Short bikes Dance troupes win composing grants Two Austin dance troupes porate accordion, trombone, di· have received grants from the jeridu and eight dancers. The 1989 "Meet the Composer" Deborah Hay Dance Company Composer/Choreographer Pro· received $5,000 to complete the ject. The Sharir Dance Com· trilogy The Man Who Grew pany was awarded $15,000 for Common in Wisdom. the creation of a work t.o incor- Sharir troupe wins spot on tour Austin's Sharir Dance Com­pany has been selected from more than 70 applicants to par· ticipate in the Mid-America Arla Alliance Regional Touring Programfor the 1989-90 seaaon. The Mid-America Arts Alliance program is designed to expose dancen to other regions and au· -nal Touring Program for the 1990-91 season. Sharir is one of 50 performing artists and com­panies chosen for the six-state touring program that includes Texas, Oklahoma, Arkansas, Kansas, Missouri and Neb­raska. Sharir awarded $15,000 grant The Sharir Dance Company bu been awarded a $15,000 grant from the Meet the Com­poser/Choreographer Project, a national program supporting the commissioning of dance scores by American composers. Choreographer Yacov Sharir and New York composer Pau­line Oliveroe were selected for the honor by a panel of music and dance professionals from around the country. The pri­mary funding criteria used by the panel were the gifts and ac­complishmentsofthe composer, choreographer and dance company. Oliveros is composing a score for expanded instrumentation and voices using her trio, the Deep Listening Ensemble, and Sharir will create choreography upon the composition's comple­tion. The work will premiere with full instrumentation at the Sharir Dance Company's March performance. The grant is funded by the Ford Foundation and the Pew Charitable Trusts. usa final TULSA, OKLAHOMA, SATURDAY, SEPTEMBER 23, 1989 Sharir performance a joy to behold By Lil.I l.IVlNGSTON Tribune Correspondent The Sharlr Dance Company or­f~ed a stunning evening of mod­ern dance Friday at t.he Tulsa Center.for Contemporary Art. The company, which was estab­lished' In 1982 by Israeli-born Yacov Sharir, oUeN!d a well-ba­lanced program Including both traditional and post-modem ~~loms 'Ot dance. Slrong ballet .\f~lnlng.was plainly evident In the ~xecution of.movements, and the company dlsplayed exceptional precision throughout the eve­ning. Dance review WKA T: Sharlr DanceCo •. an Au a tin, Tuu, modern-dance croup. WHEN: 8 tonlfht. WHERE: Tulaa Center for Contem· por•ry Art. 20 E. Br•dy St. ADMISSION: $8. Beginning with Jose Luis Bus­tamante's haunting "MeU41una: Moon Dance," the 12-member modern dance company present­ed an emotionally moving, technl­c.ally brllllanl 2tn-hour program. Appearing with the company, composer-vocalist Tina Marsh, brought a vibrant, urgency to the proceedings that was most enjoy­able. "Trio," performed by Jimmy Turner, Marsh and Sharar, proved to be a powerful ritualistic as­sault or the senses. .Choreo­graphed by Sharlr, the work uses silence, sight, sound and move­ment lo express the cry of the hearing Impaired. The intensity of s.ounds created by Turner, who is deaf, ricocheted from soothing to harsh with sur­ realistic effect. Whether bringing sound from the rim of a large, white crystal bowl with a brass rod or punctuating (N!n:.led move­ ments with a throaty, d~perate scream. his performance was ri­ veting. Opposite Turner, Marsh turned a sort. melodic croon to a steadr. syllabic discourse while Shanr wove between the two using a branch as an Instrument of sound and symbol o! authority. The Intimacy of the performing space at TuCCA enhanced the electricity projected by the per­formers. "Trio" is a rare work or art and depicllon of the human condition. Roxanne Saenz and Heywood ''Woody" McGrlff also performed a compelling duet chorcograped by Sharir. Set against a backdrop of silence and selected excerpts from an Antonio Vivaldi score, the work focused on the confron­tational elements of a relation­ship. McGrlffs "Danse De Krishna" brought the program to a cl~on a high note. Using cons.eCullve repeUtlons of hard-edged move­ ments executed by different t groupings or dancers, McGrlH created a vl.sually stimulating collage. Andrea Beckham. Marcia Dick, Lynn G!"'OS3man, Marta Matth­ ews, .Kate F. Warren, Stephen Marcello and Charles Santos also performed with distinction. The company will repeat "Trio" as well as lhe Bustamente and McGrllf plec~ this evening. The Sharlr Dance Company oHers entertainment well worth the cost of a ticket and a trip to 20 E. Br.idy SL The Rustin Chronicle October 3, 1989 Lots of things are happening In Clance scone over the ne~l few weeks, so II you've been wa1111ng 10 5ee some dance performances, get out your catendars. Note: I have had several requestu 1n~he past row weeks !or performance review~. Although I try to see as many peilormanC95 as possible, I can'! review that many shows IIyou are Interested In 1ev1e...1ng a show, please le! me know and wo may be able lo run lhe review In the live Shots sectton if space Is available. Call the Chronicle oflrce at 473-8995 and leave a message for me, Robert Bryce, If you want to write about a show THE DANCE UMBRELL.A presems WORKOUTS '89 -Phase II,on M atcn , 7 1 B at 8pm at tne Synergy Studio, 1501 W 5th Tnese performances will show lhe works ot 13choreographers, from which 11everal will be selected for lhe final WORKOUTS '89 parlor· mance in April. On lhe schedule tor the Friday night show are: Ann Maly Carney, Bobbi DeAngehs, Tana Kent, Carl Kerkhoff. Kathy Mattia, Carolyn Pavlik and Linda & Patty Toth On the rosier for Saturday night. Andrea Ariel, Shelley Cushman, Teresa Gives. Dwight Shelton, Pat Stone and Fern Tresvan.Se1blos Admission Is SS with a $1 discount for DU membem. Call 322-0227 lor more lnlo. RUTH ALPERT ANO BOBt>RICE will perform at lhe Green Studio, 1401E.61ha18pm on March 18 This Is the lhlrd of six scheduled performances by Price and Alpen. Admission is by cash or barter Call 479-8365 for more Info. URBAN BUSH WOMEN are coming to town lhe weekend of March 24-25. The New York·based troupe of 10 Blaok women combine movement, a cape/la singing and Improvisational song and African folklore In lheir dances Formed live years ago by ar­lisllc director and choreograper Jawole Wiiia Jo Zollar, Urban Bush Women has been combining styles of movement and theater. Allhough Zollar began her dance training In ballet and traditional modern dance, she soon found ti too limiting In tur­ning to African dance she says, "I think African dance Is natural because people describe their rela· llonshrp to nature lhrough 11 -the rela11onsh1p 10 birds. trees. sounds. So, they do bird dances and the environments of birds." Describing her heritage as one of oppression, Zollar says, "When you are an OP'. pressed people lhe tendency Is to want 10 be as close to the oppressor as possible. So, lhal means that you don'I value your own culture. That's the destruction of oppression. When you do value your culture you can no longer be oppressed splrltually." The Urban Bush Women will perform at the Opera Lab Theater on March 24·25 at Spm and a free perfor· mance on tho 23rd at the Givens Recreation Center, 3811 E. 12th at 10:30am. Another free performance is scheduled tor the 23rd at Maplewood School, 3808 Maplewood Rd, at 1:30pm. Tickets for the evening shows at the Opera Lab are $8 al the door with a $1 discount for Dance Umbrella members. Groups of five or more can buy tickets for $6; groups of 10 or more, $4 each. Other events Including classes may be scheduled. call Women and Their Work at 477-1064 ror more Info. THE SHARIR DANCE COMPANY & EIKO AHO KOMA will share rha stage at the Paramount Theatre, 713 Congress, on March 25 at Spm. This performance Is Sharlr's annual