The Ottawa Citizen from Ottawa, Ontario, Canada • 49

i i r3 1 sin nil rn oirj i The Citizen, Ottawa, Monday, April 1, 1983, Page D7 U2 gives impatient audience what it wanted NAG Theatre plans more balanced season for 1985-86 By Steve Mazey Citizen staff writer By Audrey Ashley Citizen staff writer 4 Mr AM If 0 1 Music review Olvlc Centre, Saturday night "We're going to make your 10 bucks work for you," Bono promises. And that's exactly what U2 does. Though not all of U2's material is equally strong, the band's members threw themselves into every song with fervor. And instead of making the concert a long promotion of their latest album, The Unforgettable Fire, they refreshingly alternated their new stuff with their old, a wise move for more than one reason. Though some of the tracks from that album have the drive and energy that is the band at its best, others, like MLK, seem self-consciously arty.

The Edge's guitar is toned down on several of the songs, leaving them with a droning sameness. The group performed most of the songs from that album Saturday and the least effective material didn't sound much better live than it does on record. Aside from the fact that the older material was better known with the audience, it's also simply more exhilarating. Songs like I will Follow, 40, and Gloria showcase the band's biggest strengths: Bono's soaring voice, The Edge's guitar and the lyrics concerned with violence, alienation and spiritual deprivation. With bassist Adam Clayton and drummer Larry Mullens, Jr.

added to that, U2 has a sound that is hard-driving and aggressive in the punk style but which is less raw, more precise. At the same time, its preciseness isn't so smooth as to be sugary, a la Duran, Duran or Flock of Seagulls. It's Saturday night at the Civic Centre and several thousand people are booing, hissing, and throwing unidentified objects onto the stage. They've come to see U2 and what they're seeing is an inappropriate opening act, a country-rock group called Lone Justice. The group is led by a shrill female vocalist who tries to sound like a cross between Anne Murray and Joan Jett.

Instead, she sounds like Dolly Parton on helium. Faced with so many hostile people, she does her best, dancing frenetically across the stage. Maybe she knows that a moving target is hard to hit. "U2, U2, U2," they chant, throwing more objects, some of them ignited, onto the stage. They make it clear Lone Justice is playing to the wrong audience in the wrong place at the wrong time.

What they've come to see is U2, one of the most provocative, vital, politically-conscious bands around and they don't want to wait. So they pass the time with boos and booze. Finally, the members of Lone Justice give up and leave, getting their biggest applause of the night. Forty-five minutes later, when it seems the seething mass is on the verge of making a human sacrifice, the lights dim and U2 bounds onto the stage with an energetic version of 11 o'clock Tick Tock. With its hypnotic beat, Dave "The Edge" Evans's slashing guitar, Bono Hewson's soulful, haunting voice, and the anguish-ridden lyrics, it's typical of the group's best material and it makes a great beginning.

Terminal Blues. It will run April 3-19. The Lord of the Rings, April 21-26, will be a co-production between the English and French theatres of the NAC, Le Theatre sans fil, and the Nouvelle Compagnie Theatrale, and will be staged in the Opera. Based on J.R.R. Tolkien's epic tale of the last courageous battle of Frodo and his companions against the Lord of the Rings, it will feature 100 lar-ger-than-lifesize puppets.

The season ends May 8-24 with Michel Tremblay's Albertine Five Times, an English version of the original production staged so successfully this season by the NAC French Theatre. It will use the same actors and will be directed by Andre" Brassard. Celms also hopes to present three productions from regional theatres in the Studio, and says he will be bringing in smaller companies and possibly staging other NAC productions in the Atelier if the budget allows. He also hopes to stage a couple of productions for children at the elementary school level. Celms said that his first season as producer has been geared to giving audiences something different from previous seasons, and "to respond to the idea that the NAC was always doing depressing plays." He has taken note of the letters and telephone calls he has received and says this season is a response to requests for Broadway hits, drama and some Shaw, as well as comedy.

"People talk to me," says Celms, "and I listen." After a season of comedies, An-dis Celms, producer for the NAC Theatre, says he's going back to a more balanced season in 1985-86, giving Ottawa audiences some of the things they've asked for. At a press conference this morning, Celms anounced that the new season will start Oct. 10 with the Shaw Festival production of Shaw's Heartbreak House, scheduled to open this year's festival at Niagara-on-the-Lake in May. Directed by Christopher Newton, the play will feature Douglas Rain, Marti Maraden, Fiona Reid, Goldie Semple and Norman Browning. It will be followed by a production from the Grand Theatre, London, Ont, of Children of a Lesser God, Mark Medoff's Broadway success about a strong-minded deaf woman who refuses to be an outcast in a world designed for peopie who can hear.

