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' Caged Butter f teminist view By Jim Poindexter Gamecock Stuff Writer A group of butterflies flexed their wings and cried out for women's freedom this past weekend in Longstreet Theatre. The butterflies were actually a host of characters portrayed by Gailanne Stewart, a graduate student working towards her Master of Arts degree in theatre and speech. Her thesis project was entitled Ca^ed Multi-Colored Female Butterflies, a collection of three scenes and nine monologues that featured n wide range of playwrights and genres. Miss Stewart was assisted in her production by James Freeman, a graduate student, and Jane Turner, an undergraduate The production was the end result of an idea that was born last spring. Miss Stewart explains the theme by saying. "I'm crazy about butterflies. 1 sec butterflies as hemg free females, women flying in their Ireedom. The original title did not contain the word raged. It was added later because most of the pieces involvcv.i' nen bring caged, usualb. b\ men " The pitiy >'>penrd uith Jun Freeman, dressed as \, 1-1111 v .11.1.1K1 U . /... II " Ol I I 1 IV.UI1, I m.r. i : . oU'Wiil 1 U.II II<*t J m 1111* music dressed is Fve She thru began her monologues. s!;r'!iii(j with the character Kve. m l\--'s iJw.ty i>\ Mark Twam. The next monologue ua.s Helena, from Shakespeare's .M?>;?>i? r Sight's D'ram and then Freeman joinied tier 11? portray i'mesias in a scene Irom Lysistrata by Aristophanes. Stewart's versatility was evident throughout the production From the sultry Myrrhina in the previous scene, she swung into the street tough "Somebody Almost Walked ()!t Wid Alia My Stuff" from For Colored (iirls W'hc Have Considered Suicide When the Rainbow is Enough. by Ntozake Shange. Sparky was the next character presented, and then ^ <Sv^ * <>V!9fEu ,^HBflH8BH^^3 jaKgWy*' 'T^g?P &???399N9K& ^Vv': ramiiy bu$ine$$ Local playwright re By Nancy Young Gamecock StiiM Writer i?I,? ; ? < '? VVIUIIIKUI v.un Itirvu \n IUU ill tlllW HIT UIIL* HI HIT Clll/eilS is one of theatre's newest and most inventive playwr Family Business, was first produced Off-Broadway in 1! rave reviews from critics like Walter Kerr and Rex I Workshop Theatre has brought the play to Columbia ui personal guidance. The three-act play concerns itself with the inheritance to his four sons, and how they must deal with it and ea Stein, the eldest son" follows the footsteps of his father business. He is an opinionated man whose main concert Philip is the seemingly well-to-do psychologist, be desperate need of the inheritance money. Norman servant to his father and his brothers. Jerry, the y< father's favorite, is spoiled and a closet homosexual. The drama is brilliant theatre. While the language modern and realistic, the theme shows an affinity \ biblical tales of Cain and Abel, of Jacob and Esau: the t caused by jealousy and covetiveness are resolved by While the heme is universal, the .Jewish s*>nse of far unity convey it with added urgency and intensity. Lou Kaplan as fsiah Stein is the epitome of a Jewi proud, humorous and guided by his heart instead of Rodriguez played a believable Bobby, a man too a business to fulfill the needs of his family. The scenes Jerry, played adequately by Steve Bordner, are espe The most gripping moment of the play is the scene i Bobbv asks for Jerry's love and understanding. Family Business is playing through Jan 20, and it is < which must be seen. Although the language is quite si effectively to add to the intensity of the drama flies' featured L/points, spirit Jane Turner turned in a powerful performance as Mrs. X in a scene from The Strnnvvr hv StrinHh*?rcJ These monologues and the two scenes were a collage of different feminine roles. Stewart presented both ends of the female spectrum, from sultry seducer to tough individual. Another monologue from For Colored Girls started the second half of the production and was followed by Georgia, a character from the play Fairness of Face which Stewart wrote herself. Stewart was excellent in this portrayal, displaying the genuine talent she posseses as an actress. This monologue blended into a scene from No Place To Be Somebody, by Charles CJordone. The scene featured Stewart as Cora, Freeman as Shanky, and Turner as the sister at the door. The next three monologues wore taken irom For Colored Girls. An epilogue was provided in a final monologue from As You I.ike It. by William Shakespeare. Speaking of the production, Stewart said, "1 wanted to create an evening of entertainment 1 want the audience to share my ideas, not just an evening of entertainment, hut I want them to leave with something to think about The play provided a refreshing approach to the idea of women's rights. Stewart said, "Women have gained a lot of respect I'm old fashioned, but I believe men arc beginning to sec women as more than sox symbols, and women arc beginning to see themselves as having more punch in the world. 