gala and continues a long tine of guest companies that Sharlr has has brought to Austin. Eiko and Koma will perform a piece called Grain, a dance that "explores the myth of the birth of rice." Like other Japanese choree>Qraphers and dancers that have come to Amenca, Elko and Koma Inject their dances with surreal and disparate im· ages that are somehow unrque to the Japanese. It's hard to explain, but the Japanese 1ust see the stage and theatricality in a different way from Americans I guess that's what makes lhem so interesting. The Sharlr company will be presenting de la nu1t ••• le /out, choreographed by Jose Luis Bustamante and Yacov Sharir. Tickets are S10 with.a $2 discount for students and seniors. Studen1 rush tickets will be available one hour belore curtain lor S5. Cati 472-5420 for ticket into or call the Sharlr Dance Com· pany at 476-5185. *THE AUSTIN* BALLET AUSTIN is now presenting Uieir Brown Bag pert01mances which begin prompllyal noon. last 40 minutes ,1nd include a tour rollowed bya behind the·scenes look at lhe proless1ona1company1n re· hearsal Dales for 1989·90 Jan 26 Fob 2. Mar 16. Groups of 10 or more may b•• scheduled 2 weeks 1n advance tor an alternated •I·· c..11 476-9051 SHARIR DANCECOMPANY SCHOOL -Prereg1slra· uon tor the Sham Dance· :ompan1 School enlls January 14 Classes ,1re hP.ld al lheSynergy Stud10. 1501 Wesr 5th Street Jan 15·1\pril 28. Course:. of· tered. Aerobic Tone-up Jazz.and beg1nntng. In· termediate and advat'lced levels 01 Modern and Batter Ctasses begin January 15. For more rntorm<.1· 11011 452·9132 • SHARIR DANCECOMPANY will pe1!01m Jiin 19 an.J 20 Spin eacr1 evenm!J al the UT Opera Lab Theatre The perlormance w1ll inc1ude tho n,emocrsof the Snarl1 Dance Co with cornpose11>tocahs1 l ina Marsh the works ol writer T Ellen SollO ,11 all U rTM Tlcket Cen101s Coll 471·2787 October 6, 1989 1Hf SHA/UR DANCE COMPANY lx>gm) oh '<'d~>n on Th"" Oc1 11 a1 Cap11ol Ccty l"Jyl>110" \\llh II~' ''' I''' IOfllt{'f\ \V<1od)i Mc( 1111 Jemmy Tumt'rformcng d nt•" \\'1rk by YJCO\ '-h.u notl~ Tr•o \;ilh W\1•rJI n1Pmhc,.of<;()(; Prl'ch1c1 w I prc-s.-m II Lml(• )Om1·•hm11. whrch dt-.n1hed as ' ~ulp11.1 al p<-rlor. m;in,, Jn 1»~·· .ind Mc(,;1111" 11 ))('norm Lookmn LI.! < •\lso on lht• progran1 ,;-e 1he Jrd and 41.h mov.:•nenb cir P r l>>1on ( oncw10 The fi"t lwo inovemerr' ul 11'1~ flleit• we"' rireS(•n1<·d '"" w.1so11J ::-[)( \\•II pertwm Thurs ),11 nrghl> .i1 Capt10 Coh Sho\\t1m(• Rpm .'!!1cl llc~e•s Jrc> Sa\'·'" d SL discount fr,r wm~ ind aS l d1.r.ol -1 or fkS by Yakov Sharir and gues1 choreographers Ricardo Garcia and Woody McGrslf Diana Prechter, Jimmy Turner. and Tina Marsh The performance will be at 1heCap1101 City Playhouse. 214 W. 41h,Ocl 12·14, 8pm Tickets are $9, $7 seniorS/stuoents, $6 student rush Sox office: 472-2966. Call 476-5185 or 320-8704 Sell$on tickets, whieh oller buyers a 20% dl5· count on ticket prices. priori1y sealing, and tnvita· lions to post-performance recept•ons. are avAUable. Call 476-5185 or 32Q.8704 Saturday, October 14, 1989 Austin Amerlcan-Statesmar Sharir opens with memorable iniXture ly Sondra Lomax Special to tM Am«lcan-St1tMman A,ourmet meal providet aever· al diahes to aavor and remember. Like a muter chef, Yacov Sharir offered a menu of eclectic dances apiced with provocative images at Capitol City Playhouae. Performing Tbureday night be· fore a aell-out crowd. the Sharir Dance Company preaented the collaborative production Ptrao­MI Grata. to open ita aeventh eeuon. Joining the company were gueat choreognphen Ricardo Garcia and Heywood "Woody" MeGriff alon& with l\lHt per· formen McGritf, Diana Precht.er, Jimmy Turner and compoaer/vo· caliat Tina Manh. Metzokma: Moon Dances by reaident choreopapher Joae Luis Bustamante opened the program, a poipant enMmble work per· formed with exceptional preci· 1ion. Marsh'• vocal accompaniment heightened the dance'• drama. Review McGriff delivered a powerful performance of Contemplation, a aolo he choreographed about man11 inner conflicts. Dreued in a dark auit, McGriff gained inten1ity with his move· menta u he ripped off hia coe· tume to end dre..ed in white underwear, poiaed atop a pedestal like a marble statue. The program'• aecond aolo, Lou, choreographed and per· formed by Prechter, preaented aen1uoU1 motion with Oriental overtones. She i.&olated her hipe, banda and head in movem.enta remini¢ofAaia.n dancea while punctuating her phruea with atillneta and 1u1tained backbenda. Precht.er' a aerene preaence pro­vided a meemerit.ing touch. Diuonance and Harmony fea· tured McGriff and Roxanne Saenz in a riveting modern duet choreographed by Sharir. The dance e:iplond a relation· ahip'a ever-chancinl d:ynamica. Performed ftnt in lilence, the movementa were repeated with variationa, accompanied by a Vi­valdi vocal ecore. In contraat, Garcia'• Lomento· tian, a eoft. balletic duet, aeemed out of place o:ba~rogram of emotionally modern worb. The Sbarir re looked uncomfortable performinc the more cla.uica1 ltepa and tndl· tional partnerinc, further dimin· iahinc the choreography'a effect. Sbarir'a Trio combined l)'Dl· bola, aounda and movementinto a sunealiatic menage performed by Manh, Tumer and Sharif. Turner, who ii deaf, cnated a variety of IOUDda rancini from bair-raiainc 1ereama to whimpen u hia fremied movement.a thruhed through IJ*e. Manh,etandinc oppo.ite, would match hie IOUDda or offer contrutinc' coo1 and eyllabic babble. The aural uaauJt provided by Turner and Manb waa emotion· ally movin&, if not dietwbing. Weavin& throuih . them, 8harir brandished a w'6itt branch lib a abaman wieldini rttualiltic J>OW•n. -. --­At one point: 'Turiiii ftitilied a brua rod around the rim of a larp, white cryetal bowl, produc·inc a hauntm, reeonance. Manh matched the llhch, ~Miii about "aharini ·dret..ma.. -'l'riO could be a mptmare -about deefneea ' At the end, the auc:H.nce •P· plauded and ~tbeh feet, ahakinr the floor. Tumtr could aee and feel the audience'• enthu· aiaam even if he could not hear thecheen. McGrifl'a l>anH de Krilhno cloaed the pl'Op'&m,~ deman~ fbWt io traditionaflndian mUllc. Builton themes or lhowfn&, puai,na. and repeating movement., Kn.hna fe.,tured the compcy'1 maSe dancen. Penonas Grata. contirwu at Copirol City Ployhoiue ronifht at 8. Austin American-Statesman Saturday. October 14, 1989 Sharir opens with memorable mixture choreographed by Sharir. The dance explored a relation­ship's ever-changing dynamics. Performed first in silence, the movements were repeated with variations, accompanied by a Vi­valdi vocal score. In contrast, Garcia's Lamenta­tion, a soft, balletic duet, seemed out of place on the program of emotionally charged modem works. The Sharir dancers looked uncomfortable performing the more cla88ical steps alld tradi­tional partnering, further dimin­ishing the choreography's effect. Sharir'a Trio combined sym­bols, sounds and movement into a surrealistic menage performed by Marsh, Turner and Sharir. Turner, who is deaf, created a variety of sounds ranging from hair-raising screams to whimpers aa hie frenzied movements thrashed through space. Marsh, standing opposite, would match hie sounds or offer contrasting coos and syllabic babble. The aural aeaault provided by Turner and Marsh was emotion­ ally moving, if not diaturbing. Weaving through them, Sharir brandished a white branch like a shaman wielding ritualiatic powers. At one point. Turner rubbed a bra.es rod around the rim of a large, white crystal bowl, produc­ing a haunting resonance. Marsh matched the pitch, then sang about "sharing dreame." Trio could be a nightniare about deafneaa. At the end, the audience ap­plauded and stamped their feet, shaking the floor. Turner could see and feel the audience's enthu­siasm even if he could not hear the cheers. McGriffs Dame de