It will run Nov. 21 -Dec. 7. The January show will be another Broadway hit Michael Frayn's comedy Noises Off, directed by Derek Goldby, in a co-production between the NAC and the Grand Theatre Company. The NAC Theatre Company will present Jennie's Story, a drama by Canadian writer Betty Lambert, Feb.

20 to March 8, directed by William Glassco, founder of Toronto's Tarragon Theatre. Dario Fo's farce Can't Pay? Won't set in the suburbs of working-class Milan, will also be staged by the NAC Theatre Company, under the direction of Larry Lillo, who directed this season's John Major, Citizen Bono Hewson gives fans sound they came to hear ZD EZZ1 CZ3 L3 EZ3 C3 CZ3 Montanaro has no regrets but likes working on his own 1 9 test stars ril3rd. An come out SL What makes a young choreographer run, or dance? It depends on where you are and the circumstances. Michael Montanaro, still under 30, formerly the assistant artistic director at Le Groupe de la Place Royal and now working independently in Montreal, has had an unusually wide range of motivation in his career thus far. "I was a student in Boston living in the downtown slum area and I just got tired of JacoD biskind A4 I iff tr -dL elk limping.

The area was disastersville and when I went out at night I had to pretend to be a cripple because the street gangs in the area left the handicapped alone. "In the daytime I was trying to be a dancer and at night I had to be an actor. It was exhausting, emotionally." Montanaro Best Variety Performance in Television DJUD1TH FORST nominated for her performance in "Anna Bolena" by theToronto Performers Guild EVELYN HART nominated for her performance in "Romeo andjuliet" by theToronto Performers Guild ANN'MORTIFEE nominated for her performance in "Born to Live" by the Bntish Columbia Performers Guild and theToronto Performers Guild Best Variety Performance in Radio BETH ANNE COLE nominated for her performance in "Yvette Gilbert" by theToronto Performers Guild MARY LOU FALL IS nominated for her performance in "Primadonna" by theToronto Performers Guild KATHY MICHAEL McGLYNN nominated for her performance in "For the Love of Howard" by theToronto Performers Guild Best HostInterviewer-Tclcvision (Entertainment Program) PETER GZOWSKI nominated for "Fighting Words" by the Toronto Performers Guild Join us for the 14th Annual ACTRA Awards: A Celebration of Talent live on CBC TV April 3rd, 8 p.m. Sponsored by Texaco. HARRY RASKY nominated for "Raymond Massey: Actor of the Century" by the Toronto Performers Guild DAVID SUZUKI nominated for "Futurescan" by the British Columbia Performers Guild Best HostInterviewcr-Radio (Entertainment Program) VICKI GABEREAU nominated Tonight" by the Bntish Columbia Performers Guild PETER GZOWSKI nominated for "Morningside" by the Toronto Performers Guild BILL McNEIL nominated for "Fresh Air" by theToronto Performers Guild Best Writer Television Drama JEANN1NE LOCKE nominated for "Chautauqua Girl" by the Toronto Writers Guild SHARON RIIS nominated for "Change of Heart" the by the Alberta Writeis Guild DON TRUCKEY nominated for "Rough Justice" the by theToronto Writers Guild and ACTRA Southern Alberta Best Writer-Radio Drama BOB KROLL nominated for "A Loyal Son of War" by ACTRA Maritimes The nominees are: Earlc Grey Award for best acting performance in Television in a leading role-Male BRENT CARVER nominated for his performance in "Passion of the Patriots" by theToronto Performers Guild DOUGLAS RAIN nominated for his performance in "A Flush of Tories" by theToronto Performers Guild AUGUST SCHELLENBERG nominated for his performance in "The Prodigal" by the Winnipeg Performers Guild Earle Grey Award for best acting performance in Television in a leading role-Female JOY COGHILL nominated for her performance in "Ma!" by the British Columbia Performers Guild JANET-LAINE GREEN nominated for her performance in "Chautauqua Girl" by the Toronto Performers Guild SUSAN WRIGHT nominated for her performance in "Slim Obsession" the by theToronto Performers Guild Andrew Allan Award for best acting performance in Radio-Male HARVEY ATKIN nominated for his performance in "Case of Antonio Scopelliti" by the Toronto Performers Guild NORMAN BROWNING nominated for his performance in "Sweet Second Summer of Kitty Malone" by the British Columbia Performers Guild DOUGLAS CAMPBELL nominated for his performance