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entertainment Workshop's 'Subj j h (VNTIIA TAYLIt Gaieocik Staff Writer Workshop Theatre's production of The Subject Was Hoses w as not exactly bad--it just wasn't all that good. The Pulitzer Prize-winning play explores the relation ships of the ,Cleary family in 1946. Tim. the son, has returned home only to discover that he is. once more. the center of.a love triangle with hik mother and father vy.ing ftor his affections as well as having him take sides. TiE MAIN problem with this production does not lie with the play but with the tuwven performances of the actors portraying the Cleary family. It is because of the disparate performances that the play never achieves its full potential. Act I never rose above the commonplace and the acting, while not exactly dull, was for the most part mundane. Act II picked up substantially with the first two scenes but slipped almost back to the mediocrity of the first act. Free performance schedule .is p.m. Saturday, Nov. I, there will be a per- lov. formance at Rice Music House Auditorium, 3214 ON. D)evine St.. by Joyce Russell, Perry C'arrison and s4in1 Friends. The performance, presented to the public an free of charge, will consist of songs and monologues worn that relate to the experience of meditation as thh practiced by these musicians. What is unusual it ti about the program selected for this presentation is Mal that the songs are all familiar and all speak of pra seemingly familiar experiences of most people: the ect'Was'Roses' no Jayne Mu!vaney as Nettie, the mother. came the closest to achieving a credible character. While Mulvaney managed to put more life into her character, her scenes in Act I were almost lifeless. In one scene when she is trying to repell her husband's rough advances Mulvaney looked absolutely ludicrous. Mulvaney came across better in Act H1 where, for some unknown reason, the character of Nettie seemed to come alive. Ron Culberth as John, the husband, bordered on being a stereotype, middle class. Irish-Catholic throughout Act, I. Like Mulvaney, Culberth's character was also rejuvenated in Act II where his scenes slightly made up for his lack of credibility in the first act. lie appeared at-his,best in the fight scene with his son but almost slipped back into stereotype for the last scene. Ridge Johnson's Tim was the weakest . and least developed of the characters. Johnson remained one dimensional throughout the play only slightly rising above fro Bv C1iiU( I and TEil Gamecock Country on college their garba knowledge objective a Some of make a gr promising example, I country fai ROY CL any major entered th( of the banj< any audito If anyonf have seen I mandolin. work. Ilis humor thal Viewers c playing hi. On recor Nashville -songs aboi remarkabl Till:RlEi flooding tI that alwa, get throwr to someoni Roy Cla critically guitar tah4 recordsI With the pure junk harrassmi P~. .ufs,v~ WI Muic guS Igum marvelou! that he de dismal [ai '. clarity, harmony, perfection, freedom and son. guitar chc The delivery made by theue performers is so Without ere. however, that the songs, their lyrics take on on this re added meaning for some listeners who feel new because ti th in "old values." The performers are aware of as Ioney m "worth", this feeling of well being and attribute Welk-IIe the meditation they practice as taught by Guruo forewasrne baraj .hi. The meditation supposedly gives a if (lark etical*ay to calm the mind and uopen the door to it. But, experience of inner hapnines ndu sisfao. r(lea.. t ali that rosy the mundane in the fight scenes with his father and mother. . TIE SET made full use of the tiny Workshop stage. It properly conveyed the impression of a dingy, well-worn 1940's apartment. Charles lnglett's lighting design was fairly good as were Itandall Browniig's costumes. I'hese elements combined to giv.e a feeling of nostalgia for playgoers. The Sulbject Wus tios is a powerful. moving drama. S'it forttuitely for the n.ostIpart. the rharacters. remained largely unfulfilled 'i M aI I not hie entirely the actors' fault. . erhaps ifdireetot. .ennifer tkinson ffia worked to stretch her actors, fuller characters - might have emerged. The play had some good moments but n6t enough to make the entire production worthwhile. The Subject Was Roses will run through. Nov. 2 at Workshop Theatre, with matinees on Sunday. Reservations should be made in advance. A&USIC veak effort m Roy Clark C (IIONMER Y DUGAS Staff Writers and western stars have never been tremendous sensations campuses or in an urbanized musical society. Because of ige lyrics about life on the farm and their obvious mediocre of their instruments, trying to maintain a serious and ttitude towards their music becomes a hopeless endeavor. the artists of this country-western genre have been able to adual transition to more meaningful music without com their hillbilly roots. Charlie Ifich and Waylon Jennings, for iave been able to please the critics and still keep their is happy with theirdecidedly t wang" accents when singing. IRK Should also have n)ade this musical crossover without difficulties. leing one of the finest talents to have ever Nashville city limits, his fine voice and excellent mastery ) and electric guitar would qualify him for performances in rium in the country. has ever seen Clark on the TV show "Hee Haw," then you iim at his best. Whether on banjo, fiddle, electric guitar or he amazes all who view his masterful "picking" fingers at skill on the guitar is complimented by his no-holds-barred adds to his playing and charismatic quality on the show. in tell that Clark is relaxed and enjoying every second ; guitar. ds, however, Clark is smothered. Within the confines of a 'ecording stuido and a "backwoods" society that demands it how cute and nice life is on the mountain, his most e giftr is scuttled. ASON is obvious. Country-western artists make money by te record market with commercialized three-minute tunes 's follow the broken-hearted lovers and let's kick ass, and in jail formula. Why should they waste their time listening a who tries to express his talents on the guitar. rk's Greatest HIlts Volume I could have been the most icclaimed album of the year if he had chosen to exhibit his ents. Instead, he presents someone who controls what he Iresents us with 11-commercial tunes that made him a y in Nashville. exception of Yesterday When I Was Young, every song is ,with no introspective lyrics being revealed. The em int for Clark is continued with the total disregard of his guitar playing ability on any number. The only instance es go straight instrumental, on Boy's Geuitar Iloogie, is a lure because of his being handicapped to play rhythmic rds that his country fans can comprehend. a doubt, Roy Clark and thousands of tons of vinyl are wasted cord. T'echnical criticism of this record is unnecessary e true talent of Clark is never highlighted. With such titles ieW,n F"eeling, Thank Gsod and Greyhound, and the l,awrence Ilaw (Counter Revolutionary Polka,. the consumer is d of the coming doom. ieven does a live or instrumental album, don't hesitate to buy I he continues to record in this c'ommerciailized routine, icealbum to the trash can, t oper- ...