Krishna closed the program, a physically demanding finale performed to traditionalIndian muaic. Built on themes of showing, passing, and repeating movements, Krishna featured the company's male dancers. Person.as Gratas continues at Capitol City Playhouse tonilht at 8. Section F Austin American-Statesman Saturday, October 14, 1989 Sharir opens with memorable mixture By 8ondr• Lomo Special to the American-Statesman A gourmet meal provides sever­al dishes to savor and remember. Like a master chef, Yacov Sharir offered a menu of eclectic dances spiced with provocative images at Capitol City Playhouse. Performing Thursday night be· fore a sell-out crowd, the Sharir Dance Company presented the collaborative production Perso­ na& Grata1 to open its seventh season. Joining the company were guest choreographers Ricardo Garcia and Heywood ·'Woody" McGriff along with guest per­formers McGriff, Diana Prechter, Jimmy Turner and composer/vo­calist Tina Marsh. Mezzaluna: Moon Dances by resident choreographer Jose Luis Bustamante opened the program, a poignant enBemble work per­formed with exceptional preci­sion. Marsh's vocal accompaniment heightened the dance's drama. Review McGriff delivered a powerful performance of Contemplation, a solo he choreographed about man's inner conflicts. Dressed in a dark suit, McGriff gained intensity with his move­ment& as he ripped off his cos­tume to end dressed in white underwear, poised atop a pedestal like a marble statue. The program's second solo, Lou, choreographed and per­formed by Precht.er, presented sensuous motion with Oriental overtones. She isolated her hips, hands and bead in movements reminiscentofAsian dances while punctuating her phrases with stillness and sustained backbends. Prechter's serene presence pro­vided a mesmerizing touch. Dissonance and Harmony fea­tured McGriff and Roxanne Saenz in a riveting modem duel choreographed by Sharir. The dance explored a relation­ship's ever-changing dynamics. Performed first in silence, the movement& were repeated with variations, accompanied by a Vi­ valdi vocal score. In contrast, Garcia's Lamenta­tion, a soft, balletic duet, seemed out of place on the program of emotionally charged modern works. The Sbarir dancers looked uncomfortable performing the more classical steps and tradi­tional partnering, further dimin­ishing the choreography's effect. Sharir's Trio combined sym­bol&, sounds and movement into a surrealistic menage performed by Marsh, Turner and Sharir. Turner, who is deaf, created a variety of sounds ranging from hair-raising screams to whimpers as his frenzied movements thrashed through space. Marsh, standing opposite1 would match his sounds or ofter contraating' coos and syllabic babble. The aural a88ault provided by Turner and Marsh was emotion­ ally moving, if not disturbing. Weaving through them, Sharir brandished a white branch like a shaman wielding ritualistic powers. At one point, Turner rubbed a brass rod around the rim of a large, white crystal bowl. produc­ing a haunting resonance. Marsh matched the pitch, then sang about "sharing dreams." Trio could be a nightmare about deafne88, At the end, the audience ap­plauded and stamped their feet, shaking the floor. Turner could see and feel the audience's enthu­siasm even if he could not hear the cheers. McGriffs Danse de Krishna closed the program, a physically demanding finale performed to traditional Indian music. Built on themes of showing, p888ing, and repeating movements, Kri$hna featured the company's male dancers. Personas Gratas continue' at Capitol City Playlwuse tonight at 8. rtit· ,\ir.tin ( .hrnnicw Octclht·r 27. 1~9 TEN MINUTES MAX, the second annual snow sponsored by tne Dance Umbrella, will be held at tha Synergy Studio, 1501 W 5th, at 8 pm on Fri the 25th and Sat the 26th La:;t year's show was quite a sue• cess tor performers end audience 11llke.Tickets are $3 at the door Call the Dance Umbrella tor more Info. THE SHA AIR DANCE COMPANY keeps plugging along the compaf'ly jusl recieved a S15.000 grant from !he Mee1 1ne Composer/Choreographer Pro1ecr, a programsp0nsored by ttie Fora Foundallon and the Pewchantabl1; lrusts The funds will be used 10 create c1 new work which will be premiered next sprmg. The compc1ny was alsoselected bythe Mid· America Ans Alliance Regional Tounng Program tor ne>1t year's season. the program w111111clude dales m Texas, Arkansas. Kansas, Missouri end Nctiraska. Wednesday, November 29, 1989 Austin American-Statesman Sharir's 'Austin Project' performance One thread that runs through all performances by the Sharir Dance Company is the notion of collabor­ation. That theme forms the basis of The Austin Project, which will premiere next week when the com­pany joins the University of Texas Dance Repertory Theatre for their nnnual joint fall program. Director Yacov Sharir said the piece celebrates Austin's 150th birthday. "By choosing Au&tin ar­ ti&ts, we hope the piece makes some ties to the mood and the color and the atmosphere here," Sharir said. At this point, Th~ Austin Project consists ofthree pieces, all ofwhich drew their initial inspiration ·not from music. but from poetry. Sharir is using Lo Morena by UT Germanic languages professor Christ.upher Middleton. And Sharir company dancer and chor­ eogr.apher Juse Luis Bustamante is colors and details -it is very busy. worked on it -but not physically. drawing on Snake Rock by Middle­ but it lacks the possibility of mov­ It is·a very abstract piece. I've been ton and a poem by Cecilia ing through space.'' trying to work with a rope that is Bw~tamante. Dance He said he is not interested in attached to my foot, and I needSharir and Middleton are long­ having the four women who dance someone who know!! the dance totime Mends. Last spring when Jerry Young in his piece travel about the stage. interact wilh me because there areSharir wanted to see what Middle­ He wants the viewer's eye to jolts that come from the rope atton had been writing, Middleton bounce around constantlv from specific points. Otherwise theshowed him his poem La Morena. Sharir quickly thought of it in A~for the collaborative aspect of dancer to dancer and from-gesture movement doesn't flow.'' The ArJStin Project Middleton said. to gesture."} have changed the fo­Bustamante also is creating a tem1s of dance. "It's \'ery nice to see people work­ cus along the body. There isa lot of solo for UT faculty member Woody Sharir "aid it is imnortant to let ing together, and it's nice that I flicking action. You bend your McGriff, a regular guest with thethe dance and the· music, per­ didn't have to make any effort.'' knees at a slightly different time -Sharir company. "I have almost. !ormed by Sharir company regular Bustamante chose Middleton's left then right. That little change finished it," Bustamante said. "I'mTina Marsh and clarinetist Ann Snake Rock, which as the title sug­ makes the thing be a litlle more still evaluating parts of it. He cho­ McCutchan. "take their own courses." He calls his part of the gests has much to do with the splic­nervous and a little more e)us.ive. reographs for himself very well, but collaboration My White Cow. "If ing together of sometimes dispar­That is where the snake image I wanted to use Woody differently ate images. "He takes an image comes in. lt seems lo eludethings. I t.han he uses himself." peuple look at the piece and ask that belongs to one object and ap­wanted to translate that. l wanted what does this piece have to do Bustamante intends to slow with the poem. they might have plies it to another -there is the to create movement that was sur­McGriff down and concentrate on some problems. I think the piece image ofa snake, but the snake has prising." the theatrical elements of the mu­ legs and other attributes," Busta· \\'bile