The Pittsburgh Press from Pittsburgh, Pennsylvania • Page 64

.8 Pittsburgh Press, Nov. 6, 1980 'Stunt Man' Departure 3 For 'Trendy' Director rum 1 Martin's Jazz Work A First For Ballet seen were Peter OToole in 'Becket' and Marlon Brando in 'On the Waterfront' I 7 bW By PAMELA REASNER Assistant Features Editor At last. A modern (it was choreographed this year) ballet that doesn't need to be interpreted, discussed and explained on some sub-Platonic level. "It's geared to the layman. audi mmm 9 JXT.J? A i ill 1 -M ence can totally enjoy it, see that the people on stage are having a good time and think that most of all they would like to join in.

"It's not some incredibly original piece of choreography -it's not geared to that. I'm not saying it's brilliant or nhenom- By ED BLANK Press Drama Editor Stanley Kubrick called Richard Rush's "Freebie and the Bean" the best picture of 1975. Ingmar Bergman said Rush's "Getting Straight" (1970) was the best American movie in 10 years. Which may cause a lot of people to wonder about Kubrick and Bergman. "Freebie and the Bean" was a box-office smash many of us found ludicrous and tasteless.

"Getting Straight" did OK -compared to the other campus revolution flicks, all of which were to some degree irresponsible. Rush also made such exploitation films as "The Savage Seven," "Hell's Angels on Wheels" and "Psych-Out," leaving few of us to expect him to direct a movie as original as "The Stunt Man," at the Bank, McKnight and Showcase East and West. "It was kind of a joke with Roger Corman (a producer who earned a fortune specializing in trendy low-budget films) that he'd do the original of any new exploitation trend," says Rush, "and I'd do the definitive one I'm not sorry you missed a few of those. "The Stunt Man' is based on a 1970 novel Columbia owned and offered to me. I was told Francois Truffaut and Arthur Penn were interested in making it.

"I was intrigued by the idea of a fugitive falling under the control of a director whom he suspects is unscrupulous of how the fugitive's paranoia grows as he fears he cannot control his own destiny. "For the role of the director, I wanted an actor who could be pyrotechnical. For me the best male performances I'd ever wanted O'Toole. "After he read the script he said to me, 'Richard, I'm i literate, intelligent man, and if yon don't let me play that part 111 kill All you do is feed information into his acting machine and out come infinite shadings. "I was warned he was a one-take actor, but I found if you wanted to develop shadings in 30 takes, he'd do it He's as tireless as a child at an amusement pier and very brave.

I also found that as in British theater, as leading man he was like the father of the company. If any of the kids were having emotional problems, he'd have dinner with them." Rush also speaks well of Steve Rails-back, who, as the fugitive, is in every scene. "The audience gets only the information the fugitive gets," Rush says, "yet he's a pretty nonverbal character. I was stunned by Steve's range and depth. His unique intensity seems to be able to cross over the nonverbal barrier." Rush hired Allen Garfield, a fairly well-known character actor, to portray a frustrated screenwriter, yet Garfield is billed as Allen Goorwitz.

"Goorwitz is his real name," Rush says. "He decided at the time we were shooting to start using his real name professionally. His parents had just died, and he intended the change as a tribute to them perpetuating their name." "The Stunt Man" was completed about a year before it began getting distributed. Only after it broke records in Seattle did it earn a Los Angeles opening, and only when it did well there, too, with raves helping considerably, did it find its way to cities such as Pittsburgh. he says.

"When this season was set up, I looked at the rest of the repertory they had asked me to do another ballet and I thought maybe it needed a light piece, something for the layman." The music, which has eight parts though Martin only made use of five, was commissioned by renowned violinist Pinchas Zukerman, and the recording the ballet is using features Zukerman and Boiling. The title, with its multiple plays on words, came from the record sleeve, Martin says with a smile. The sleeve showed four instruments standing against a bar (as in drinks). And ballet bas a barre (as in for exercising). And the setting for the ballet is "in" an "inn." And the barbarre is in the inn, which is to say the tavern.

You get the idea. The piece is for 13 dancers and is set in the 1930s, a "non-descript era," Martin The first movement is a caprice, Martin says, and features the "introduction of the major characters two barmen, four debutantes, two affluent gentlemen; and the entrance of a very precious couple very mummy and daddy's boy and girl, marathon dancers from that era; and the entrance of a very aristocratic, sophisticated gentleman. "The second movement (Slavonic with a swing) has the entrance of a young, tarty girl who plays one barman off against the other and the gentlemen off against each other. The third movement (ragtime) involves all these people. "The fourth movement (valse lenta) MARTIN Producer-director Richard Rush, top, consults with Peter O'Toole, middle, and Steve Railsback on "Stunt Man" set.

enal. The atmosphere and music and especially the costumes it's rery different. It involves people, and I hope they will all feel it's touched a part of their history." tvAnd this from the choreographer. Keith Martin's "Barre Inn the Tavern" will have its world premiere tomorrow through Sunday in the Pittsburgh Ballet Theatre program at Heinz Hall. Performance times are 8 p.m.

tomorrow and Saturday and 2:30 p.m. Saturday and Sunday. Martin is a principal dancer with the company, but principal Ingrid Fraley and Patrick Garza have the lead roles in his ballet; Martin will be dancing the lead in "Petrouchka." Also on the program is artistic director Patrick Frantz's "Portraits." "Barre Inn" marks Martin's third choreographic effort for the Pittsburgh Ballet, the previous two being last year's "Nutcracker" and a short piece called "Springfest." Actually, "Barre Inn'' was conceived in January 1980, Martin says, when he first heard the music Claude Boiling's Suite for Jazz Piano and Violin. "I listened to it all and got numerous ideas along the line of simple costumes, free moving. Then I put it on the shelf," O'DONOGHUES ion Saw mid iwi DA TIT CTDFrf DAI A dlAfiLl 1 fyfrJfloNifri tFftAS EiM VM, Fti.

I til. lhnt twy VM. Fti. I III. fcnataf has the entrance of a very sophisticated aristocratic lady, who then dances a pas de deux with the very sophisticated, aristocratic gentleman." And the fifth movement is the finale.

Martin gives a great deal of credit for the final look of the piece to his costume and set designer Bill Brewer, of the Carnegie-Mellon University drama faculty. "One becomes influenced by one's designer and by the music. It becomes a collaboration. I say to him, 'This is what I want scenes, cloth, He comes back and says, 'How's And it was wonderful." OUR JOINT 423 McMurroy Rd. Bothol Park Rouns nn C0VER SSSi? BASE DRIVER $2.00 SHOW BAR A77V EE WIN CASH! Enter The Press Football Contest! You could win $500! See Press Sports Pages for details! Ml! Idmnilt I flCmM lllllll FRI.

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