South Florida Sun Sentinel from Fort Lauderdale, Florida • Page 59

Sun-Sentinel. Thursday. March 21. 1991 3E Opera company's second cast in post-Civil War epic MUSIC REVIEW Snyder faces Stern on 'Later' tonight By SCOTT WILLIAMS The Associated Press NEW YORK There is nothing wrong with your set. Tom Snyder and Howard Stern, two of the strangest egos in Western civilization, butt ESS? tonight on Later mth Bob Costas, NBC distinguished late-night talk show.

It hilarious, wrong-headed, comical and ultimately sad. This means it's great television. Snyder (how soon we forget!) preceded David Letterman on NBC's late-night roster as host of the Tomorrow show. He was very By TIM SMITH Music Writer The appeal of Carlisle Floyd's musical drama The Passion of Jonathan Wade proved as powerful on Tuesday evening at Dade County Auditorium as it had the night before. The principals in the second cast for this epic-sized Greater Miami Opera production were equally adept at bringing to life this tale of love and loss amid the rubble of the defeated South.

Erich Parce brought a certain matinee-idol quality to the role of Wade, which he will sing in the San Diego Op The Passion of Jonathan Wade Carlisle Floyd's musical drama about the Reconstruction presented by Greater Miami Opera. International Series cast performs at 8 p.m. Saturday; National Series cast at 2 p.m. Sunday; at Dade County Auditorium. 2901 W.

Flagler Miami. Tickets Call 1-305-854-7890 or Ticketmaster, 523-3309 (Broward) 358-5885 (Dade) with exquisite, time-stopping delicacy. James Wood turned in a multifaceted performance as Celia 's stubborn father, Judge Townsend. As with the others, there was a combination of solid singing, abundant musicality and dramatic insight that helped turn a stage figure into a slice of life. Robert Brubaker's portrayal of the bigot, Lucas Wardlaw, was dynamic, riveting.

He added to the odious nature of the man not by barking out Ward-law's hate, but often by covering the lines with a sinister vocal smoothness. The rest of this National Series cast is the same as the International one. De-bria Brown again was the stand-out; her portrait of the servant Nicey, so rich in tone and full of telling gestures, is, like the set design, alone worth a ticket to the opera. High marks again were scored by John Duykers as Enoch Pratt, the radical republican who engineers Wade's fate. (The audience both nights booed this bad guy's curtain calls, as in old vaudeville days, but the terrific range of his performance deserves only applause.

Incidentally, all of the bad guys are tenors in this opera, quite a break with tradition.) Also as on Monday, firm singing and vividly etched characterizations came from Donnie Ray Albert as the discour-aged Judge Bell, Eric Perkins as Wade's lieutenant, William Fleck as the carpetbagger and Rod Nelman in a variety of assignments. Note, too, the effective work in two small roles Craig Grayson as the rector and Anna Jo Vikre as a young Southern girl anxious for the return of the defeated soldiers. The chorus remained impressive, too. Conductor Hal France again held the challenging score together masterf ully. The Florida Philharmonic played with precision, expressive alertness'and what sounded like enthusiasm for the exceptionally colorful orchestration.

The composer uses that orchestration inventively to underline the action His many subtle strokes are especially telling, as when Celia lifts her mourning veil to let Wade see her face or when slithering strings punctuate Pratt's words as he sets his trap for Wade, recruiting the lieutenant for the scheme. And as the lieutenant agrees to help, the orchestra's commentary is an ominous transformation of Wade and Celia 's passionate love theme. With so much to see and hear in Jonathan Wade, audiences would do well to attend more than one performance. As was the case on Monday, though, some folks refused to give it even one full chance. Perhaps for those who departed prematurely, loudly complaining that the opera didn't have any music in it, another bit of Civil War-era history could be brought back firing squads for deserters.

7 not in the 70s. Today, he works in Los Angeles for the ABC network, doing talk radio. This week, he is guest host for Bob Costas. In his prime, Snyder was a local TV news anchor in Los Angeles and New York. He was brash, outspoken, 1 1 era upcoming production of the work.