Snake Rock is quite far stands on its own. the poem stands sic. John Adams' Christian Zeal along, Bustamante is still working on its own. and the music stands on mante said. "There is the image of and Activity. "J asked him to try a rock with teeth and a rock with on his dance to Sedition Seduction its own.'' not to be a dancer whenever the claws, that kind of thing. By put­by Cecilia Bustamante. "I've Middleton didn't have dance in ting two qualities together you ere· mind when he wrote his poems. ate a third one. The images keep "Writing poems is such a special changing." thing that I don't like to have anv Bustamante draws connections intent at all -least of all that so­ meone else should do something to Mexican Indian godde.sses and to the music and art of India. The with it except perhaps send it to a turns imported Indian music Busta­girlfriend or a boyfriend." mante uses strays somewhat fromLast week when he saw Sharir's the h()IJl~ grov;n t}\eme A')thou~b choreography, Middleton Wilt> p!ea­ he says his dance will not look like eantly surprised. "l W8J! glad to find Hindu dancing, he says they havethat he hadn't. made a story outofa much m common. "It has a lot. oJpoem which was not a story poem. and that he had kept some or the paradoxes, comedy and word play. He kept the hilarity and the painful poetry into motion seriousness of the poem," Austin American-Statesman Wednesday, Noverrber 29, 1989 (cort) material has nothing to do with dancmg,•·Bustamante said. "There are some things there that tell you 'dancer.' but there are parts that would stay the same if itwere per­formed by an actor. As a conse­quence, there is a lot of use of gestures in the piece. "For instance, I might tell Woody that all of the movements in one section will be initiated from the hands. I gave him some bounds !hat explore Woody's lines in a slower timing t.han he usually does. He usually has a snap to his danc­ing, Parts of the body are Lrying to shove other parts around rather than being connected, and that is something Woody is always aiming at -being very connected." The program, titled ''Con Amor," includes two works by McGriff set on dancers from UT's Dancer Repertory Theatre -Lau­date Puerl to music by Antonio Vi­valdi, and Dreams, to music by UT professor Rick Lawn. Also on the program is Zero Hour, a premiere by former American Ballet Theatre Dancer Rebecca Wright, set to mu­sic by Astor Piazzolla. Performances are at 8 p.m. Dec. 7 through Dec. 9 in the B. Iden Payne Theatre in the Winship Drama Building, 23rd and San Ja­cinto streets. Tickets are $6, $5 for students and senior citizens. For information. call 471-1444. C A P I y· 'A L BUSINESS ...We're dancing now ... The Austin-based Sluuir Dtutte Co1'1pOllJ has received computer and office equipment from the IBM-NYNEX ArLS' Endowment Partnership. The group received the equipment last month. The dance group will use the computer equipment to establish a compu­ terized dala base, implement cash-flow systems, assist in long-range planning, traclc inventory and produce in-house publications ... Monday, December 11, 1989 Austin American-Statesman The Austin Ught CALENDAR Jan. 24-~0. 1990 Sharfr Dance Company School is offer­ing dance classes through April 28, in· eluding modem, ballei,jazz and aerobics. Call 452-9132. PAGE 2 AUSTIN BUSINESS JOURNAL JANUARY 1-7. 1990 OPENERS Granta/donettona The ...0.0. CClflll*l1 of Alllllft 18 one of 50 arts organization• In the nation to partk:lpate In the $1.1 million 1988 Advancement Program !lfOfl­ 80f'ed by the National Endowme:'lt fOl' lhe Arts. Participants wtll receive '15 months or management consultlng and In addition, Sharir received a computer system from ...Corp. and Installation and training from NYNEX 8ualMM Cenlwa. ~~-~~~~~~­ A choice selection of things to do around Austin Sh1rit Dance Compan,. The company is having performances today and tomorrow at 8 p.m. featuring amelting pot of dance innovations blended with composer/vocilist Tina Marsh, and the works of writers T. Ellen SODod and Jose Luis Bustamante. Tickets are $10 and available at al UTIM TICketCen­ters. Discounts for seniors, students,and FAN Club members are available. Call 471-1444. PAGH I!! AlJS'lll\' Wl:l:KI.\' _J~l\Jf!.!.\H'f.. !:}1\NCIARY IJ, /IJVIJ A choice selection of things to do around Austin ··~ . Sharir Dance Compan, Pre-Registration Pre-registralion ends Jan. 14. Courses ottered include begmmng, intermediate, and advanced levels of modem dance and ballet, aerobic tone-up, and jazz. Classes are held at the Synergy Studio, 1501 W. 5th SL Call Kate Warren at 452-9132 lor inlo1mation. PAGE22 AUSTIN WEEKLY JANUARY 1°'-16, 1990 Sharir Dance Campan, Pnl-ftgillmion. Pre· registration ends Jan. 14. Courses offered include beginning, inlefmediale, and advanced levels of modem dance and ballet, aerobic tone-up and jm. Classes are held at the Synergy Studio, 1501 W. 51h St Gall K.lte Warren at 452-9132 for information. January 11 , 1990 (I to r) Doug Diehl of NYNEX, Margaret Perry of Sharlr, Scott Wyman of ISM, and Jerod Rozier, IBM employee and Sharlr board member (Photo courtesy of Sharlr Dance Company) Sharir gets a boost Two Texas ans organizations, private-federal venture, designed to whose forward-thinking plans for bolster the business capabilities of growth earned them pan of a $1.l arts organizations of the highest cali­million program of the National ber. Endowmeat for the Arts, will receive The Sharir Dance Company plans an additional boost through a public­to employ the hardware and software private agreement announced last packages provided by IBM and month by the IBM Corp., NYNEX NYNEX 10 establish a computerized and the federal arts agency. data base, implement more sophisti­ The Sbarir Dance Company of cated cash-flow systems, assist with Austin and the Southwest AJ1.ema1.e long-range planning, track inventory Media Project of Houston are among and produce in-house publications 50 ans organizations in 23 cities through desktop publishing. across the country selected for the ) -· SHARIR DANCE COMPANY SCHOOL ~ Registration I .11mpl..11· and in<1il j,,, Spring 1990 'hunt l>ar1<·1· Compun~ P.O. Bo"' ;tN. \u,.tin. Tna" 787<•7 \Jun/\\ etl J,111. l :i-April 2:} 6:00-7:00P\t Amlrt'a Arid: ln!-.lrudur $168 lntermt>cliate ~fodern :'u111nlH)" Jan. 20-April 28 I :00-2:3011\1 Kate \\'nrrcn?' I n!-.lru1:tor $8 -l Cit) Zip M1111d,t)' Jau. 1.)-1\pril 2:~ 7:00-8::iOP\1 ) nr·o\ Sharir: fn,-tnwtor $8·l /$80 * l'l1t1111· Il>u~ J Cnur•" Ti1l1• F•·•· JllZZ ~uturdu)>' Jnn. :?O Api-il 28 11 ::lOt\M I :001'\t Chri.::topllt'r Boyd: ln!>ln1l'lor $8·l Bt>fPDllillf( Ballet Tul',./I'hur.-Jan. lG ··April 2t> S:00-1.>:00l'M Gn·g Easley: ln!: l11slnwlur 88·1­Tutal ~ lnternwdiate Ball.-t II 'fo<>,;frl1urs Jan. lb-April 26 9:30-11 :IXlA~I I.~ 11111' Gro,..smu11: l11slruc-tor $ 168/$ 160* 0 En1·l11,.,•1l c-Ill\ d1r1·k f'll\Uhl1• ln lh1•.Sl11irll' lh11u-1• <:nmpun• , ~ ...................................................... Aerobie Tont>·up Suturda)-" Jan. 20-April 28 10:30-1 l::mAM Th.. Sharir Ua1U·1• C:11mpu11~ S1·h1111l 1rt\ it+·• you to utlt•llfl l\atc \\'am·n: fn,.lruNor $70 One Free Class Syrwrg) Studio. ).)()) w,..., 5th St. ~prof1•,,i1111al Sprin11: Se~siou J1111uurv 15-April 28. 1990 **'IOTE: ClassPs will not h•• lll'ld \larch 12-17 for Sprin~ Brt>ak. •• Call ·•52-91 :~:? for a1l1litio1111I information ~111;.d1• rla'"'"' al•o u"uilaltlt•. Goml for first tim .. -.1111l1·nh 11111,_ For more• inforn1allon 1·onta1·1: "alt' f'. Warr..n. S1·h11nl Oin·1·tor ul 452-9132. On1· !'oupon pt•r pt'r..1111 . plt•&M' The Austin Chronicle Januarv 12. 1990 PER F 0 RM ING ARTS NEWS January 12. 1990 FOR IMMEDIATE RELEASE Contact: Barbara Sparkman or Marcia Harelik. 