
The Lied Center for Performing Arts announces its seventh season, which begins in September. According to executive director Bruce Marquis, the new season is a continuation of the Lied's "commitment to attract new and young audiences, as well as continue efforts to keep current audiences satisfied."
The new season includes internationally acclaimed orchestras, ballet companies, modern dance, comic theater and pop artists. Ticket prices range from $14 to $42 with half-price tickets for youth and students.
Alison Krauss and the Union Station band will launch the season on Sept. 6. Other performances are as follows:
Season tickets will be available in May. Season orders, which offer
discounts, may be placed by mail or fax only following the mailing of the
season brochure. Single tickets will be available Aug. 26. For more
information or to receive a season brochure, call the Lied Center Box
Office at 2-4747.
The Lied Center for Performing Arts will host four presentations of the Broadway hit 42nd Street May 10 to 12. The show will be performed at 8 p.m. on May 10 and 11, and matinees on May 11 and 12 will begin at 2 p.m.
The old, heart-warming, small-town-girl-makes-good tale takes a few twists and turns as it winds its way down 42nd Street. Director Tony Praise was a member of the original cast of 42nd Street. The show quickly became a Broadway smash, with songs that made the hit parade like "Lullaby of Broadway," "I Only Have Eyes for You," and "We're in the Money."
Two pre-performance talks will be given in the Lied Center's Steinhart Room before each performance. James A. McShane, UNL associate professor of English and director of University Foundations program, and Katherine M. Voorhees, director of Arts Are Basic! and coordinator of education/outreach for UNL's College of Fine and Performing Arts, will share the speaking duties, offering insights 55 minutes before the performance and again at 30 minutes before curtain.
Tickets are $34, $30 and $26 for all show times; half price for those
under 18 and students of UNL, Doane and Wesleyan.
Shanghai Triad's bold take on a subgenre that's every bit as resonant as a 1930's American gangster picture hits the screen at the Mary Riepma Ross Film Theater May 9. Zhang Yimou's seventh feature is as assured and attention-grabbing as his 1988 feature debut, Red Sorghum.
Poised somewhere between the visual flamboyance of Sorghum and the interior tension of the later Raise the Red Lantern, Shanghai Triad oozes a confidence that carries the viewer almost without pause to its shocking climax and ironic ending. Shanghai Triad will be shown May 9 through 12 and May 16 through 19.
The film's setting is Shanghai in 1930. Tang, the godfather chief of the Tang family-fun underground Green dynasty, is the city's overlord. Having allied himself with Chiang Kai-shek and participated in the 1927 massacre of the Communists, he controls the opium and prostitution trade. He has also acquired the services of Xiao Jinbao, a beautiful prostitute-singer.
The story of Shanghai Triad is told from the point of view of a
14-year-old boy, Tang Shuisheng, whose uncle has brought him into the
Tang Brotherhood. His job is to watch on Xiao Jinbao. Ultimately,
Shuisheng becomes the only person to whom Jinbao can talk openly and
whose relationship with her is not motivated by power or greed.
Stephen Jeyasseela of the Ecole Francaise d'Extreme-Orient, Centre d'Histoire et d'Archeologie in Pondicherry, India, will teach a one-credit graduate level seminar, "Historical Research in Textiles from an Indian Perspective," as a one-week summer session workshop from 9 a.m. to noon June 17-21.
In his scholarly work, Jeyasseela specializes in medieval textile history and trade; socio-economic history of the early modern period; and maritime history. He is a member of a number of professional organizations, including the Indian History Congress and South Indian History Congress. He has received numerous research fellowships to pursue research at sites both inside and outside of India.
Jeyasseela will lecture on technology, indigenous and foreign design, traditional Indian weaving, changes in style and method as a result of Arab and European influence, dyeing techniques based on the historical record, Indo-European trade and expansion to the U.S., and how to obtain material for writing textile-based history using Indian sources.
For more information on this offering, call Wendy Weiss at 2-6370 or
Rita Kean at 2-2911.
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