His thoroughly natural acting style was matched by some beautifully molded singing, full of smooth, elegant phrases that let the internal warmth of the character pmprcro with narfit. 1 S. wise remarkably adept at delineating the woman caught up in the personal quandaries imposed by that trying time. Her vocalism was vibrant, penetrating, colorful, and complemented by superb diction (there was never a need to look at the supertitles when she was singing). She made the most of one of those little moments that Floyd can create so affectingly and that help make the opera so convincing.

It comes after the first encounter between Celia and Wade, when she drops her guard long enough to address him as "Mr. Jonathan." The soprano intoned those two words, set to a soft, high-lying phrase, raicc ular clarity. What makes Wade such a fascinating addition to operadom is precisely that warmth and unaffected manner, for that leaves him so vulnerable in a time as ruthless and villainous as the South under Reconstruction. As Celia, Alison England was like- L-umruversiai ana anyaer relentlessly middlebrow. He's tall, he wears casual clothes and combs his hair over.

Stern, radio's Bad Boy, was very hot in the '80s. He got jammed by the FCC a few years back for his sexual and scatalogical humor. His morning show is heard in New York, Philadelphia and Washington, D.C., and is going to L.A. A driven, drive-time personality, Stern also is host of a television show almost a radio show with video seen nationally on cable "superstation" WWOR. He wears black and has long, dark, teased hair.

Each, in his own way, is extravagantly convinced of his own excellence, merit and worth; each, in his own way, is certain of the other's lack of these qualities; and each, in Dolly Parton flies high on latest outing 4'i his own way, is correct. "Howard, it's a pleasure to meet you after all these years of mutual attack," Snyder said after a brief introduction of his guest's radio and TV credits. Pawn to Queen four. Stern doesn't bite. He is gracious, acknowledging his introduction.

Then Snyder -VHi ines to pop rum wun ine iirsi question, something about "shock radio," and doesn't get a chance to finish the question. Stern interrupts: 1 t-nt I -i J. ON TV Program: Later With Bob Costas With: Tom Snyder, Howard Stern Airs: Early Friday, 1:30 a.m., WTVJ-Ch. 4 and WPTV-Ch. 5.

ABOVE: After 27 years in the business, Dolly Parton's love of country music still shines 1 through. RIGHT: Folk-rockers Blue Rodeo may be poised for stardom. DOLLY PARTON: Eagle When She Flies (Columbia Records). Dolly Parton's bubbly image has overshadowed her musicianship for so long, even longtime fans sometimes forget her far greater talents as master singer-songwriter. On this, her 51st album in a career spanning 27 years, Parton doesn't exactly blow your socks off, but she does show why she's been around so long.

Simple melodies (she must have thousands of them swimming in her head), framed by the typical hard-luck stories we've come to expect from country storytellers, combine for another pleasant outing from one of Nashville's best. Despite her millions and elite status in Hollywood, Parton never forgets her roots, as evidenced on some of the more poignant tales about dirt-poor life on the farm. She sings with the usual effervescent clarity and plays guitar with more natural flair than most. Duets with Lorrie Morgan and Ricky Van Shelton add flavor; Parton also co-writes a couple of tunes with Carl Perkins and Gary Scruggs. Still, there is never a point when it isn't evident that this is her set.

Parton is at the controls as executive producer, too, keeping the studio wizardry to a sensible minimum. Parton is one of those rare stars who still has an interest in creating good stuff, when she could easily be resting on her laurels. That genuine love of music is what makes this set, and her other albums, so refreshing. BLUE RODEO: Casino (East-West Records). Toronto's Blue Rodeo is among a most promising crop of Canadian bands to come stateside lately.

With this sparkling third set on the upstart East-West label, this gritty folk-rock quintent seems poised for acclaim. With a good-time country feel and DEBORAH WILKER RecordVideo Reviews this adult-contemporary set. Astley takes full or co-writing credit on eight tracks. Astley, who at 21 bounded on the scene with Robert Gou-let vocals tangled amid a disco din, with Edie Brickell, they'll play the Button South on Saturday night in Hallandale. Doors open at 8 p.m at 100 Ansin Blvd.