1 love femininity, but I don't hide behind it." This attitude was evident throughout the production. Stewart's plans are to go on to a M F A in acting, or a Ph I) in psycho-drama Psycho-drama is a newly developed field that involves employing theatrical techniques in work with the emotionally disturbed. 'X-stati />* y By Lehman Stiles ** Gamecock Staff Writer '' At first Daryl Hall and John Oates seemed no more than yet another blue-eyed soul team, albeit a good one; "She's Gone" could h^jvo onmn ?t?viic?l-if <"?*/ ??-? o CrvJ?-? WBTO.. - b*" ners album. But as time coursed on, Hall and Oates developed into a , hit of an enigma. Successive albums showed Hall i and Oates moving slowly into pop A, and rock idioms, incorporating influence after influence into stateof-the-art pop. The high point is their last album. Along the Red Ledge, which contains, along with ^ ML V guest shots by Todd Rundgren, George Harrison and Hick Neilsen, sorneo' ^1C svveolesl P?P music in j The new album ic *-> ? iyiMIIV. IO HIUI I* of the same, with the subtle difference that now Hall and Oates have learned to rock out without any help. The album contains more obvious pop-hit-single shots, but the second side explodes in a fire of 1TDC we-mean-it rock and roll and Ilv^ worthy of the Who. The album opens with "Woman ,Y . P ,.h Comes and Goes," a vague, it* l?. uninteresting number about the !?. i lS P a\i ^ew Morality of lovemaking. The J1 re^e,v0 current single, "Wait for Me," is a Heed. And now, nder Goldberfts '7^'"" Iff swl"!je,r 'hat fows Hall and Oates ability to get a hit ; left by a lather '"hey want one. ch other. Bobby The album's centerpiece into the family number, and a great one it is, is lis the business. "Portable Radio," a slightly inkrupt and in discofied fun-in-the-sun homage to is the obedient music machines that will no mngest and his doubt be the next single. A song with a Beach Boys sort of mindless and setting are happiness, "Portable Radio" is Aith the classic attention-getting, superbly written heme that feuds and stunningly performed. Just try a family bond. and not dance to this one. nily loyalty and "All You Want is Heaven" and ish patriarch ? "Who Said the World was Fair" his head. Wally close side one, the first a passable lutfht uo in the seltW?-fnr - ?t ?!? j v/ufjv.i 1114 11 1 i >1*1 , with Bobby and the second a directionless disco cially touching. tune abut how nasty things in in Act III when general are. Killer. But while side one is a mix of definitely a play brilliance and dullness, side two trong, it is used roars from start to finish with a f ^jg ^ [" 'Ox;!.%?''^;%^:-]Hr jg||Hg| t; v:i'"S:' A^^&Tr~':-<^: - ^iSBfrk/ & "> 'W^ ...... lull ^ ^1 Actress G a Harm c' has eve sort of capsule roundup of modern rock. "Running irom rarauis>c i& disco-influenced but at the same time chews apart disco philosophy: "I gave you every pose you asked for, played every game you fantasized ; I called your bluff, we're running out of breath ? you're hooked on looking, not on what you find." Superb production and musicianship makes "Running from Paradise" lislenable and provocative. Numerous hooks in the songwriting cancel the disco beat effectively. 1 r,l 11|l'-fx I ?1 (c*, QHKriHHHH# '' r-' "Number One" is a wildly imaginative song of praise to a girlfriend derivative of punk and reggae influences, with a drum line lifted straight from Elvis Costello's "Watching the Detectivos; " ?.,? tho pnH pffp^l_ig_t?lLallM? J ? """"J original; the combination of influences outlines the styles without parrot ting them. Hall and Oates' tribute to thud roc k is "Bebop Drop," which is actually better than anything Foreigner or Boston has ever done. The song is professionally done ie Stewart Rus.ell Jeffcoat rything ?J 1 ?4? _r c ,.i ii. f * diiu iuu) ui iun ai ine same lime, using the characteristic heavy guitar chords in innovative ways. "Hallofon" is Daryl Hall's in-, strumental composition featuring the odd-sounding Hallophone. The piece is a little weird and a little repetitive, but it serves as an excellent introduction to the album's closing number, 4,Intravino," a rousing hymn to the pleasures of wine Here a reedy nrpfln anH Hrnmmino rominicnoni of Keith Moon conjure up images of the Who in their Who's Next days. This isn't to say that Hall and Oates are anywhere near the Who i v 1? ? in ability", but their music reminds us of them, and that's a feat in itself. X-Static is not quite as good as Along the Red Ledge, but it's close. 'Portable Radio" shows Hall and Oates' incredible ability to write pop hits, and the whole of side two shows their awareness of just what is going on in the music world. From Philly soulsters to rockworld historians. Daryl Hall and John Oates have musical sense and taste far greater than most of their own influences.