The gamecock. (Columbia, S.C.) 1908-2006, October 27, 1975, Page Page 8, Image 8
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
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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- ...