Tickets are $12 in advance, $15 day of show. Call 454-0001 (Broward), 756-5811 (Dade). RICK ASTLEY: Free (RCA). The wunderkind of England's Stock-Aitken-Waterman production line, Rick Astley has moved on and, thankfully, out from under that colossal drum machine. Teamed with Level 42's Mark King and Rob Fisher of the Clime-Fisher, songwriting team, Astley takes a softer tack more suitable to his big vocals.

The lead track by Michael McDonald suits him, as do most of the uptempo ballads and jazzy pop tunes on "Are we going to work out this thing between us, first, before you go into the serious interview?" "There's nothing between us, pal," Snyder shoots back. "We do this half-hour and we never see each other again." "No, no, no. There is something between us." "No, no, there's nothing between us!" "You have bad-rapped me before," Stern said. "I've read various newspaper articles before where you have said that you don't like what I do. Isn't that true?" "I have said that I am not a fan of your format.

I do not care for what is called shock radio." Now we have come to the heart of the matter. It's really the focus of what these two men are talking about. Snyder doesn't like Stern's TV show, with its Lesbian Dating Game segment and Sammy Davis cancer jokes. "This is all funny stuff to some people," Snyder said. "Pal, to me it's not funny.

Now, that does not make you unfunny. It makes me, uh, uh "It makes you out of touch," Stern said. "Out of touch. OK. I will admit that.

I will admit that I am out of touch with the Howard Stern kind of humor," Snyder said. And he never really recovers. Stern takes control of the interview and never really lets go. He controls the direction of the interview, and ends up asking as many questions as he answers. Snyder gets angry or pretends to.

"You are what is wrong with television!" Snyder says accusingly during one fade to commercial. Imagine. Tom Snyder said that to Howard Stern. Later, after Later tapes had stopped rolling and Stern was leaving the Later set, the two men shook hands and made nice. "I hope that was the performance you wanted," Stern said.

find a way to Astley showcase his talent. He does that and more on this coming-of-age outing, particularly on the gospel-style Cry for Help and the funky Move Right. Out. This isn't to say that the disco beat wasn't good to Astley, but it sure is nice to see a kid find his way and do it I well. stellar harmonies floating over strong rock melodies, the guys capture the kind of heartland feel once best epitomized by the Bodeans.

Socially aware lyrics add that vital lick of intelligence most crucial for critical respectability. On tour now WFLX to launch newscast compliments of WPEG TOM JICHA TV Radio Writer graphic profile to Palm Beach County, the 10 p.m. news on WSVN-Ch. 7 ou1-trates some 11 p.m. newscasts on the network affiliates.

WPEC's Peterson said there is a substantial upside for his station. "Producing this program allows us to generate additional revenue to support our large news infrastructure. This is like adding an extra hour to the day for us. The expansion we will make in our news department to do this show also will increase the resources for all our newscasts." Peterson said he envisions hiring between 12 and 21 new people to staff the WFLX news program. The deal originated from seemingly innocuous cocktail hour banter at last fall's season kickoff party, which is jointly sponsored by the Palm Beach market stations.

Peterson approached Green and said with a laugh: "I hear you're going into the news business. Why don't you call us, we'll do it for you." Green said the two made light of the remark, but when he was driving home that night, he thought about the merits of Peterson's proposal and decided to follow up on it. Negotiations went back and forth for almost six months and this week a deal was struck. Both men declined to define the length of the contract, but Green emi phasized it was not a short-term experiment. "It's more than a couple of years, put it that way.V Green said.

"We are in the news businilis to stay." er either way. All the advertising time on the Channel 29 news will be sold by WFLX. This makes the WFLX-WPEC partnership unique. Over the past year, network affiliates in Washington, San Francisco and some smaller markets have put on separate newscasts on relatively weak U1IF stations within their market. In every instance, however, the larger station bought the time and sold its own advertising.

