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...jobs on a few of the vampires, and the turn-of-the century, tradition vs. modernism theme Badham and Richter apparently tried to concoct in the visuals--is the great love scene that stopped the show on Broadway. As Dracula and Lucy begin to embrace, their figures dissolve into multi-colored silhouettes and recede into the distance, whereupon a bunch of shapely limbs wind and unwind to John Williams' less than austere music. The whole thing is modeled on the title sequences in the Bond films, but aside from its inappropriteness, it's technically a cut-rate...

Author: By David B. Edelstein, | Title: Staking the Wild Vampire | 7/31/1979 | See Source »

Freedman's modernization does not stop here, however. He has turned his production into a multi-media event by employing photographs, film clips and closed-circuit television. From time to time five large screens drop down. On each is projected a different view--now a movie clip, now a still. There are motorcades, massed throngs, and, in the military half of the play, battle scenes and fire-bombings. In the background is a special soundtape collage put together by Mark Dichter, who holds degrees from M.I.T. and Columbia's film department...

Author: By Caldwell Titcomb, | Title: A 20th-Century 'Julius Caesar'... ...an 18th-Century 'Twelfth Night' | 7/17/1979 | See Source »

...Triba, a multi-cultural women's percussion and woodwind ensemble, opened the evening at Sanders with some lively rhythms which set the audience rocking even before everyone was seated. Their spirited performance then and during intermission provided a buoyancy to the more weighty aspects of the evening...

Author: By Cheryl R. Devall, | Title: From a Woman's Eye | 7/13/1979 | See Source »

...fear the rising costs of health care as much as I fear yet another multi-billion-dollar Government program. It will only advance us closer to a socialist U.S. and mean more inflation for the middle class, who must support this "something-for-everyone" program...

Author: /time Magazine | Title: Letters, Jun. 18, 1979 | 6/18/1979 | See Source »

Probably the most immediately striking element of the Art Ensemble's music is their use of multi-instrumentalist. It is not unusual to see a jazz saxophonist double on flute or clarinet, but Joseph Jarman works beside a rack of no fewer than eleven woodwind instruments, ranging from a wooden flute and tiny sopranino saxophone to a bass clarinet. One hallmark of AACM artists is a fascination with interesting and unusual juxtapositions of instruments, and in the AEC this interest is taken to an extreme. What is even more striking than the sheer multiplicity of instruments is the sensitivity...

Author: By Paul Davison, | Title: 'Great Black Music' Comes of Age | 5/10/1979 | See Source »

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