arts & lives
CCC to get THC
This piece by Robert Selby of Portland is one of many by
CCC and Portland artists on exhibit in the Fireside
Lounge.
Staff photo by Duffy Coffman
Dancin’ steps out
The two hours .of dance are
When “Dancin’ .” opened on
Broadway in 1978 , it was fairly interrupted by two intermis
subdued compared to the sions. Two intermissions are
openings of the rest of the understandable considering the
shows that season. Shows such vitality of the dancers. At first
as “Runaways” and “Annie” sight, a connoisseur of the
expressed the blatant optimism theater can tell who
that America felt was needed in choreographed “Dancin.’ ” It
the post-Watergate era. “Dan has Bob Fosse’s style and piz-
cin’ ” opens at the Civic zaz all over.it.
Auditorium Feb. 3 and plays
through Feb. 7.
Many complain of Fosse’s
Upon entering the theater, overt sexuality that is displayed
the audience suspects in the style of dancing. But that
something unusual. The cur signifies his uniqueness as a
tain has already risen and foot choreographer just as Twyla
lights are lowered to the floor. Tharp’s sensuous dances mjake
The onstage lights rise as the her choreography stand out
company of 16 emerges with amongst the rest.
salutations to everything from
Neil Diamond’s “Hot August
A Thursday matinee has.
Night” to Johann Sebastian
Bach’s “Sonata for Violin Solo been added because the run is
nearly sold out already.
No. 4.”
Computer art arrives
puter copies of great works that
are indestinguishable from the
“All the work is done here. It original. People think of
gives us a chance to show what Snoopy calendars when you
we’ve got,” said physics in mention computer art, but it’s
structor Mike Aronson about much more than that. I want to
the video program on com get that message across.”
“It’s a first time for me.
puter art that he and
audio/visual technician Scott Usually, I just'Work with film,”
Griffith are working on. The said Griffith, who has won
program is meant to be shown awards for commercials he’s
to art and video classes in done on 16 millimeter film. “I
volunteered v because it was
schools in the area.
Aronson collected many something productive. Normal
slides of computer graphics/art ly, I just show videotapes. It’s
from the University of Oregon, not tfiat. difficult, though. It’s
Seattle and New York and put just a matter of taking what I
together a presentation that Art know and pitting it to use. It is
Department Chairperson Norm time-consuming. ”
Griffith is currently working
Bursheim asked to have on
videotape. He and Griffith are on a personal project in 16
looking at a workload of 23 millimeter that he hopes to
hours of their own time to put enter in contests. It will be his
together a 45-minute program. first program with-synchronized
The Art Advisory Commission sound, not just a voice over.
“Computer and videotape
agreed to pay for the produc
will eventually push film aside.
tion.
“I want to show computers I’d like to get into the produc
as*new tools that can be used in tion angle,” concluded Griffith.
the field of art,” explained “Of course, I don’t know that
Aronson. “Computer art is in much about computers. I just
credible. There are even com- film things.”
By Tom Jeffries
Of The Print
The ASG will present a unique Mini-Program
on Feb. 4. Instead of the single or duo guitar/s-
inger, they have signed up (with some trepida
tion, I’m sure) a singing-comedy-dance troupe
who call themselves THC-The Hallelujah
Chorus, for those who jump to addled conclu
sions.
This is not going to be your usual medley of
tunes from “South Pacific” or “Oklahoma,” or
Aunt Bessie’s second cousin’s daughter’s dance
recital. The Hallelujah Chorus has a far seedier
and imaginative repetoire.
The troupe started about six years ago. “The
original concept was that we would tour all over
the world, , singing songs and getting loaded,”
says Trixie, Toboot, one of the chorus members
of THC. They played regularly at the White
Eagle and Up the Down Staircase in Portland
then, and opened concerts for people like Maria
Muldaur and Jimmy Buffett. Portland journalists
at the time appear to have been overcome with
admiration. Tasha Vinikow of the Portland
Scribe called them “lewd, ludicrous and lovable
entertainment Jn the grand old style of Firesign
Theatre, Mad Magazine, and the ‘Humor
Uniform’ section of the Reader’s Digest.”
The concept is not a brand new one, but it
might seem so, since there aren’t any around
any more. There was the old La Mama Dance
Troupe in San Francisco in the ‘60s, as well as
the two Second City Revue groups, one in
Chicago, and one in Toronto, which gave us
Elaine May, Mike Nichols, and spawned the
original Saturday Night Live people. But th<
such a group could still be continuing, and plaj
ing at the College, is both remarkable and ir
triguing.
Toboot is only one of several apparent!
talented and irreverent members of the grouj
Savannah Peale and Heavy Hannah also will b
singing (and God know what else). Marilyn I
Delaware plays guitar, and Lilli Fields is the M.(
Toboot is also responsible for the choreograph
THC also has two musicians working with then
STP Cameron on bass, and Lashing Lan
LaRue on keyboards.
And what does THC sing and dance abou
‘^Esoteric” is far too shallow word to descrit
come of these titles: “Herpes Simplex” is on
Others are “El Narco,” “All the Shit,” an
“Clackamas Waltz.” There is one called “Surfat
Puke,” which apparently concerns itself with
conflict of pejoritives in the U.S. Navy (the oj
position is called the “Bubbleheads”
“Greyhound Bus” is a presentation of the pr<
blems of getting it on on one. It would seem froi
these titles that THC is not overburdened wil
reverence towards the world.
THC will do its stuff starting at 7 p.m uni
about 10, with one. intermission. Admission
free.
“It’s lively listening,” says Toboot. “Even
you’re straight, you’ll like it. But it helps if you’i
crooked.”’
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