The Salt Lake Tribune from Salt Lake City, Utah • 71

r-tsr The Salt Lake Tribune Sunday, January 1, 1984 E5 The arts in 83 with dreadlocks flowing, wove hvp-notic rhythms over a captivated crowd. This group of Rastafarians from Jamaica displayed the best that reggae music has to offer. J. onel Richie at the Salt Palace on Nov. 14.

Richie's performance Continued from Page E-l ated with the Italian Renaissance master. In addition to breaking attendance records, the exhibition broke even, and it greatly enhanced the museums exposure to the general public. The following July the museum opened its outdoor sculpture court featuring important works of Paul Manship and Elie Nadelman, and in the fall the museum presented a fascinating retrospective on the works of Ulfert Wilke. tic Lcnme in Walk-Ons Of Mice and Men; the wild and wacky energy of David Deans Joseph and the Amazing Technicolor Dreamcoat which played all summer to sell-out audiences at Lagoon; 10-year-old Candice Paynes professional and joyful creation of the starring role in Promised Valley Playhouses Annie; Deborah Green's energetic little girl turned sullen woman in In a Northern Landscape," and the overall somberness and underlying intensity of Lillian Heilmans Little Foxes at PMT. Behind local curtains, there was a It was a year for ensemble acting, with Lawrence Kasdans witty The Big Chill.

With a cast comprised of the best and brightest of young screen actors, the film offered a funny and touching tribute to the idealism of the '60s. The summer months and Christmas weeks Hollywoods most lucrative times offered surprises both pleasant and unpleasant. One summer film, Risky Business, proved that you can have content in a movie about teenagers coming of age. The Christmas films, for the most part, didnt reflect the spirit of the season. Instead of spreading holiday cheer, movies like Scar-face concentrated on the worst of humanity.

Works in Cycles That just goes to show you that Hollywood works in cycles. "Gandhi, last years major Christmas release and winner of the lions share of Oscars in Aprils Academy Awards ceremony, extolled the virtues of kindness, compassion and love. destiny is still extremely vivid, though nine months have passed since Ted Tally's Terra Nova appeared on the stage at Pioneer Memorial Theatre. The production, under the guest direction of Californias William Glover, was the citys most rewarding theatrical presentation of the year. This story of competition, ideaiist versus realist, romantic against pragmatist, was offered in a rich, uncluttered style.

It was the kind of production where you felt secure because of the consistency of energy, the steady flow of information, the physical bc-lievability of the actors and the overall skill of everyone involved. This intelligent interpretation of Robert Falcon Scott's race to the south pole was a near-flawless blending of playwright, director, cast and technician, each contributing, none overshadowing, all causing reaction. Immensely Satisfying The years other immensely satisfying evening of theater was on a much smaller scale, presented in the intimate upstairs gallery of the Art I Barn. The New Shakespeare Players took audiences into the world of Irish playwrights Sean OCasey and John Millington Synge and Americas Ruth Draper, with Bedtime Story, Riders to the Sea," and County Kerry. These short pieces flowed richly into one another, providing an abundance of smiles as well as lingering images: Mark Sparkman and Denise Dillard wrestling their way through morality; Marcia Hepps embodying an Irish peasant woman as she clutched a shawl to her heart and spoke of her children now gone, and Bonnie Dur- of the hall remain problematic, and opinion is divided on how well the new organ fis those acoustics.

Fond Memories Other classical mtisic concerts which elicit fond memories of 1983 include the celebration of Maurice Abravanels 80th birthday featuring Leontyne Price, Kojian and the Utah Symphony in January and Utah Operas production of La Boheme later that month, the Kings Singers concert at Brigham Young University in February, the Swedish Radio Choirs visit to Symphony Hall in March and Itzhak Perlmans performance of the Brahms Violin Concerto with Kojian and the Utah Symphony a week later, former symphony concertmaster William Preucils return to Utah under the auspices of the Nova Music Series in April, Misha Dichters Symphony Hall recital in July, Silversteins season debut in the Vaughan Williams The Lark Ascending and the Mozart Violin Concerto No. 4 in early September, followed a week later by the Utah SymphonyMor-mon Tabernacle Choir collaboration in the Verdi Requiem under Stanis-law Skrowaczewski in the Tabernacle, BYUs production of Kirke Me-chems operatic Tartuffe in October and Uri Mayers debut with the Utah Symphony and Utah Chorale last month. There were fond memories to be had on the non-classical music scene as well. Among the most significant were: Harry Belafonte at the Special Events Center on June 14. It was a significant event indeed having Belafonte and his calypso sound back in Utah after many years.