This past January, WDZL-Ch. 39 began replaying WCIX-Ch. 6's 11 p.m. news at 12:30 a.m., but this relationship was established primarily to give WDZL a news image at no cost. The commercials within the replay are the same ones sold by WCIX for the original newscast.

As part of the deal, WCIX provides hourly news briefs at no charge for WDZL during prime time. The advantages of the WPEC-WFLX partnership seem to be tilted heavily toward WFLX. Channel 29 gets to become a significant local news presence without making the overwhelming investment this usually entails. Also, WFLX news at 10 p.m, figures to be a strong audience magnet opposite WPEC's prime-time lineup and a reason for viewers to get their news an hour earlier and go to bed before WPEC's 11 p.m. newscast.

This has proven an especially potent factor in markets with heavy concentrations of older viewers, such as there are in Palm Beach Countv. For Instance, In the Miami-Fort Lauderdale market, which fcjas a similar demo WFLX-Ch. 29 is going into the news business, courtesy of a competitor. WFLX plans to present an hour of news at 10 each night without having any anchors, reporters, news trucks, cameras or even a studio. All of these will be provided by WPEC-Ch.

12, which will produce the program. In essence, WFLX is buying a newscast in the same way it would a situation comedy or a movie. The target launch date Is next fall. "We are borrowing their credibility," WFLX general manager Murray Green said. "They have a heavy investment in equipment and personnel and we are putting it to work for us." Under the arrangement worked out between the stations, WPEC, a CBS affiliate, will produce a distinct newscast for Fox-affiliated WFLX.

This will include two new anchors, who will be hired by WPEC only after they have been approved by WFLX. The anchors will work almost exclusively for WFLX. Crossovers will be limited to vacation or emergency fill-in situations. There will be crossovers among field reporters, but the WPEC correspondents will file separate reports for the WFLX newscast. The distinct nature of each newscast will be carried to a somewhat humorous extreme, According to Green, once the Joint operation gets under way, WPEC news trucks also will carry WFLX logos.

When a story is being filed for WPEC, the reporter will be filmed standing in front of the part of the truck with the Channel 12 Ugo; when it is be- i TODAY'S MAIN EVENTS Music 24-7 6PYZ, a funk-rock group, Is booked at p.m. at Club Nu, 245 22nd Miami Beach. Tickets are $12. Call 1-305-672-0068 or Tlcketmaster, 523- 3309 (Broward), 358-5885 (Dade). FLORIDA SYMPHONIC POPS, featuring pianist and humorist Victor Borge, Is scheduled to perform at 8 p.m.

at Florida Atlantic University Auditorium, Glades Road, Boca Raton. Tickets are $18 to $32. Call 1-407-383-7677 or Tlcketmaster. Variety FIFTH ANNUAL BOOK AUTHOR LUNCHEON, featuring Connie Bruck, author of The Predator'i Ball, Is scheduled at 11 a.m. by the Boca Raton Lighthouse Chapter of Hadassah at the Polo Club Boca.

Raton. Call 1-407-395-0058. FRIDAY IN SHOWTIME Sissy Spacek and Whoopl Goldberg star In The Long Walk Home, a drama about a Montgomery, housewife and her maid who are caught In the fallout of the bus boycott of 1955. Film writer Candlce Russell talked with Spacek about acting, segregation and motherhood. ing done for WFLX, the Channel 29 designation will be seen in the background.

It's possible the WFLX newscast will have an entirely different approach and tone from WPEC news. "We plan a major research effort to see who our target audience is and what they want in a newscast," Green said. The agreement allows Green to more or less dictate what WPEC gives him. WPEC will not be able to withhold significant stories for its own 11 p.m. newscast, Green said.

WFLX also will have access to all of WPEC's news sources, with one possible exception. Permission still must be obtained for WFLX to use material supplied to WPEC by the network. Bill Peterson, WPEC general manager, said he has had conversations regarding this with the CBS Affiliate Relations Department and is optimistic permission will be granted for an additional fee. Since WFLX has access to a national and International news service supplied by Fox, this is a deal break.