471 -2787 Eclectic SHAKIR DANCE COMPANY Presents Evenings of Mysterious Tales. free-spirited Music. Uninhibited Motion Ever innovative. the dancers of Yacov Sharir's Sharir Dance Company have combined varied creative input from dancers. choreographers, writers, and musicians for five dance works featuring mysterious tales of nature, vocals and music of a local artist. and of course the endlessly expressive dance moves that the Sharir Dance Company is known for. The creative collaborations of Sharir and friends are to be performed on Friday and Saturday, January 19 and 20 in the UT Opera Lab Theatre at 8 p.m. each evening. Slated for each evening are the following works: de la nuit.. .le iour Based on a musical work of the same name, this piece emerges from the dynamic partnership of Yacov Sharir and Jose Luis Bustamante. State of Independence One segment of choreographer Jose Luis Bustamante's series, Love Studies. Charles, Menaluna and the Imaginary Woman An excerpt from the text entitled Mezzaluna by T. Ellen Sollod, this collaborative work features the sounds of composer/vocalist Tina Marsh. Nonce Danced by Dancers Unlimited of Dallas, this duet is the dance creation of former Pilobo1us members Carol Parker and Peter Pucci. Innostress A work created by a former member of the Israeli dance company Batsheva, Ohad Naharin and set to the music of Brian Eno and David Byrne. Tickets to the January 19-20 dance performances of the Sharir Dance Company in Opera Lab Theatre are S10 ($8 Srs/ $6 UTID/$5 FAN Club) at all UTTM TicketCenters. Charge-a-Ticket, 477-6060 (Advance SalesL . - ~ : _ ......... PERfORMIN(i A RTS ( fNHR ..._ THE U NIVERSITY 01 TEXAS AT A umN PoST Omu B ox 7818 A umN, Tuu 78713 MAIN Ou1CE: 512 471 2787 T1c1m Offl u: S12 471 1444 The Sharir Dance Company and the University of Texas College of Fine Arts present An evening with the SHARIR DANCE COMPANY~ Featuring DANCERS UNLIMITED of Dallas TheSharirDance Company pulls eclectic creative forces together to collaborate for five dance works featuring mysterious tales, free-spirited vocals andmusic,and uninhibited motion. Friday and Saturday January 19 and 20 UT Opera Lab Theatre 8pm Tickets $10 C$8 Sr.1$6 UTID/$5 FAN Club) Tickets at all UTIM TicketCenters. CHARGE-A-TICKET, 477-6060 (Advance) Sharir Dance Company is in reeidence at the University o( Texaa College ofFine Arta, and is funded in part by the National Endowment for the A.rte, the Texa.e Commieeion on the Arta, the Mid-America Arta Alliance and the City ofAuatin under the auspices ofthe AUBt.in Arta Commiaion. The Austin Chronicle January 12, 1990 1Austin • CENTEX FI'Zs .......................... 3 • PHARMACO EXPANDS ...........5 • GIBRALTAR GIVES CLUB ...... 7 Business • LOAN FUND REVIVED? . ......16 Journal JAN. 15-21, 1990 75 CENTS .. Arts beat .. Austin's Sharir Dance Company will present an evening ofdance Jan.19 and 20 at the UT Opera Lab Theatre. Featured dance works will be "de la nuit... lejour," "State ofIndependence," "Charles Mezzaluna and the lmagmary Woman," "Nonce," and "Jnnostress." Tickets are $10 and are available through all U1TMTicke1Ce111ers or through Charge-a-Ticket at 477-6060...St. Ed­ ward's University holds its annual senior art exhibition Jan. 21 through Feb. 18. The exhibition in the Moody /Jal/ Atrium Gallery is pan ofthe graduation require­ mems for art studems and will feature works in two and three dimensions. Gallery hours are 8 a.m. to 8 p.m. week­ days and 8 a.m. 10 5 p.m. weekends... Arts and Entertainment Supplement to The Daily Texan J•nuarv lb, 1990 IMAGES IS The Sharir Dance Company and the University ofTexas College of Fine Arts present An evening with the SHARIR DANCE COMPANY Featuring DANCERS UNLIMITED of Dallas The Sharir Dance Company pulls eclectic creative forces together to collaborat.e for five dance works featuring myst.erious tales, free. spirited vocals and music, and uninhibited motion. Friday and Saturday January 19 and 20 UT Opera Lab Theatre 8pm Tickets $10 <$8 Sr.1$6 UTID/$5 FAN Clubl Tickets at all UTTM TicketCent.ers. CHARGE-A-TICKET: 477-6060 CAdvanceJ Shanrl>ancoC-pu711ln,...denttat~Un1venit7 clT-Coll• cl Fu• Ana, IJld 11 funded In part by tbe Nabonal ~lfor U.. An.. the Tua C--anClfttheAn.,!be MJd."-'alArtaAlbance •ndtheC1t7olAuabl'lundertlwa......-o1U..A...un An.Commimaon. I In A IJ'Iin ( hru11id1.• BALLET AUSTIN Is now pri!senling their Brown Bag performances, which begin promptly al noon, last 40 minutes, and Include a tour followed by a behind· the·scenes look at the professional company in re­hearsal. Oates for 1989-90: Jan. 26, Feb. 2. Mar. 16 Groups of 10or more may be scheduled 2 weeks in advance for an a1terna1e date. Call 476-9051 SHARIR DANCECOMPANY-Preregistration lor the Sharlr Dance Company SChool ends January 14. Classes are held at the Synergy Studio, 1501 West 5th St reel, Jan. 15-Aprll 28. Courses offered: Aerobic Tone-up, Jazz, and beginning. intermediate arid ad· vanced levels of Modern and Ballet. Classes begin January 15. For more onformallon: 452·9132. THE 3RD ANNUAL woANCE/A WEEKM WORKSHOP, directed by Kay Braden and Jim fritc:ler, culminates 1n a Jan 13 performance featuring workshop par­11c1pants as well as professional dancers and actors. A critical panel discussion wm foflow Ille pertor· mance. Panelists include Vacov Sharor, Steve Balley. Pllyills Slattery. Sarah Wilmer, Jerry Young, Kay Braden. and Jim Fritzler A reception courtesy of Whole Foods Market will follow lhe discussion Synergy Studio. 1501 W 5th, 1 :30pm -performance; 2:30pm -panel discussion. Performance tickets are $5 at the door The panel discussion and receplion are free THE TEXAS YOUTH BALLET presents "The Magic Toy Shop" and other original works at the Capitol Cl· ty Playhouse Sun, Jan 21, at 2 and 8pm Tlcke1s are SS for adults, and $4 !or students and senior citizens. For more Info, call 454·2609. Funded 1n part by lhe City of Austin and the Austin Dance Academy. SHARIR DANCE COMPANY will perform Jan 19and 20, 8pm each evening at the UT Opera Lab Theatre. The performance will include the members of the Sham Dance Co~with composer/vocalist Tina Marsh. the works of writer T, Ellen Sotlod, former Batsheva Dance Co. member Ohad Nahann, and Jose Luis Bustamante. Tickets are $10 ($8 Srs.1$6 UT 10/SS Fan Club) and will be on sale at all UTTM Ticket Centers. Call 471·2787. Section C Austin American-Statesman Thursday, January 18, 1990 MA IN EVENTS ,W E E K E N D E R S Dance with Sharir Collaboration is important to the Sharir Dance Company, as you can see in its new evening of per­formance in the UT Opera Lab Theatre, which features members of the company, composer-singer Tina Marsh, choreographer Jose Luis BustamBnte and others. Tickets for tonight's show at 8 The Sherlr Dence Compttny dance• Fri­are $10; to charge, call 477-6060. day end S.turday at UT. Saturday, January 20, 1990 Austin American-Statesman DANCE 8h9rlr Dence Com.,.ny The Sharif Dance Company performs al 8 tonight a! tha UT Opera Lab Theatre. Cell 477-6060. Shertr-lng th• 1tege: Collaboration ls Important to the Sharlr Dance Company, as you can see In Its new evening of performance In the UT Opera Lab Theatre, which features members of the company, composer-singer Tina Marsh. choreographer Jose Luis Bustamante and others. Tickets for the 8 p.m. Friday and Saturday shows are $10; to charge. call 477-6060. llw \ir.lin ( bronicl\' SHARIA DANCE COMPANY will perform Jan 19 and 8 m each evening at the UT Opera Lab Theatre. ~~~er!ormancewlll lnctude the members of the Sl'larir Dance Co.. with composer/vocallst Tina Marsh the works of writer T Ellen Sol!od. form~ ' va Dance Co member Ohad Naharln. an ~~~!"