Belafonte, who spent his youth in Kingston, Jamaica, has personally broken down many racial barriers. The black activist, best known for the song Day-0 (The Banana Boat Song), displayed once again his unig ie ability to bring people together in a joyful, life-enriching way. Great Vibes Gary Burton at Snowbird on Aug. 25. The best vibraphonist extant, Burton played his heart out for a small but appreciative crowd.

Jazz fans loved watching Burton play the vibes in his inimitable four-mallet 1983. On the airwaves, major format changes altered the sound of Wasatch Front radio stations. KLUB-AM used to play Beautiful Music, otherwise known as dentist office music. The format is now popular music fiom the 1940s to the 1980s called The Music of Your Life, a mix of contemporary and big band. KLAF-AM, which began the year as KPRQ-AM, formerly broadcast top 40 records.

Comedy recordings from the past and present, and some drama are now the mixture which the station manager calls resurrected radio. KCPX-AM became KBUG-AM, and switched from playing rock music to an oldies-based adult contemporary format. Format Changes KCPX-FM made the jump rock to pop rock. KDOT-FM in Provo changed from playing adult comtemporary music to middle-of-the-road oldies." K-96 (KFMY-FM) also used to play top 40 music. The format is now called Contemporary Hit Radio.

KFAM-AM used to be a station broadcasting in daylight hours only. It now has 50,000 watts of power (equaling the states most powerful, KSL-AM) and is heard 24 hours. The format remains easy listening. KWHO-FM began the year playing popbig band music. It is now broadcasting classical music exclusively, and is often simulcast with KWHO-AM, which is also a classical format.

The sister stations have embarked on an ambitious program of broadcasting local performances, both live and via tape, and acting as a radio magazine of the arts. KCGL-FM in Bountiful was formerly an all-talk format It is now simulcast with the KBBX-AM, broadcasting religious and Spanish programs. KALL-FM went from automated adult contemporary music to a live format employing DJ. The biggest news in recorded sound was the debut of the Compact Disc or CD, the first system available to the consumer that employs true digital reproduction. Whether the CD revolution which comes attached to a premium price tag will extend beyond the audiophile market remains to be seen.

Happy New Year. major change in administration at Promised Valley Playhouse when that theaters mainstays, general manager Ralph Rodgers, artistic director Pat Davis and scenic designer Clif Davis left and were replaced by Seattle lawyer and theater manager Thomas W. Parker. The switch signals a new direction for the Playhouse, which is now operating on an almost strictly volunteer basis. The only nationally touring show to be presented was a bus and truck production of The Best Little Whorehouse in Texas starring Stella Parton.

This lackluster interpretation of a less than satisfying musical did fare well at the box office however, selling more tickets than any previous touring show at the restored Capitol Theatre with the exception of Annie. 1983. In the cinema, it was the year when hype and hoopla added up to so much hooey. It was the year when the cover of Newsweek magazine couldn't guarantee an audience for The Right Stuff, a movie which deserved to be seen, but didnt deserve to be considered a factor in a presidential campaign. It was the year Barbra Streisand appeared on television and in magazines ad nau-seum to promote Yentl.

Any movie, even one with the attributes of Yentl, would have a tough time living up to such advance publicity. Finished Trilogy It was the year George Lucas finished his Star Wars trilogy. Even the critics didnt object to the sentimental ending of Princess Leia and Han Solo living happily ever after. It was the year Ingmar Bergman proclaimed he had made his last film, the rich and wonderful Fanny and Alexander. Apparently that announcement was made by a man who had no intention of hanging up his directors cap did anyone ever really believe him? It was the year when five films by Alfred Hitchcock were re-released and proved that they dont make movies like they used to.

Film-goers flocked to the 1950-vintage works. As far as the most satisfying moments spent in movie theaters, 1983 belonged to the small film. Robert Duvalls understated performance as a burned out country western singer in Tender Mercies remained in the memory long after the final credits rolled. Richard Farnsworth, who has spent most of his acting career as a stunt double falling off horses and jumping from trains, created the most affable outlaw ever to grace the screen in "The Grey Fox. Familiar Faces Familiar faces provided terrific performances as well during the year.

