University of South Carolina Libraries
1'Pegasui By GLENN RAWLS Gamecock Staff Writer After he pickpockets your wallet silver dollar into a huge brown per A person comes on stage and selec deck, and the deck is placed in a < hand, the card rises from the do THdSF. ART mlv n fatu nf ?i? I Together with jazz dancer Jc "Pegasus," perhaps the smallest spirit of circus tramps and mediev to the USC campus last week and House Ballroom. Avadon spent hi guard around campus with his si They gave three on-stage perfo Show," a satire on the traveling sa miraculous cures. "The Medicin audience participation into a unit Unfortunately, "The Medicine S was held together by a weak script describing the "miracle cure." A s nauseating, but it is to the perforr least eager for these lax moment illusion to begin. Their second show, "Reflection? Itwui, mingling uiuuiaii uunce \v triumphs of life and death. THERE WAS, HOWEVER, a di time between Avadon and Triom] straight monologue while Triomph< during the entire sequence. The sc show, but the sequences often cha example, there were two equally "self-abuse and band-aids," the < bounced when she ran." Unfortui while Triomphe sits mute on1 stag Triomphe's dance bits, when A skillful and well-performed, but sti ITriomphe, it. seems, had more ma carried it off quite capably. It seem out of the proceedings when much fective when rendered by a female routine an unintentionally comic < AVADON ORIGINALLY started in 1970. He later joined with Trio form the first "Pegasus" company and Triomphe continued on theii theatre. "The reason we are called Pegt audience, "is that Pegasus, the win poetic inspiration." Indeed, that w< inspiration. Not only artistic insc I well, since the troupe is totally dep< Most script material comes from went out on his own as a solo perl periences over the next three yean soldiers, and salesmen gradually used for a previous "Pegasus" s current show, "Reflections In Fli| Bread c [?,^^|S| Wg*^?&mm.- IA +- WEf s' acting j : and takes your watch, he changes a iny while it^sits in your clenched fist. u? u u?ru. ine cara is replaced in the :lear glass. With a few strokes of his ;k. illusions David Avadon can create, iannette Triomphe, they become theatre troupe in the world. In the al strolling players,"Pegasus" came performed two shows in the Russell is afternoon catching students offIght-of-hand magic. rmances, one called "The Medicine iesmen-doctors of the past with their e Show" mixed magic, dance and jue evening. how," for all its fascinating illusions, in the form of a trite, irritating poem Ketch on "Kokane Kate" was equally ner's credit that the audience was at s to pass and for the next magical ; In Flight," was in a more serious ith monologues on the pains and sturbing imbalance of performance phe. Avadon has fifteen minutes of i is forced to strike a pose and hold it ript is considerably stronger in this nge gender and not performer. For funny bits on puberty, one on male other on "being the only girl who lately, Avadon does both segments e. vadon allows her the spotlight, are 111 not strong enough by themselves. U?i?l i- "ITU- *? "* ivtiai ui * nc mcuicine onow, ana s absurd that Avadon must leave her i of the material would be more ef, rather than a male which gives the >vertone. out as solo performer Avadon Black mphe and Geoff Levitt, a violist, to . When Levitt left the troupe, Avadon r own with their free-style, roving isus," Avadon said to his first night ged horse, has long been a symbol of 3Uld seem to be their goal, to provide iration, but gratuity inspiration as mdent on audience contributions, i personal experience. When Avadon former, he had to hitchhike. His exi and 50,000 miles with truck drivers, formed the monologue material he thow, "Three To Be," and for the ght." T?ntinnAfi an tAVU UVI IggSlll By BARRY J. G VjpQrl Gamecock Staff In their latest m reaches a liigh li m THIS IS THE 11 David Gates wrol i | j||*|j successful solo al [: IjaraH Bolts and bassit reb?rn late last y ulgSffl Gates remains MBSI on easy listening RSKZi to write the sutta others' arms. Hi sweetness and pk p*oup V TRIOMPHE. the other half < dance and choreographs th< pertise in theatre is illustrs designed the lighting. Hie team travels from S country, attempting to recn arrive, as they put it, "unh The difficulty of traveling I Viewers can scarcely resist picked such a difficult path I "Reflections in Flight," the something like this: "And there are two people do something, because they 1 Perhaps that is the best wa [9?-.' '^W~^i:- '' w. W: ' t v r-^: ::. if~ w 'li/- .' S W* ^IRShk " " v J S h| $ - jf || I ; v V * >. ' mm ***** k- >S 0 m-m. Magician-actor David last week in the Russell 1 Pegasus Theatre Troupe fx .x__l _ n siyie oi tLENN Writer album, "Lost Without Your evel of polish and smoothness fie of soft, penetrating love s latest effort won't disappoii QUARTET'S first album sincc after the release of their higl lection, "The Best of Bread." :e all of Bread's hits and domina e went nis own way and proc Ibums with the help of Bread d it Larry Knechtel. Finally, tl ear with the return of guitarist * the standout even on this albuir Mary" among others, have ma music. On this latest album G r-coated lyrics that can push lo is voice is infallible and the | is songs, "Belonging," rival edge to love. The title cut and fe isits U S( )f the "Pegasus" troupe, specialized b dances for "Pegasus." Her technl ited in "Reflections In Flight," wh eptember to June in a camper aci eate the Renaissance strolling ninvp eralded and unannounced with the theatre is enormous, the strain inc wondering why these two performe to express their art. In the final mon ;re is a strange non-sequitur line th : who can never explain to others wl eally don't understand it themselves ly to explain "Pegasus." * - Ev I Mr ' :"?' ^ J^BS^-i 9r Jj '* > -- ViS TTa. Avadon performed dancer louse ballroom. 'The and a< ;/ Avadon and jazz dance I i new albu] songs are equal i One factor thai Love," Bread efforts is the im despite a few ability. On at lea lyrics hasn't contrast to his [it any fan of resemble Gates's This album, ho previous attempts ! they split up attempts at fast-n lly successful don't belong wit) In those days disappointing att< ited the group. because the listen luced two un- worst song, Griffii rummer Mike his voice falters j le group was Yet these flaws Fames Griffin. Overall the effort excellent orchestr i. His previous sing rather well ar de their mark Like their riva ates continues shallow, and the vers into each leading Bread's j< guitar picking that the mellow si< s "If" in its shots in the heart I sw other Gates them. I in jazz ^ ] leal ex- \ J ere she \ Jj oss the \ r. They \ dawn/' n redible. ^ rs have lents of at runs iy they L" Pegasus -. i ?BBaRk Collins WiIKk -THC GAMECOCK Jeannette Triomphe, combine magic cting with strikingly choreographed :o create their unusual theater style. m release n their mellowness. t makes this a better album than previous iprovement of Griffin's voice and writing st two songs, the guitars flow smoothly in usually choppy compositions. His lyrics but are not quite as sugary or softly sung, wever, does have flaws - flaws that recall \ by Bread at playing out of their field. Hieir loving rock'n roll fail because the soft voices 1 the electric guitars. "Hold Tight" is a ;mpt at reggae, not because of content but er senses the group doesn't belong there. The i's "Fly Away," is a worthless piece in which and squeaks. don't destroy the good content of the album, is a worthy accomplishment, complete with ation. These are four fine musicians who ran id pick some beautiful guitar melodies. I, America, Bread's lyrics are sometimes melodies are innocuous. David Gates is >umey into everyone's hearts. It is doubtful ie of the world will mind a few more musical >y Cupid's arrows as long as Bread is behind