Historical Newspapers of South Carolina

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,smj[ iBtob KUW^H9^nBHHHH|HP^H iy/ ^f|fw; V*uf4wia JEWSsK A . 1 . Acting, aireciior By TERRY DUG AS Gamecock Staff Writer When an organization dccides to produce a play, it also assumes responsibility for fulfilling the author's artistic intent. In this aspect, the University Theatre's performance of "Hair" was a dismal failure. Perhaps no other successful modern drama is as bound to a specific milieu as is "Hair." For the play to succeed, the audience must respond to the conflicts within the main character. However, the basic dilemma of a young man deciding whether to avoid the draft is totally lost to thnsp vnnnppr than 21. who have never exDerienced the draft and can not realize what it is like to live in the shadow of death. It is largely lost to those older than 30, who never understood why we college students valued life above all else. For those groups, the play's theme that life in all its variety is infinitely better than a valueless death in war carries no impact. Even those who understand the fear and anguish of being l-A with a draft number of three are so far removed in time from the moment when draft meant death that it seems as a bad dream. The play's constant celebration of ife and experience holds no relevance for those people who no longer fear impending death. THE PRODUCTION, then, is a thematic fiasco. Only the minor themes still strike home. The cast's rendition of "Abie Baby" effectively stresses the moral bankruptcy of segregation and is the most successful song of USC's production. Other songs such as "Hair" and "Initials" still carry significance, but these are only shadows to the main point. The audience's snickers during the numbers "Donna" and "Sodomy" and the reactions to the homosexual behavior of Woof and the bisexual gyrations 01 Kerger snow mat ine sexuai revoiunon was an illusion or myth. In this reaction, the true nature of the audience is bared for examination and subsequent improvement. It was, unfortunately, a unique moment in the play. The audience, then, cannot be educated by the play, only titilated by the shock value of obscenity and sexual suggestion. />?\ vIfe"|BBM1 IBWii^^BhLwwBiW *. 2i - r/ ' riM ' iruiii Hair Songs like "Hair" and "Hashish" have no meaning 1 at all because of the attitude change. As a whole, the play fails on an intellectual level because the burning concerns of 1%9 are no longer existent. On the entertainment level, the play is moderately cnr>/-?nccfli1 Hocnito tVio KnrHnnc nf tVin uranlr loorl or?_ OUWVOOiUl VAVOptVV V* IV UU1 UVIIO KJ k VllV VTVUI\ 1VOU UV/ tors and bad direction. A director's prime task in casting a musical is to find actors who can sing. This, unfortunately, was not done. The leads' voices ranged from hopelessly off key to on key singers whose voices were lost in the first few rows of the theatre. nir, ui\tt KAtLi'nui\ was tsrenaa fressiey wno has a beautiful voice. Her overall performance was marred, however, by postures and gestures more fitting in a bad silent movie than in a naturalistic drama. Such overacting ran rampant through the cast and must be blamed on Michael Robertson's direction. Robert Dickerson's portrayal of Berger and John Grant's interpretation of Woof were not character portraits but carricatures, totally out of place with the militant naturalism of the songs and the expressionists setting. The closing number, for example, was almost ruined by the facial contortions and emotional heavings of Robin Robinson as Claude, the draftee. Despite such adversity, the play's splendid chorus and excellent productions made "Hair" entertaining. When the company worked as a unit, the whole was greater than the sum of the parts. The vitality and spirit of the cast more than once saved a song that the leads would have strangled. The only problem was that sometimes the audience could not understand the song's lyrics. This was caused when the cast had to sing while climbing on a three story set or lying down on center stage. THE CHOUItUS was in sharp contrast to the exaggerations of the principals and in perfect harmony with the content of the songs. In short, "Hair succeeds despite itself, but its success is bitter. The high moral tone of the play has been lost under pop recordings by the Fifth Dimension and the Osmond Brothers. There is something sad about an audience receiving only entertainment from a play whose least intent was to entertain. part of a lecture by award BshH9 winning photographer Ansel Adams at 8 p.m. | ! Thursday. Adams will also receive the Russell House University Union Award I for Distinction in the Arts. p | ; Adams is distinguished in ; both photography and conservation. He has written books on V:>V._ ;^ | photography as well as serving on the Board of ( z i T ~i?' 1 he Gamecock Entertainment i mimini n i?ii?n>?nhi hiiihiiii ?ii minwi niininawi tMi^nriri n inn IIIIIr*^ 0 < f H R ? VHngMM| ?||^ Jl jSp* . I pl? J9 " *"^H Hr ' ^ BF a The cast Although "Hair" is being held over, the play lacks the meaning necessary to make the show worthwhile. Pictured above from left are cast members Rebecca Koon, Jackie White and Sabrina Smith. 9 There is something sad about an audience receiving only entertainment from a play whose ipa^t intoilt Utae *n *? ? "? ? iv ciiici mm. 9