Shirley MacLaine, Debra Winger and Jack Nicholson brought laughter and tears to audiences in Terms of Endearment Meryl Streep revealed another side to her awesome acting talents, this time playing the earthy, tragic Karen Silkwood. was a blockbuster. The former front man for The Commodores proved to the capacity crowd that he is the best balladeer in pop music today, particularly with his All Night Long which brought the audience to its feet. His was a most professional effort, aided by the hip vocals of the Pointer Sisters. In all, as the crooner said, it was a very good year.

1983. It was the year that the Ririe-Woodbury Dance Company almost became the first American modern dance company to perform in the Peoples Republic of China (shortly before the scheduled tour the country banned cultural exchanges) and the year Ballet West made its remarkable debut in the nations capital in May, earning a headline in the Washington Post which read: How the East Was Won Mourned Passing It was the year ballet great Sir Anton Dolin came to town to stage Pas de Quatre for Utah Ballet just 11 months before his death in November, and the year the dance world mourned the passing in May of New York City Ballets George Balanchine. In May, Repertory Dance Theatre, still operating on a shoestring budget, initiated the first in a series of chamber concerts for reasons both financial to save money and artistic to allow for more experimental performances. It also was the year RDT founding member Kay Clark retired as the companys artistic director and was succeeded in that position by Linda C. Smith.

It was the year Ballet Wests principal dancer Lee Provancha Day came out of a brief retirement to resume her career, and the year the company lost several of its key male dancers Joseph Clark and Mark Borchelt to other companies, and Brian Andrew to retirement. The company, in pursuit of the long, lean look, also bid some of its heftier female corps members farewell. Artistically, there were numerous notable moments: Ballet Wests Kennedy Center performances of Harald Landers Etudes, Swan Lake and Bruce Marks Inscape, led by the bravura dancing cf Stacey Swaner, Lee Provancha Day, Joe Clark, Webster Dean and Rhonda Lee; the companys controversial venture into modern dance with Helen Douglas provocative Rite of Spring, which premiered here in October, RDTs November concert an uplifting evening of works by modern dance pioneers Doris Humphrey and Charles Weidman, the highlight being Humphreys Day on Earth, led by the inspired dancing of Ford Evans. Exceptional Performances Also exceptional was an upbeat, jazzy premiere, Mixed Doubles by Joan Woodbury, presented by the Ririe-Woodbury dancers at the troupes spring concert; a well-conceived fantasy piece, Stromkarlenj by Shirley Ririe, premiered at the companys fall concert, where French guest artist Claire Heggeri offered Utahns an innovative styld of mime. I Completing the years most distinct performances was the surefooted tap dancing of native son Bill Evans last spring the premiere of Robin Chmelars thoughtful Debbie and Her Family in September, and Bella Lewitzkys searing look at confinement, both personal and societal in Confines, performed by her California-based company here in March.

1983. The image of five men in canvas- parkas with fur-wrapped legs and mittened hands pulling and pushing a sled toward 1983. The year in music had barely gotten under way when the Utah Symphony board announced in January that it had chosen Joseph Sil-verstein to succeed Varujan Kojian as the orchestras conductor and music director. However, in the wake of the Kojian debacle, the symphony board decided that the initial relationship with Silverstein would be a courtship, not a marriage. He would be given the powers of the music director, but not the positions title and tenure until everyone got better acquainted.

Kojian Bows Out While the early scenes of the Silverstein romance were being played out, Kojian finished hiS third and last season as music director of the orchestra. It turned out to be by far his best, capped by powerful performances of the Mahler Second and Beethoven Ninth symphonies in April and May, respectively. Finally, in an unexpected twist to a saga full of strange turns, Ballet West announced that Kojian would be engaged for its 1983-84 season as a guest conductor. He will lead the Utah Symphony pit orchestra next February in Giselle. In early September, on the eve of' the opening ui Silversteins first season, the orchestra lurched through the first musicians strike in its history.