~u1s Bustama~te. Tickets are $10 ($8 SrsJS6 UT 101$5 fan Club) and will be 01'1 sale at all UTTM Ticket Centers. Cal! 471·2787. ~· •,~~ AUSTIN CAPITAL OF TEXAS CALENDAR OF N R s M T w T F s 1 2 3 4 5 6 JANUARY 7 8 9 10 11 12 13 14 15 16 17 18 19 20 1990 21 22 23 24 25 26 27 28 29 30 31 1·15 Wine· Tasting at the Guadalupe Valley Winery. Housed in an old cotton gin. Group tours are available by appointment. Free. 1 ·629·2351. 1-Feb. 11 Zachary Scott Theatre presents, "Breaking The Code.• Play based on the life of Allan Turing. 476· 0541. 2 ~dylonghorn Basketball. Lady 'Horns vs. Texas Tech. 471 ·7697. 4 U.T. Basketball. Longhorns vs. Texas Tech. 471· 3333 . 5 lady longhorn Baslletball. Lady ' Homs vs. Baylor. 471·7697. 5.7 Custom Car Show. Display of custom cars, both new and older models 476-5461 . 6 U.T. Basketball. Longhorns vs. Baylor. 471·3333. 6,7, 13,14,20, G. Rollie White Downs. First Parimutuel Track in Texas. 21,27,28 Quarter horse and thoroughbred races. 1·915·597-0702, 1·804).752·6803. 7,14,21,28 hll Credc Vineyards. Fall Creek Vineyards, located on the northwest shores of Lake Buchanan in the Texas Hill Country Is open to the public each Saturday. 1·476-4477. 11-12 Moonlight Honeback Ride at Hiii Country Stables. Guided moonlight ride, open to all, reservations re­quired. 263·3244. 12,13 Austin lyric Opera pretents, "Madame Butterfly.• 472·5927. 11-13 Bandera County Junior livestock Show. Showing, judg· Ing, and auction of livestock. 1·796-7755. 12·21 Austin Boat and Motorcyde Show. Area dealers dis­playing boats and motorcycles. 323·2212. 12..feb. 28 Huntington Art Gallery. Masterpieces of Baraque Paint· Ing. 471 ·7324. 12-Feb. 28 Huntington Art Gallery. German Expressionist Prints from the Granvil and Marcia Spects Collection. 471 · 7324. 13 Zachary Scott Theatre presents, M;iirion Barnes, "Story Teller.• Story telling for children by Marion Barnes. 476-0541 . 16 lady longhorn Basketball. Lady 'Homs vs. Texas A&M. 471·7697. 17 U.T. Basketball. Longhorns vs. Texas A&M. 471· 3333. HAPPY NEW YEAR! from Austin Convention and Visitors Bureau ;k l , 19--20 The Austin Symphony Orchestra Subscription Concert. Orchestra under the direction of Maestro Sung Kwak, -·-~~h..!titf\ustin Choral U~ion. 476-6~ 19-20 Sharir Dance Company. Modem dance at it's finest) (. _!Z2=406Q, _J 20,27 Zachary Scott Theatre presents, "Just So Stories.• A play based on Rudyard Kipling's "Just So Stories.• 476· 0541 . 25 Austin City Limits 15th Anniversary Gala. A celebration of Austin City limits, featuring The Gatlins, Emmy Lou Harris, Chet Akins and many more. 471-4811. 26 Elisabet Ney Birthday Celebration. A birthday celebra· lion honoring Elisabet Ney. 458-2255. 26·27 Kerrvllle World Mohair Extravaganza. World Serles of goat shearing, arts and crafts and trade show demonstra­tion of spinning mohair. 1·866·3424. 26·27 Tough Man Contest. A kick-boxing contest. 1· 517·684·1799, 476-5461. 26-Feb. 18 Live Oak Theatre presents, "The Immigrant.• A tender and touching story set In central Texas. 472· 5143. 27 U.T. Basketball. Longhorns vs. Rice. 471·3333. 27 Lady longhorn Basketball. Lady 'Homs vs. Rice. 471·7697. 27·28 A Saml Arts le Crafts Show. Arts, crafts, plants, and Imports. A good place to find a great gift for Valentine's Day. 441 ·7133. 30 U.T. Basketball. Longhorns vs. Houston. 471· 3333. 30 Lady longhorn Basketball. Lady 'Homs vs. Houston. 471-7697. 31 U.T. Drama Department presents, "Aequalis.• From Boston, a trio (piano, cello and percussion) performs 20th c t-ntury works 477-6060. The Sunday Sun, Georgetown, Texas Sunday, January 21, 1990 Roundabout SU hosts Sharir Co. The Sharir Dance Company will perform at Southwestern University at 8 p.m. Saturday, January 27, in the Alma Thomas Theater. The performance is free and open to the public. Founded in 1982 by Yacov Sharlr, the company is an Austin­based repertory troupe of profes­sional dancers performing new and post modern works. In 1988, the Sharir Dance Company was selected by the National Endowment for the Arts as a participant in its four-year Advancement Program for "emerg­ing organizations of artistic excel­lence: Only 37 organizations were chosen nationwide. At Southwestern, members of the troupe will perform works by artistic director Yaoov Sharir and resident choreographer Jose Bustamante. The program will include "de la nuit ... le jour, • "State of Independence,• "Dissonance and Harmony," and "Mezzaluna: Moon Dances." For more information call 863­1379. Ilic /\u,tin Chronicl11 .lanuar) 26, I~O SARAH BRUMGARTwlll perform "The Inquiry," Fri and Sat. Feb 2 &3, 8pm, at UT's Opera Lab Theatre Tickets are SB gen pubhc, SS student,senior c111zens and Women & The11 Work. Dance Umbrella. and Black Arts Alliance Members,and S4 tor advance purchase by groups of 10 or more Call 477-1064 for more info. BALLET AUSTIN 1s now presentmg their Brown Bag performances.which begin promptlyat noon, last 40 m1nutes. and includea tour followed by a behlnd­1he-scenes look at the protessional company tn re­hearsal. Dates tor 1989-90: Jan. 26, Feb 2, Mar. 16 Groups ol 10 or moremay be scheduled 2 weeks in advaoce for an alternate date Call 470-9051 SHARIR DANCE COMPANY SCHOOL Reg1strallon •Snow m progress for the Sham Dance Company School Classesare held at the Synergy Studio. 1501 West 5th Sireet.Jan 15·Aprll 28 Courses offered. Aerobic Tone·up, Jazz, and beginning, Intermediate and advanced levels of Modern and Ballet.Classes begin January 15 For more Information: 452·9132. SHARIR DANCE COMPANY will perform at Southwestern University at Bpm. Sat. Jan 27, In the Alma Thomas Theater. The performance Is ltee encl open lo the public. Members ol the troupe will per· rrom works by artistic director Yacov Sharlr and resl· dent choreograptier Jose Bustamante. Call 863-1379 NINA MARTIN will perform her satlrlcal and moving dance piece. "Changmg Face." along with " Date with Fate," Thur-Sat. Jan 25-27 at 8pm at Capitol Cl· ty Playhouse, 214 W. 4th SL Tickets at the door $7/Gen Adm; SS/Dance Umbrella members Present· ed by Dance Umbrella aRath march of the lt•mmings. So what if this multipll? 1 ony-wm­ning·milstt>rp1cce h,1.., not cl ..,hrcd of coherent story lirll' It 's /1111!!! fhl' ro<1d shmv ul Ca/:; t:U rrentlv skulking through B,1ss Con\.'ert Ifall is pl'l•senting 111.1ll'r1<1I th.1t's bel'n running ::-omcwaysomcwhl•rc for the entire decade, ,ind -.mall won­der that the showl<«1st/n1m.:cpt has degenerilteJ from cl Sl'nli•hllt10l'abfe, if misshilpcn, attempt at rethinking and reviviiving till' rnrpsc ot musi­cal the<1tl'r into n purposl'lcs:-pa­rade of toob in vak-h,1ir bodv stl1ck­mgs "acting hk~cat.,,'' Wd/ ti1tJrtl1 (I/· lt·ast-S18I Thl' element t>f -.urprisc is glme. The .;howstoppcr ,\ilt'mory. Dill' ot the two decent so11ss \\'ebbcr ever wrote (I D(l11't K111n11 Ht1w lo Lo1•1• ff1111 bcing the other) has been ma-.s<1cred Show people, infected as they are by a brain para­site that deadens them to all but the crudest spec­tacle, love shows like Cats that require them not to act, but to enact. bv everv Miss Waco -.em1-fin.1list and high-.;d1ool-homecoming hctlf­timc entertainer, and no line re­members that the word:> Wl're ongi­nally penned by llw third-grl·ate~t pot>! l.'\'er to write in Engli...h. It'~ plze110111eu11I ! Bui thev're cute and iurn·. What m,irt• need one .isl-: frnm art? Show pt'l•plc, inlected as they are by a brain parasitl• that deadens them to <111 but thl' crudest -.pcct,1cle, llwe shows like Cat., th<1! require them nut to ,l(t, but lo enact. Of all the c<1t·t,1ll'!'> in thl· show, 1mh two rnn­t,1in ,1 shred of character:_ the agl·d actor Gmwlti~..-r ,111d the Memory­bdting Gri1..ibdl,1-and the current comp.my immediatl'ly ,111d firmly rcdul.'es th.it ml.',1ger opptlrtunity for cll'ting into clwap predictable pathos. /l'f: 1111° 11/tmmlt· Bn~ufway i;IW11' Pf llu• '80s! l'erh,1p... ,lll thi-. i-. the fault of dear dead T.S. Eliot, who \Hm a Tom: from beyond the gra\'C ior writing~ plea-..mt book ,,f i:hildrcn's poems that \\'1.'bbcr in his shaml'lessncss turned into this drunkt>n dephant 1>f a show. Eliot, t•litbt that ht• w,1s, would probclbly 'Pll blood knowing that am• oJ hi!