20 people 17 of them Tristate residents who are wardrobe assistants, seamstresses, tailors and shoppers. Scene 2: The sets where the movie is made a train station, a gambling house, a church, a brothel called Big Kathy's Den of Inequity, a ballroom and the streets. The sets are where the clothes come to life. View from Scene 1 It is a rainy, dreary afternoon. The costume department is organized chaos. Phones are ringing. Bernina and Singer sewing machines are buzzing. Female extras wait for fittings. Black handkerchiefs are needed for a mourning scene so Samples sends a shopper to Banasch's Fabrics, downtown, with a $100 bill. Thousands of men's, women's, and children's costumes are scrunched together on clothing racks. Hundreds of women's hats, separated by color, line the walls. Bolts of fabric are piled on tables. There are makeshift dressing rooms. Boxes are filled with clothing and accessories that have just arrived. Layouts from 1950s fashion magazines are tacked on the wall. A cardboard file contains '50s magazine pages showing everything from New York police uniforms to children's clothes. "We have everything broken down into classifications ... all the women's things together, for example. All the blouses are coded in color, size, style," says M.A. Worobec, wardrobe supervisor and a Miami resident who's worked with Samples for five years. "We average 30 fittings a day for extras, and we know exactly where to go to pull an outfit." A detailed schedule, called a oneline, tells Samples what scenes will be shot during the next few days. The department tries to stay a day or two ahead of the shooting schedule. However, there is an endless list of items needed hours before a scene, like panty hose, bra cups, liquid starch, cuff links. "We might need a nun's habit, so we call L.A.," says Worobec. "Shoppers in Los Angeles get it and put it on a plane. It'll be here in a couple of hours. Then we fit it." Shopping the Tristate Locally, last-minute purchases are made by Cincinnatian Nancy Collini, who drives hundreds of miles throughout the Tristate to shop. She may be instructed to buy 20 pairs of black fishnet stockings for a brothel scene or to dig through a thrift store for dirty clothes to outfit bums. During one trip, Collini arrived with black, patent leather six-inch spike heels from The Thing Shop in Newport, Ky., which sells lingerie and outfits Newport's strippers. Most of the vintage clothes and accessories are rented from shops in New York, Miami and Los Angeles. Garments for the principal actors designed by Samples were made in Miami or by seamstresses and tailors within the department here. "It's not often we can run out to a store and buy something," says Worobec. "We have to build a lot of it, which takes time." In addition, there are hours of research. Everything from a stack of 1956 Playboy magazines to information from fashion historians to old newspapers and fashion magazines is consulted. "It's the little, subtle nuances that make the outfit work or not work," says Cincinnatian Bill Kennedy, a wardrobe assistant who has watched old episodes of Love Lucy for inspiration. "It's down to earrings, the right hats, the right tie, the right shoes. Those things are real important as far as conveying the essence of the characters and the '50s feel." Once each extra actor has been fit and the outfit approved by Samples, a Polaroid picture is taken so that wardrobers on the set know how the outfit is supposed to look. The clothes and accessories are then bagged together with the photograph and taken to the set. View from Scene 2 Picture a Baptist Church in 1956 with 250 people in the congregation (complete with choir, deacons and a minister) all dressed in their Sunday best. Women wear shapely two-piece suits with snug short skirts or tight-waisted full dresses with crinolines underneath. Every woman wears a hat that hugs her head, cotton gloves, a matching purse and pumps, and a complete set of costume jewelry earrings, a brooch or necklace and bracelet. The key to womenswear in the '50s is that everything matched, everything coordinated. Men are decked out in lightweight wool or gabardine two-piece suits, rayon shirts with cuff links, wide floral and geometric ties, wing-tipped shoes or two-toned spectators. They all have pocket squares, felt fedoras and crew cuts. "When you have 200 extras file by you and the principals and all the characters intermingle you just sigh," says Samples. "It gives you a rush of adrenaline." Switch to an old house transformed into a brothel called Big Kathy's Den of Inequity. A dozen or so prostitutes are dressed in filmy peignoirs, baby-doll pajamas, tight dresses with corsets, bustiers, garter belts, silk stockings and elaborate hats. Heavy eyeliner lines their eyelids, their brows are dark and arched, their lips are matte with red and coral shades. There are at least 20 well-dressed men in the audience, where a floor show is going on. "I'll need a three-minute repair," yells Samples following the show's rehearsal. "How about a two-minute repair?" responds assistant director Warren Gray. Constant adjustments Another problem arises. A tall black feather on top of an actress' hat is in the way of a camera angle. Instead of lopping off the long feather, which is suggested but Samples refuses to do, the actress is instructed to sit on a chair instead of stand. On the set, Samples and wardrobe and makeup assistants make sure clothes, makeup and hairstyles are perfect. Those Polaroid pictures which offer continuity when scenes have to be reshot on a different day are essential to the wardrobers and makeup artists. Dozens of them hang off their belts. "When I start looking at all these people coming in, when I see them all take their places, I feel incredibly proud," says Samples, after the scene is completed. "If it's a wonderful scene, a wonderful set and the characters, action and everything comes together, you feel very complete and very satisfied. It's like what I would imagine a wonderful relationship to be. Maybe it's like having a child." i Thu. 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