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o ?xi. r% i auuin uarom From Staff Reports South Carolina's got itself a brand new dance company the South Carolina Ballet Theatre. The touring ballerinas will make their first Columbia pearance tonight, tomorrow and Sunday at 8 p.m. at i\vv.iiaii i nv.au Founded by Columbians Stan and Anita Ashley, the So Carolina Ballet Theatre was ehartered in December of 1( with the expressed goal of eventually establishing a prol sional ballet company in South Carolina. ALTHOUGH BASED on the classical tradition, the cc pany seeks to pursue new ideas and avenues with the build of a repertoire that is unique, varied and exciting, said Pe Garrick, artistic advisor to the company. A repertoire that will, to quote Gwenneth Lloyd who foui cd Canada's Royal Winnipeg Ballet, show that dance is "i only champagne and pate for the elite, but also beer and si ties for the people." The program will open with "Concerto in D Minoi choreographed by Ashley to Vivaldi's composition of I same name. Classical in scope with no story line, the influer of George Balanchine is prevalent in the intricate corps ballet work and detailed partnering. Next on the program will be the World Premiere of "M; aues." The result of a vear-lone collaboration between Ashl and reknowned pianist Pawel Checinski to the music of t Polish composer Szymanowski, this dramatic, emotic charged ballet is broken into three unrelated sections. "SCHEREZADE" IS an abstract ballet danced by tv women and one man that explores the elements of love, fat power and inevitable death. "The Tester Tantris" is a sean for man's identity as an individual and as a member of h society. "Don Juan's Serenade" is an insightful solo that pn bes the mind of the world's most famous lover. This last movement is being choreographed by Andre I/.. U I,.. . I- r rv wiidi y, tin ci 11111ciil" auiM wan ine company iroi Greenville. Kuharsky, a former soloist with Canada's "Les Grant Ballets Canadiens," will also be performing this section. Because the ballet commemorates the 100th anniversary < the composer's death, Checinski is flying in from Chicago f( the performances and will be appearing as guest pianist. THE "DON Quixote Pas de Deux," a dazzling display balletic pyrotechnics (Baryshnikov danced it in the "Tumi Point") will provide a welcome release for the audience af Men Without Hats tc By Julie Jameson Men Without Hats will make the debut performance of their Southern tour in Columbia at Strider\ fonrert hall this weekend. Men Without Hats, a Montreal- A based pop band, have hit the top forties with Safety Dance on "Rhythm of Youth". "In some ways Safety Dance has taken some of the pressure off the ' - < band, but in other areas the success has | y | put new pressures on," said the band's fjp musical director and spokesman, Ivan llnrnci'litiL in >> ? v.ivium in u iiiil'i view ycMcrday. "Of course we're a lot more busy," he said. 1 I MF QUARTET has been cranking out pop tunes for three years. "I have one of those five year plans. When I reach the fifth year of being with the Hats I think we'll decide to start something different," Doroschuk "We all have a great raport. Two of ' the members are my brothers and one is a good friend." Joining Dorseh ik are Stefan (guitar and violin), Co n (keyboards) and Alan MeCarthy (keyboards). of-mind lyrics set to pop ihythms, and . * of course their danceability. Doroschuk said his personal ing taste is rooted in Roxic music and English progressive. Ivan thinks Music Television is a "good idea. But 20,000, but I think you lose that in- Take off that timacy with the audience. Plus, 1 don't .. , believe in packing 20,000 people into 0U an arena. It's dangerous." and The Nashvtl Atlanta. Memb TONIGHT'S CONCERT is spoil- being the first sored by Member promotion from club. Member ; ; i i ! I I J ( i I I i IIJ t. i ' ' ' 1 , 0 | f i | | i t t # , , i < * , * . * I t . i II . ? . ? i I ? t I I # ? ? * i 4 4 i t i t $ I la Ballet to deb u t h fesing pi^SftM^Mi^^^^MMi^il^fil he ^ *lar^l: "vjB vo HHfiRg9Mg||9^ lis r.:;:\;v; V.