> work, even a triOl• like t)J'·p,,,,,11111':; H1111k of l'rac I1rnl Cnts (or evl'n his bun,1 fail• work for thl.' stage) w.is bl•ing displ<1yl•d {nQt to say dii,t•mbl1\\cll•d) f11r the m,1ssc., in Austin, Texas, and nMking cl hack ct1mpc1sl'r into ,, billionaire. II'// ~ll';tl 11011r ltenl'/ m1•m1!Ji • Tht• shade 11f Eliot slu1uld be izl.1d that \\'eblwr. ior whom nothing 1s too g0<1d to be l'he,1pl'nl•d, didn't write ,1 muc;irnl based on Tire IV1r:.lt' Lmd fe,1turing a pirouetting chorus ot black-.;u1tcd Wc:-tminster bank· er:c.. We ht•re on the matcri,11 plam~ !>hould be terrified that th<.' tuture oi musical thc,11l•r j., m the hand-. of a man with lhl• taste of a water bug and the creatm: energy of Eliot's "patient lying ethl'rbcd upon a table." Ont• of \\'ebbt>r's standard trick:; i-.. to Clime up with a go1'd hook or figun.' (usually a syntlwsi.i:­er arpcg~i1>) and repeat it a billion timt•s, until it has all the musical delic,1i:\' and appeal l1f a rusty nail entering solt tissue. It cc>11t111111•s Ii> m11a:::1• 1111d dd1xht mufu·,,rc:;! I.el U'> take a ml)menl to cclt•bral1' this show'., simple virtues. The :oinging is prctly gond, .11though R0semilrv Loar 1s more interested in beltinp, 1\~k111ory1 than in cnunciilling ii, as if such sword·,.\vallowing an­tics were necessary now, nine years and 3 million origin,11-cast rt'COrd- CATS Starring: Rosemary Loctr Theater: Bass Concert Hall Date: Friday, ~ p.m.; S,11urday. 2 p.m. and IHlO p.m.; Sunday, 2 p.m. and 7 p.m . mgs lak•r, \\'ht•n e\•en il neophvtc ,1udicni.:e know-. cxat~I~ \\hat to ex-. p1•ct. 'lhl• dancing t!'> exceptional wlwn comp.ued to l>Ur own abili­lll'S, ;ilthc1ugh tlw Sh.rnr D.1nce C.om 1,111\' ts more irnhc1e11t, more' The cast has a lot of en­ergy, befitting a company whose members proudly boast experience in Opryland USA shows and Vegas nudie shows in their bios. land USA shows and Vegas nud1e show:. in their bios And the techni­cal sNting,. arc, a:> the\' SilY, "state of the .irt," which mean,., thev'rl· , ridden with AT&T·t'Sl(Lll? ghtche" that rendered the first 15 nrn111tc~ incmnprchen:;iblc on opt: ni ng m~ht. (Forgi\'able? This show'!:' been touring !:>ince vou wen· 12, kids.) l'111111cc 1111i1•J But r~·ally, no more d,11nnin~ 111­dictment of this twaddle nl'ed Lw proffered than lhe fal·t that l\:CMl Texas (Name Change ~ational Bank) "proudly co-sponsors" the show. Sure, it's great mmdle~s en­tertainment. but so are thl• ltrcllS, Roller Games and the neighbors' marital spats, to name but three chl•aper ilnd more honest ~-pecta­de:.. 1 want to sec 11 agai11 nud agnm nnd ""~ain... WEEKEND friday,Feb.2, 1990 Preview Dance SUARIR DA'NCE COMPA!li;\': Pcrfor· mances at 8 p.m todav and SaturdJy at San Jarm11l CQJltg<'',.·siocomh Audito­gram and the pe1'fo!'­Where: Theatre ~oom. UT Winship Ora­more than the choreography and mance 's cocirdinator. "We created ma Buik1ing, 23rd and San Jacinto style -they learn to interpret streets a project which would make part the songs on a personal level. Admleelon: $3 of the black experience tangible "Swing Low Sweet CharWt, Go lnform8tion: 471-5793 to our students. Down Moses, these spirituals are The performance is the colla­the Col1ege of .Fine Arts. more than mere songs," McGriff borative effort of four UT faculty "Today there's a real eagerness said. "They were used to foster a members, led by Vasquez and to understand black history and sense of gathering, a sense of dance professor Heywood its place in America," said mourning, and a sense of celebra­ tion.'' "Woody" McGriff. The project McGriff. "We wanted to look at incorporates undergraduate and black history from an artistic per­To help the students under­graduate students from the dra­spective by focusing on past as stand more about black history ma, music and dance programs in well as contemporary views.'' See Celebnitloft, F12 and the relevance of spirituals, McGriff took his dancers to see the film Glory, which depicts a black army regiment during the Civil War. McGriff identifies with the sen­timents expressed in traditional black spirituals, although he said he has never been subjected to major racial discrimination. He feels that being black has been an attribl!U throughout his life thanks to the struggles of the ear­ly civil rights activists. "Growing up in the '60s in Ohio 1 was exposed to black militants, hut I never totally embraced their philosophies. 1am concerned about human rights in general, the equality orwomen, homeless, gays, everyone," he said. "My quest is to ease suppression of all peoples.'' The theme of i;uppression threads through Negro Spirituals and McGriffs own solo dance, Angelitos Negroes. McGriffs cho­reography is set to an old Latin American song as performed by Roberta Flack. The work deals with the sufferings of a painter and how he turns to God for help. Dramatic readings of black po­etry. directed by Stephen Gerald, assistant professor of acting, fea­ture works by Nikki Giovanni, Gwendolyn Brooks, Maya Ange­lou and Naomi Maggot. Gerald \\ill introduce the material, in­cluding a short explanation of black folk theater and perfor· mance practices. "In the Western theater tradi· tion, there is a separation of per· former and audience," ~raid said. "In non-Western traditions, part of the performance esthetic is to join the performer and aodi· ence together. That is part of what we'll be trying to do.'' Gerald compares his staging to a black church service where members stand up to testify be­ fore the congregation. The stu· dents chose poems with which they identified, texts of personal significance. "In the black folk theater, peo­ ple use material as testimonials, to tell about themselves, their dignity and pride.'' he said. "The black church has historicallly been e dominate force in the black community, and elements of black folk theater stem from that tradition. During the church ser­ vice, there is a union between all participants. and individuals stand up to say bow the}' feel." Although he did not grow up in the Southern black religious tra­ dition, Gerald has studied the correlations between church ser­ vices and theatrical performance, including the role which music plays in both. Av;hn ~·,i~...?f:!~~ ~~viMj,~~ntA-r~ ~, l~'\O>1-. Growing up m New ork•s South Bronx in the '50s, Gerald attended Catholic school in his multi-ethnic neighborhood of Irish, Italians, Hispanics and blacks. One of his most vivid memones is tying m bed at night listening to the "battle for acous­tical space" as different groups played their nati1;e music on op­posite street corners. "There was a collision of cul­ tures in my neighborhood, espe­ cially between the Southern blacks and the blacks from the Caribbean islands. I learned a lot about rhythmic music," Gerald said. In graduate school, Gerald fo. cused on black history, and eir­plored the relationship between music, singing and dancing as part of religious worship in New World African cultures. Elements of this music have played an im­portant role in the evolution of American popular music. To honor the contributions of black musicians and composers, the UT Jazz Orchestra will per­form selections by Fletcher Hen­derson, Duke Ellington and Count Basie. Jeff Hellmer, assistant director ofjazz studies in the Music De· partment, says that. the music was selected to showcase black composers from the late '20s and early '30s. "The major innovators of that period were black, and you have to study their works to under­stand where jazz came from," he said. "For this performance, the students not only play works of