in "The Canterville Ghost" by the Toronto Performers Guild Jane Mallett Award for best acting performance in Radio-Female JACKIE BURROUGHS nominated for her performance in "The Secret Life of Susannah Moodie" by theToronto Perf ormers Guild NICKY GUADAGN1 nominated for her performance in "Spring Flower" of by theToronto Performers Guild CHARMION KING nominated for her performance in "Jessies Story" by theToronto Performers Guild Gordon Sinclair Award for Excellence in Broadcast Journalism-Radio or Television ROY BONISTEEL nominated for "In the Name of Justice" by theToronto Performers Guild HAN A GARTNER nominated is Mine" fifth by theToronto Performers Guild ERIC MALLING nominated for "Its Own Good Name" fifth by theToronto Writem Guild Best Acting Performance in a Supporting Role in Television JEANARCHAMBAULT nominated for his performance in "Balconville" by ACTRA Ottawa GARRICK AGON nominated for his performance in "Hide and Seek" the by theToronto Performers Guild PATRICIA PHILLIPS nominated tor her performance in "Passion of the Patriots" by the Toronto Performers Guild Best Acting Performance in a Continuing Role in Television MART HA GIBSON nominated for her performance in "Seeing Things" by the Toronto Performers Guild FLO PATERSON nominated for her performance in "Backstretch" by the ACTRA Maritimcs and theToronto Performers Guild TONY VAN BRIDGE nominated for his performance in "Judge" by theToronto Performers Guild Foster Hewitt Award for Excellence in Sports Broadcasting SUE PRKSTEDGE nominated by theToronto Perf ormers Guild DAVE VAN HORN nominated by ACTRA Montreal BRIAN WILLIAMS nominated by the Toronto Performers Guild JAMES NICHOL nominated for "Prisons" Stereo by theToronto Writers Guild STEVE PETCH nominated for "The Ice Forest" Stereo by the Toronto Writers Guild Best Children's Television Program "HAUNTINGS" a CBLT production, produced by Steve Scaini, nominated by the Toronto Writers Guild "THE BOY AND THE SNOW GOOSE" a CBCNFB production, produced by Gayle Thomas, nominated by ACTRA Montreal "TODAY'S SPECIAL" a TV Ontario production, produced by Clive VanderBurgh, nominated by theToronto Performers Guild The Texaco Award for Best Radio Program of the Year "CASE OF ANTONIO SCOPELLITI" OF a CBC production, produced by George Jonas, nominated by the Toronto Performers Guild "GEORGE ORWELL: A RADIO a CBC production, produced by Steve Wadhams, nominated by the Toronto Performers Guild "WEIMAR: A CELEBRATION" a CBC production, produced by Damiano Pietropaolo, nominated by the Toronto Writers Guild Best Writer-Television Variety ARCHIE CHAM AND PAUL GROSNEY nominated for "Bizarre" by theToronto Writers Guild JERRY JUHL nominated for "All Work and All Play" by theToronto Writers Guild LAURA PHILLIPS nominated for "A Friend in Need" by theToronto Writers Guild Best Writer-Radio Variety ROGER ABBOTT, DAVE BROADFOOT, DON FERGUSON, GORD HOLTAM, JOHN MORGAN, RICK OLSEN nominated for "Air Farce" bv theToronto Writers Guild MICHAEL BONCOEUR AND PAUL WILLIS nominated for "This Hour Has 17 Programs" by theToronto Writers Guild CLIFF JONES nominated for "For the Love of Howard" by theToronto Writers Guild Best Writer-Television Documentary Public Affairs DONALD BRITTAIN nominated for "Something to Celebrate" by ACTRA Montreal RUSS FROESE nominated for "Looting a Legacy" by the Toronto Writers Guild ERIC MALLING nominated for "Secret Tests on the Street" fifth by theToronto Writers Guild Best Writer-Radio DocumentaryPublic Affairs JURGEN HESSE nominated An Ark for the Poor Ones of the Forest" by the British Columbia Writers Guild JAY INGRAM nominated for "The DNA Structure 30 Years Later" and by theToronto Writen Guild GARY MARCUSE nominated for "The Cold Wars in Canada" by the British Columbia Writers Guild EDWARD TRAPUNSKI AND GEORGE WOODCOCK nominated for "George Orwell: A Radio Biography" by theToronto Wnters Guild Best Television Program of the Year a Carlcton Productions Limited production, produced by Bryn Mathews and Garv McKechan, nominated by ACTRA Ottawa "CHAUTAUQUA a CBC production, produced by Jeannine Locke, nominated by the Toronto Performed Guild "TIGHTEN THE a CBC production, produced by Kent Stetson, nominated by ACTRA Martimcs thing would happen." One day Peter Boneham, the co-founder of Le Groupe, asked Montanaro what he wanted to do with the ensemble.

