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.entertainment. Dance concert By Carolina Headtay "Visions of Dance," the USC Dance Company's fall concert, was sold out Friday ? in fact, this reviewer was asked by Longstreet Theatre management to sit in the aisle. Luckily, a seat was offered by a friend ? but the first row lacked the proper perspective to view the performance. Nevertheless, it was impossible to disguise the huge success of "Visions of Dance." LONGSTREET THEATRE'S arena design presents particular problems to choreographers and dancers. Not only must the movements look good from all angles, but there is no real upstage, downstage, etc. Choreographing a piece in this theater-in-the-round is akin to changing a twodimensional picture into a three-dimensional one. There is also the problem of how to use scenery or properties, Decause tnese can reauce visiDUity. USC's production was a diverse show of nine works. Eight choreographers contributed to the concert, and the range of style was wide. The show's highlight was "Lyric Song, "by well-known California dancer and choreographer Leslie Watanabe. Watanabe, who has appeared on Broadway and in a number of national TV shows, performed his piece as the production's finale. HIS VISIT to USC is funded through a grant from the S.C. Arts' Commission, with support from the Department of Theatre and Spe?ch. Watanabe's piece was preceded by other fine works. The first of these was "Human Scale," choreographed by Wrenn ? t n isOOK aapp. Underneath cool lighting and a giant mirror ball, dancers moved flowingly in the modern ballet piece. Aside from some near-collisions, which were probably not evident above the first row, the piece proceeded nicely. Sapp's solo was flawless. At the end of this and every piece, there was a lengthy pause as lighting was arranged for the next number. Apparently this pause was because of a sudden lack of technical .^p^ ' V, "Visions of Dance" fettered Aviim styles Mi wkm IWwt? piece (left) to more traditional forms of dance (rtuht). all staoml Live album merely By Marc Fink The Blasters have released a six-song EP, alb recorded live at London's Venue in May, as a follow-up to their self-titled debut album ??? that made the Top 50 in the spring. tune about r But this live set, desp'te its clear sound down, "I Dor quality, is merely "jive" from the group's most exciting record label, Slash. "Go, Go, G The record, titled "Over There," fails to group's rewoi add to The Blasters' reputation as a solid, RoyOrbisons vital roots-rock band. Bv the sixth cut thp- The longest listener realizes all the songs are similar Pete," featu and not particularly exciting. Allen's tenor i forgettable pi "HIGH SCHOOL Confidential," a Jerry Lee Lewis song from the late 1850s, opens ?<rwrThI? the EP with pumping piano by Gene Taylor and slick guitar riffs from Dave Alvin. But . the sparks are few and the solos predictable. ___ 111 "Rock Boppin' Baby" follows the first cut, ''Mnrip Mflri with some syncopation recalling "I'm Rnfi;n?? Shakin'" from the group's debut. But poor fr.m f'. recording of Bill Bateman's drums makes this rendition inferior to others. n AcrrirK Little Richard's standard, "Keep ,?n A'Knockin"' closes theside with Taylor's the dehllt T p piano worn ana saxopnone soios Dy i>ee , ?. Allen and Steve Berlin. Despite their skill, wnen> ?or ab the song is lackluster. songs - mosl Side two is more of the same mediocrity vesix. slapped together. ' this Sonky"u recorded by J AliVIN.'S "I Don't .Want Jo" is, .at least,.. I9ai?is j?ay a the best tune on the record. A fine rockabilly "Over There.' : succeeds in < assistance; the technicians on hand did well just to get the job done. "FLOWERS OF ROMANCE", choreographed by Libby Bourne and Carol Britton, followed the opening number. Dancers entered in caveman-style costumes, with unkempt hair and bare feet. After simultaneously chanting "UGH," they performed a primitive modern ballet piece, a difficult idea to bring off successfully. Carol Perez gave an exciting, earthy and primitive solo performance. The