Word: fluted
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...Lute, Flute, Lyre, and Sackbut is one of the least sophisticated shows ever put on at Harvard. And in a community where the standard fare is often overly scholastic and unduly pretentious, this might be viewed as welcome relief. But it should not be; there is a middle ground between boring everyone stiff and pandering to the least common denominator of intelligence that Lute, Flute has not found...
...spoiled brats that we are, we have come to expect more than a big ball of fluff when we see a show. Lute, Flute is a revue, of course, and it would be unfair to expect it to be fraught with meaning for our time. But as authors, Mr. Morey and Mr. Paul have consistently gone for the easy laugh. Somebody says "Barry Goldwater," and the audience breaks up, the way people used to at the mention of Brooklyn; and everybody feels great because he's in on the joke. But the situation is rarely exploited; brilliant ideas for scenes...
...Lute, Flute is not all bad. The opening number, "Lute, Flute, Lyre, and Sackbut," is the best piece of music in the show, and the second scene, a Harvard-Radcliffe dispute between Fran Blakeslee and Morey, contains some extremely clever lyrics. (Unfortunately, the next four scenes are the revue's worst.) The last scene in Act I--a spoof of Gordon Linden--and the three numbers at the end of the show are also successful. "Paradise Permanently Lost," in which an American an Italian, and a Swede try to make a movie out of Milton's work, is particularly fine...
...Lute, Flute, Lyre, and Sackbut is a pleasant way to spend an evening, but it is also frustrating, because it could be so much better than it is. If Mr. Morey and Mr. Paul had tried to infuse all the scenes with songs as melodious as the title tune, and with lyrics as scintillating as those in the second number, they would have produced a fine piece of work. But by taking the easy way out, they have created only a big fat fluffball...
Terrible Reactions. Barbaud and Blanchard are well aware that there is also another type of mechanical music maker in existence-gigantic sound generators capable of imitating every imaginable noise, from a flute solo to an entire symphony. Some day the composers hope to link their machine to the great sound-maker at the Siemens electronic music studio in Munich. Since the Siemens machine can be made to imitate the style of any desired artist, the possibilities are devastating. The combination, suggest Barbaud and Blanchard, could make the performer as well as the composer obsolete. "What we've done," they...