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which words and ideas are used in different cultures, George Coates’ Rare Area constituted an exploration of indistinct sounds and visions. With music by Marc Ream, costumes by Cynthia Du Val, and sets and scenic projections by Jerome Sirlin, Rare Area felt like an updated hippie light show wherein the music was sung rather than screamed and the lighting effects were enhanced by computer technology that was both unavailable and politically suspect at the peak of the HaightAshbury’s drug culture.

’It was also inter— esting to note how Native American tenor White Eagle . . . sounded abso— lutely magnificent when miked.’

” Although barely an hour and a half long, I found Rare Area to be intensely satisfying as a musical light show; the kind of experience where you can let your senses be entertained without feeling any need to ask probing questions or measure the “effectiveness” of the work. From a technical standpoint, I found the event fascinating, particularly with regard to the use of Levelor-

style blinds as a variable scenic element. It was also interesting to note how Native American tenor White Eagle — whose voice seemed painfully thin and undersized during the Merola Opera Program’s Grand Finals two years ago -—- sounded absolutely magnificent when miked. Kathryn Neale’s healthy soprano voice, Hitomi Ikuma’s pantomime, and Sean Kilcoyne’s acting offered solid contributions to Rare Area.

While I wish there were words to describe the sensatiOns I felt during George Coates’ performance piece, I suspect Rare Area belongs to a form of experiential theater where the best way to find out about it is to sit through it yourself. For readers who have not yet experienced Rare Area, I’d strongly urge doing so next time the work is presented in the Bay Area. ‘

I should note that the radio ads for Rare Area’s recent string of performances were particularly

‘ fascinating to me. Although some

were broadcast’to KKHI_’s classical audience, the ads were primarily targeted to an audience of the curious, the-avant garde, and listeners who are usually rather suspicious of mainline arts presentations. The marketing concept behind these ads seemed . to pay off handsomely for, at the performance I attended in Herbst Theatre, the audience was easily half the age of the crowd which usually congregates in the lobby of the War Memorial Opera House. 0

Warren

(Continued from page 31)

“Ritual Fire Dance” needs a wider screen to capture the range of the Cades/Saura choreography. Like Fred Astaire, the actors

is expected to include at least three major films of particular interest to gays. At this point we can only name Rosa von Praunheim’s A Virus Respects N0 Morals, which will be shown March 20 in a benefit for Shanti Project. The outrageous gay German activist/ filmmaker will appear at the

are never quite not dancing; but even with numerous additions to , Manuel de Falla’s original score, l this is not just a ballet by any means. It’s gypsy passion, Span— ish folklore, love and death to a flamenco beat.

screening of his film.

’The outrageous gay German activist/film~ maker will appear at the

You could callitasequeltoAb- screening Of his film.’

solute Beginners — Absolute Masters. (Bridge)

This year’s festival runs March 25-April 5 at the Kabuki and Palace of F ine Arts. Tickets go on sale Sunday. Call 22l-FILM for updated information. 0

FIRST FEST FACTS

Today’s announcement of the schedule for the 30th San Fran-

cisco International Film Festival

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BAY AREA REPORTER FEBRUARY 26, 1987

PAGE 38

Leatherwomen

(Continued from previous page) Ms. Leather competition. Ms. San Francisco Leather. No

” other single event has had an

impact on local awareness that there is a women’s leather community as strongly or as enticingly as the J anuary precursor to the international competition. In previous years, two other women were awarded the title—Tattoo Blue at the Folsom St. Fair and Rachel Williams at a competition sponsored by Samois. Never before, however, had such a varied and enthusiastic crowd cheered on the proceedings as took place at the High Chapparal when Shadow Morton “was voted Ms. San Francisco Leather for 1987. To the producers, the sold-out tickets meant substantial funds

‘ for AIDS charities. To Morton,

the title means the opportunity to represent San Francisco in the

‘ March International competition

as well as at fundraisers and events throughout the year. For the hundreds of attendees, representing the gamut of leather and non-leather persuasions, the competition was a validation. Watching the five contestants proudly parading their leather identities on stage, it was clear that the San Francisco women’s leather community had finally, irrefutably, come out. 0

Del Martin: Dr. of Sexology

Del Martin, veteran activist in the gay, women’s and domestic violence movements, has received the first honorary doctorate in sexology given to a woman. The honorary degree was conferred by The Institute for Advanced Study of Human Sexuality at a ceremony and celebration

Feb. 18.

Martin, who currently serves as chair of Mayor Dianne Feinstein’s Women’s Advisory Committee, is co-author of the classic book Lesbian/Woman and author of Battered Wives, the book which sparked the domestic violence movement.

The Institute for Advanced Study of Human Sexuality, entering its 11th year in San Francisco, is a graduate school of sexology. 0

Ms. SF Leather Shadow Morton greets former Empress ’ Sable Clown and fOrmer Emperor Matt Brown

(Photo: PhotoGraphics/Darlene)

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