-V-" ..:?y .y^/'":^"''-;-^^^-:^.^ 'Summersoup' 3f The electric 'zzzap' of an improvisational jazz ballet to be performed at Th or the powerful conclusion of "Masques." Danced by Kuharsky and Jill Zupan from the Boston Ballet, ? "Don Quixote" is considered to be one of the most challenges ing "grand pas" in the classical repertoire. ter With its breath-taking leaps and turns for the man and > make Southern debut K By. jfl Wr ?ij; ft MbB ip. JH HU |f| B9HfeBMl.ii] ' ; Kf ^HM I - Httb- M| f|p|^ JML : hat fats will perform at Striders tonight. Opening for the band will be Jason lie Scorchers. er has the reputation of 'n Atlanta. Southern new music Men Without Mats will be the "Late ilso owns the 688 Club Show" at Striders starting at midnight. ' < M l II M I H H ,M H I M I i i t ' ' ' 1 1 ' ' -V ' J1.11 ' ? M I ? H i * i * i ? I l I | I | I | | | I ) I ??? I M ?? Il ' l i i i i i i i ' ' nit tonight SB8BwBWBSBwB8BwwMBwMMSri3Sj8 i MB e South Carolina Ballet Theatre. (I. to r.) Mimi Worrell, Jeannie Castor. rapid-fire pointe work for the ballerina, it never fails to literally "stop the show" whenever it is performed. "Don Quixote" will get stiff competition as "audience favorite" from the last ballet on the program, Ashley's jazzy "Summersoup." Rural roots influence band's new country sound By Marc Fink Jason and The Nashville Scorchers, fronting Men Without Hats at Striders tonight, should provide an entertaining contrast to the electro-disco headliners. The band, whose recent six-song record received threeand-a-half stars in Rolling Stone, consists of leader Jason Ringenberg, vocals and harmonica, Perry Baggs, drums, Jeff Johnson, bass and Warner Hodges, lead guitar and backing vocals. Most ol the tunes on the "Fervor'4 EP were written by Rinuenbery ? th<* h^ct nnpc pr?imiinn .-..*-^1 j r? ^ v/uvwi wupiuig i ui ai i uuib clliu 11111 ~ damentalist imagery, such as "Hot Nights In Georgia" and "Harvest Moon." HODGES' STINGING lead guitar highlights "Hot Nights In Georgia," snaking around "The cotton burns as Sherman marches toward you / Destroying every bit of sweat you've known." Michael Stipe, vocalist with R.E.M. sings on the refrain, but is mixed inaudibly. "Harvest Moon" lyrically recalls "Sin City" from The Flying Burrito Brothers' first album, "Love for sale, sin for hire/Trading time for eternal fire," delivered from a classic backwoods posture. The comedy cut, "Help There's A l ire" is based on Chuck Berry's timing and melody of "Too Much Monkey Business" and Bob Dylan's spit-it out vocals on "Subterranean Homesick Blues." Featured are Ringenberg's flashy harmonica, and whnrminn , I'liv'UftU, UVCiyillllC 1 get next to you, you holler out, 'Help there's a fire.'" FROM l)EKP in the country hails "Pray For Me, Momma," with Johnson joining Ringenberg on author credits. Closing the sampler is "Both Sides Of The Line," written by Ringenberg with the musical execution lacking the power of the lyries, "But if the mountains fall down and the seas around could crumble in my midst/I'd trade it all for a midnight call and just one Holy Kiss." The song tumbles over Baggs' drums rolls and Hodges' meanest riffs. Jason and The Nashville Scorchers fall into the Rubber Rodeo/Rank and File department of new country, rather than the rockabilly/roots rock camp of Stray Cats and The Rlact^rc Iwv.u ? - I..vn11 song material and energy levels. Although not on the level of legendary country rock albums like The Byrds' "Sweetheart of the Rodeo" and "(iilded Palace of Sin" by the I lying Burrito Brothers, Jason and The Nashville Scorchers' "Fervor" ranks above records by the plastic, Californian Rank and f ile and the B-52's ol "country punk," Rubber Rodeo. \