other dancers' smooth performance added to the piece's effectiveness. "Threads Through a Ribbon of Life" completed the first group of works. The scene was set with three long crepepaper mobiles that dangled from the ceiling. Dancers portraying threads in this modern ballet managed to weave themselves into patterns with each other, the crepe-paper and even a ladder. This piece was well-done, with Kimberly Waylett as soloist and choreographer. After a short intermission, the company staged the con cert's most interesting piece, "The Last Dance of Cathy H." Bourne portrayed Catherine Howard in her wedding to King Henry the VIII, her romance with Thomas Culpepper, and her beheading. Flowing chiffon costumes in a rainbow of muted colors added to the romantic atmosphere, but "Cathy H." was full of surprises. FOLLOWING CATHERINE'S marriage to Henry, court members engaged in a spirited hoedown. It was a charming break in the action and did not spoil the mood of the next scene, which depicted Henry's rage and Catherine's beheading. Choreographers were Bourne and Britton. "That Sounds Delightful," choreographed by Patrice Mann Newman, depicted the simple joy found in movement. Flattering white Cowns hoantifiillv pnshimpH thp nino wnmon U IJ TT dancers. The audience enjoyed the predicament of the one male dancer, who seemed slightly paranoid about the women. Biadin Roldan, a newcomer to dance, was "delightful" as soloist. KUr~ -J i\:t /' ^WkWWSB^SSSBB - ? v^i v1 { f$lfl&^Pflpro^9KHNH^EfluB *b?9H> % ? 'SSmM rorks. Performances rmyd frwa a H?w Wivi jazz for loHflitreet Theatre's intheround design. 'jive' from band's ?axophorie solos and too much ^ ano by Taylor on this "jump B c written by Pete Johnson of r's Band. e" finds The Blasters with not H o say and not a whole lot of saying it. Most of these songs ays and can't compare to iway 61" and "Stop the Clock" 's first release. ISP?? FANS may still wish to buy " hut if onp hasn't nnrrhaKflH : m oe Ely in 1980 and released in * head oUJbe boredom .goings ^ . JJ1? ^ " * - * - scmp tf tr ttrtfthftcr i-pai V ?? ~ v->/ j I :rv BpWwW^"', ^^/-yv.'J I gmgmj IQH I I MHltHb v ^&j|M Kg . " H |f| BB^^HBjlliBBpBHPPBWP^PBijBm^SlWH^^.^ 1 - j f "' V' " ' .^SSSm ^*&S&i^kyP! .. Visiting California kid dsncsr and cfearaogrsphsr LasNa Watansba psrformsd with pswsr and style in his piece, "Lyric Song." No dance presentation would have been complete without traditional pointe work. "A Tribute to Poland," choreographed by Artistic Director Susan Earle, was exciting as three excellent dancers displayed their ability. Soft lighting and low music accompanied demanding solos by Miriam Austelland Anne Richardson.The mood changed briefly as Suzanne West entered with her arms fluttering. West delivered an energetic and flawless performance before the three returned for a beautiful finale together. FOLLOWING THE second intermission was the most entertaining piece in the show: Gayle Schuler Griffin's "Characters." Set to Scott Joplin's ragtime music, the jazz/ballet featured dancers on pointe, sporting tuxedo-like costumes and black derbies. Esoeciallv good use was marin ?f th? theater in this piece, with some movements performed to all sides simultaneously. In fact, the dancers seemed to have as much fun as the audience. Their facial expressions were priceless as they humorously danced in groups. The audience had the impression it was watching a silent movie as the dancers comically vied for ideal positions and corrected each other. Bourne was hilarious as the stage-shy dancer. When Earle | performed an intricate pointe solo, dancers laughed in exaggerated ridicule. The piece was very enjoyable. A NEW WAVE 187.7. niwp "Th#? Tom u/qo ?? J r , uu>u II UO 1MUV1II5, followed. Costumed in miniskirts and "punk" glasses, the dancers had their movements down pat. Although the piece was meant to investigate "the sexuality Sm "Dane*," p?e? rim k record company MB- y :. gy j^mksw on b w iut LP made the Tep 50 in the spring, but the group's new six% J? ? *J* * ?* * / < ? ? *. 1% *% ? # % * A *4 A titfarffftt trft|ft?tfstofi: -