The strike lasted only five days, but it underscored the strained relationship which has existed between the musicians on one side and the symphony board and senior administrative staff on the other ever since Maurice Abravanel stepped down as music director in 1979, leaving a leadership void which has never been satisfactorily filled. The provisions of the three-year contract which finally was ratified included musician representation on the symphony board in the hope of improving relations between musicians and administration. Later in the month, the board declared its satisfaction with Silver-steins work and appointed him music director for a three year-term. The courtship had resulted in marriage. It would appear today that the symphony has entered a period of relative calm following three stormy years.

Both the music director and musicians have contracts with the board for the current season and two to follow, and the musicians respect Silverstein, a professionals professional. Visiting Orchestras The Utah Symphony was not the only orchestra to make major music news in the Utah in 1983. The parade of guest orchestras at Symphony Hall which began several years ago continued with a return engagement by the New York Philharmonic under Zubin Mehta in August and the local debut of the San Francisco under Edo de Waart in October. However, the outstanding performance of the year by a visiting orchestra perhaps by any orchestra occurred not at Symphony Hall but in Ogdens Browning Center, where the Academy of St Martin-in-the-Fields played in March as part of Weber State Colleges impressive visiting orchestra series. In 1983 that series also hosted the St.

Paul Chamber Orchestra under Pinchas Zukerrnan in January and the Bamberg Symphony in October. Music on Temple Square entered a new era hi May with the opening of the restored Assembly Hall and the debut of its tracker-action organ. Despite the addition of a sophisticated sound system, the lively acoustics STEINWAY RECITAL SERIES and 1CM Artists Ltd. present BRADFORD GOWEN Steinway Hall January 26 8-00 p.m. $4 ranee circling a table that held the body of her son just pulled from the sea.

This beautifully choreographed presentation, offered on a nearly barren stage, indicated once again that theater which creates images within the heart of its audiences is usually the most rewarding. In the strictly-for-entertain- ment camp, the Salt Lake Acting Company had the corner on the 1983 market with its hilarious production of I Love My Wife, a clear exam-' pie of a weak script coming to life with a talented ensemble of actors. Lou Borgenicht buttoning his shirt around a chair and meticulously folding his argyles before climbing into a seduction was one of the many I highlights. And of course, Saturdays Voyeur came back, bringing hilarity to audiences who watched this now-familiar six-year-old family. For the first time since its premiere, the musical, playing to standing room only, extended its run Into September, a clear indication that satire on Mormonism is alive and well in Zion.

New life on the directors scene was visible in two innovative productions guided by New York transplant Gregory Miller: Sam Shepards The Tooth of Crime, at Theatre 138 and Samuel Becketts Waiting for Godot at the Art Barn. Though not box office favorites, the shows were a welcome choice for anyone interested in out-of-the-ordi-nary staging. Other Images Other images that remain from the last 12 months: The' colors of PMTs Barnum; Gene Pack and Bob Ormsby sitting on a park bench talking about Duck Variations; Russ McGinn as the lumbering, gen- style. The music was sophisticated and progressive. Grateful Dead at ParkWest on Sept.

4. The Dead was accompanied by its legendary legion of fans, a group of '60s Hippies known collectively as Deadheads. It was more than an outdoor concert; it was a happening. Jerry Garcia, Bob Weir and company played a fresh braud of psychedelic music that cut across all lines, and it was as much fun observing the Deadheads as it was listening to the music. Going to the Dead show was like traveling in a time capsule back to Woodstock.

The best behaved audience in recent memory enjoyed the four-hour concert. The Fixx at Snowbird on Sept 7. This English quintet played New Music in a refreshing, exciting manner. Right after its Utah appearance The Fixx became a fixture in the Top Ten with its Reach The Beach album. The sold-out show attracted a youthful crowd bent on having a good time.

Chairs were thrown on stage, bottles and cans whizzed through the air, and several unruly fans were even tossed out on their ears. The music was good, the crowds behavior a throwback to the days when Bill Haley, Elvis and the Beatles used to incite riots. Thrilled Crowd Diana Ross at the Salt Palace on Oct 5. The lovely Ross thrilled the capacity crowd with her singing, dancing, teasing and cajoling. Her costumes were wonderfully outrageous and there was little question that she is the epitome of superstardom.

Audience members were invited onstage with Ross during this glittering extravaganza. Performed in the round, the show was appreciated by fans of all ages. The former Supremes singer could do no wrong. The Itals at the Utah State Fairgrounds on Oct. 31.

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