historical significance. but we have maintained stylistic accuracy from the original period." In addition to tonight's perfor­mance, the dance program and the Department of Drama will feature A Celebration of Black Dance film and lecture series throughout February. The weekly events begin with two lectures by New York black dance historian Joe Nash on Feb. 8 in Room 2.112 of the UT Win· ship Drama Building. Nash will speak on "The Evolution of Black Dance in the Americas" at 11 a.m. and "The Black Tradition in American Modern Dance" at 2 p.m. Both lectures are free. The film, Chuck Davis: Dancing Throush We11t Africa, will be shown Feb. 14, followed by Aluin Ailey: Memories and Visions on Feb. 21, and Dance TMatre of Harlem on Feb. 28. All films will be shown in the Fine Arts Build­ing, Room 2.204 at 7 p.m. Admis· aion is free. Staff photoa by Taylor Jofln9on Heywood "Woody" McGrlff, 1of4 University of Texas faculty members collaborating for A Celebra­tion ofBlack Performance, sald he thinks being black has been an attribute throusihout his llfe, thanks to the struggles of the early clvll-rights activists. THE AUSTIN CONTEMPORARY BALLET presents Carmen. Mar 2 & 3, at the Paramount Theatre, 7t3 Congre$s Ave. Carmen Is choreographed by Artistic Director Randall. Soileau who sets George Bizet's passionate-0pera and score to a duel ol dance. Also featured on the program 1s Pictures at an Exhlbllon by resident choreographer Arlelta Howard sot to music or Mussorgsky, In ado1tion to a new work by John Logan ent11fe<:1 Renaissance D1v1>rs1ons. Perlor· mances are Fri & Sat at 8pm. Tlckats aro $10, $8.50. and $7.50 and can be purchase<:! at all UTIM t lcket outlets Call 477-6060 to charge A tree Sat matmee wll presented at2pm exclusively lor Senior Cozens. Doors open at 1 :30pm ano seats are available on a first come. lirst serve basts. Call 454-2609. LUCILA DANCE PRODUCTIONS, 10213 Lmdshlfe Ln. 280·16'5. Sat. Mar 3, 9am~pm, Lucila will spon· sor Vashti of Dallas in ari all day workshop at the R1vers1de Quarters (E. R1vey Wttl Faller Accordionist Pauline Oliveros' Deep Listening Band. Including vocalist Pan­alotls and trombonist Stuart Dempster, will emulate a cistern's acoustics. Saturday, March 24, 1990 Austin American-Statesman ET CETERA Sharir Dnce CompenJ The Shanr Dance Company presents "Harry: dance and works by Senta Driv­er," at 8 tonight al the UT Opera Lab Theatre. Call 471-1444. The Sharir Dance Company and the University of Texas College of Fine Arts present: Sharir Dance Company's Seventh Anniversary Gala Performance featuring HARRY: clance ancl other works llySentaDalw_. & Paullne Ollveros ancl the Deep Listening aanc1•• ~SHl\RIR DANCE COMPANY friday and Saturday, Morch 23 & 24, 1990 UT Opera Lob Theatre 8:00 pm Tickets $10 ($8 Sr./$6 UTID/$5 FAN Club) Tickets al all UTIM TicketCenters CHARGE-A-TICKET: 477-6060 (ADVANCE) Information: 471-1444 Sham Dance Company 1s m residence ot the Unrvers1ty of Te•os College oi Fine At1s ond 1s funded 1nport bythe Not1onol Endowment f()( tne Arts, the Texas Commission on lhe Arts, ond the Oty of AustJn under •he ousptces of 1he Auston Arts Commission. "A Mid-America Arts Alliance Program w1lh the Texas Commission on the Arts • °Colloborotoon funded byo gron1 from Meetthe Composer's ComPQ$er/Choreogropher Pro1ec1, o notional program funded bythe ford Foundation ond The Pew Chontoble Trusts The All'ilin Chronicle March 16. 1990 Tlw A11'ilin (hronicle March 16. 1990 SHARIR OANCE COMPANY 1n performance with Harry Dance andOthtH Works by Senta Driver. and the premierof " Deep Listening" with New York com­poser Pauline Oliveros. will he held Mar 24 & 25 at the UTOpera Lab Theatre. Arts Complex. 23rd and East Campus Dr. The program will Include: " The AuS11n Pro1ect: MyWhite Cow," by Sharlr; "Triptych," a solo work by Jose Bustamante,per· formed by Heywood " Woody" McGnll; " Deep Listen· 1ng,"by Sharlr, Bustamante. and Oliveros; " the Grand Duchess Laughing," by Driver, performed by SOC and Hairy; " Second Generation," by Driver, per· formed by Harry.This event was lunced by a Meel the Compose1/Choregrapher grant Tickets are SIO, ($8 seniors. $6 students. S5 Fan Club) and are on sale at all UTTM TicketCenters and by phoM at 477-6060. Call 471-1444 for mote info. The Sharir DanceCompany will perform at the Houston International Festival. Mar31, noon, at Dance Plenade.500 McKinney, Houston Public library Plaza. Fr1>e Call 320-a704. SHARIR OANCE COMPANY SCHOOL registration is now In p~11r<> Ar1sComnl£>x 23111 nd i I C,unnus t..1 The'''" 11:im writ 1111:1111,, lh1> Au-.1 ,n l'r111cc1 My Wh11r-<'ow" l'Y Sh.•nr f11p1vch .1 -;010 work tsy Josr 811 l.rm,1111c r>e1 lmmP.tlhvHcywoOil ·wootlv' McGrill ·tmcpl •ICll 111g hy Sh.mr tiustoJnrnnto. 11111 Ol1vrnos. the Gr.ind wuclless L"'11ghmg hY lmver oc!lormerl hy SllC. ind Hairy Second by H my Tn1s event wa; lumlc•t hv 1 Ml'<-1 1heC0111poser/Ct1oregr.-1pher Q•11n1 l1ckc1s 11eSIO 1$8 '>C111ors S6 '!IU11v 11 M 1r 31 noon 11 lJotnCI' l'h•n 11JP 5()1) MCKlrr. L1hr u1 l'I11,r Free C 111 '20-8704 SHARIR DANCE COMPANY SCHOOL re11 s1tot1on is now '" proqress Cl.I, .cs .lf<' hC'l!l .1t lheSyn•:rov SIUtllO 150 I Wcsl 5th Strce1 It11our·b oJl~rt!d Acrotu c: Tone up J~1.n ..1rn1 b1\g•n 1111 1Q, lnlerm~tll;JIC? .inti J1Jv,incotl lrvol'; ol Moilern ind R.•llnl For morP.mlo 4529132 Mardi :Zl, 1991.1 L\iAGES Ii The Shorn Donce Company and the Un1vers1ly oi Texos College of Fine Arts present Sharlr Dance Co•pany'• Seventh Anniversary Gala Perforn1ance featuring HARRY: ..._.and other worblrySantaDrivar & Pauline OUv..... and the Deep u..nlng ..... Frtdoyond Saturday Morch 23 &24, I99o UT Opero Lub Theatre 800 pm Tickers $10 1$8 S1./S6 UTJDt$5 FAN Club) Tickets ot oil unM Tic.~e1Cen1ers CHARGE-A TICKE1 477-6060 (ADVANCE! Dance Umbrella Newsletter March 1990 Performance Calendar 23-24 Shar1r Dance Company in performance with HARRY: dance and other works by Senta Driver. Also featured is the premiere of "Deep Listening" in collaboration with New York composer Pauline Oliveros, funded by a Meet The Composer/Choreographer grant. urs Opera Lab Theatre, 23rd and E. Carf1)US Dr., 8:00 p.m. Ticket information: 471 -1444: general information: 320-8704. SOC will also appear March 31 , at noon, at the Houston International Festival . Call 320-8704 for information. nn l)\11 ' 11 \ \" PaAriChornoraphet oran1 Tickets are S10. (SS seniors, S6 students $5 Fan Club) and are on sale at all UTIM Ticke1Centers and t>y phone at 477-6060. Call 471-1444 ror more Info The Sharlr Dance Company wlll perform a1 the Houston International Festlval. Mar 31, noon. at Dance Plenade, 500 McKinney, Houston Public Library Plaza. Free Call 320-8704. SHA Riff DANCE COMPANY SCHOOL registration Is now in progres:;. Classes are held al 111e Synergy Studio, 1501 West 5th Street, through April 28. Courses offered Aerobic Tone-up, Jazz, and begin· nmg Intermediate and advanced levels of Modern and Ballet For more Info: 452·9132. The Shorir Donce Compony ond the University of Tel(os College of Fine Arts present· Sharlr Dan• Company'a Seve11th Annlvenary Gala Perfonnance featuring llAIUlY1 dance and other wOttlallyhBtaDtfwer· & ........ onv..... ...tthe ...... U...1119 ..... Friday and Soturdoy, Morch 23 & 24, 1990 UT Opero Lob Theatre 8:00 pm Tickets $10 ($8 Sr.1$6 UTID/SS FAN Club) Tickets ot oll UTIM TicketCenters ,, CHARGE-A·TICKET: 477-6060 (ADVANCE} '"'ormotion. 471-1444 The Shonr Donce Company ond the University of T exos College ot Fine Arts present. Sharir Dance Co•pany's Seventh Anniversary Gala Perfonnance featuring HARRY: dance CUMI other worbltys.....Driver & Pauline Olivero• anti the Deepu.tealngll...t . FnJoyond Soturdoy, Mo1ch 23 &24, 1990 UT Opera Lob Theatre 8·00 pm Tiekets $10 tS8 Sr /$6 UTIOl$5 FAN Club! Tickets ot oil UTIM Ti