What plans he had or wanted to formulate. Where he wanted the ensemble to be five years down the road. "Suddenly I realized that I didn't want to be responsible for the lives and livelihood of all the dancers and the students in the school and the staff in the office. I wanted to create, to do new things of my own." It was at this point Montanaro realized he'd have to cut the umbilical cord. He left Le Groupe and Ottawa and went back to Montreal.

"Going back has been a fantastic experience. I loved every minute of what I was doing here in Ottawa and I wouldn't want to do that any differently if I had it to do all over again, but taking that load of responsibility off my shoulders has been a marvellous sense of release." Montanaro has found the dance scene in Montreal wonderfully open and stimulating. Choreographers work with rather than against each other. They share dancers, they share ideas, they share programs and there is very little jealousy or rivalry of an unhealthy kind. "I don't know how long this situation is going to last but I want to make the most of it.

I create slowly, so I haven't put together a permanent ensemble. I have to keep busy even if I have nothing to say. "I'm going to be teaching in the dance program at Concordia University this fall, so that will keep me afloat financially, and when I have some new pieces I'll just put together a group and make a show. "It used to be that you had to hunt for dancers. That has all changed.

There are so many youngsters coming out of all the programs at the various schools that when I needed a new girl for the production here I had about a dozen really good kids to choose from. "The other thing that is nice is that they are really keen. I get calls from young people who say 'I saw your last show and would love to work with you' and that is really gratifying, even if they aren't sincere and have just found a new way of attracting a producer's attention." Montanaro has plans for a number of performances this year of the present show, a visit to France with his ensemble, small tours in Quebec, and an entirely new program in the fall. He is also sharing programs with some of the other big names in dance in Montreal. Most important, perhaps, he was anxious to talk about what he was doing and planning, as though he really looked forward to it.

This was a dramatic change from the young man who used run behind a pillar to hide and sulk whenever a reviewer came within 50 yards. Leaving Le Groupe and Ottawa has given him the courage to fly on his own and be proud. Montanaro had a number of choices open but he decided on Canada, almost on a whim. When he came through customs on his way to Montreal he felt really good vibes. "There I was with a half-dozen valises and a television set and the guy asked me the purpose of my trip.

I said I was a tourist and they just waved me through. I fell in love with Canada there and then." Somehow he got work at Les Grands Ballets Canadiens when he first arrived and stayed there a year but it didn't really work out. "They told me I had a great talent but my body was all wrong for ballet. They were right of course but it hurt to hear it." Montanaro didn't know what to do next and again almost by accident he fell in with Le Groupe, which was then in Montreal. "It was all wrong for me, with my classical training, I thought, but after a while I found a new freedom of movement and a new way of expressing myself with my body." Montanaro also got involved with the technical side of the company.

He has always been interested in the nuts and bolts of putting together a show, so he was stage managing, running the lights and the sound, composing and playing the music and generally making himself indispensable. He also loves to get involved in the management of any enterprise, so it was no surprise that eventually he was named the assistant artistic director of Le Groupe. "By then we had moved to Ottawa. The Montreal scene back then was really ugly. People were afraid to look to either side.

They were afraid of each other's ideas and of the success of their rivals. It was a real dog-eat-dog situation." Here in Ottawa Le Groupe found a quiet haven. There was no competition and there were few preconceived notions of what dance, as opposed to ballet, should be. "But I found myself being drawn more and more into the administration of the company, and it was me, not the company that was responsible. Every year I'd promise myself This season I'm going to dance and not concern myself with how things were being done and every year the same TEXACO New Star.

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