Historical Newspapers of South Carolina

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' Sexual By Jamas Rokosny Entertainment Editor Sexual Perversity in Chicago, wmcn opened last night and runs through Saturday at Longstreet Theatre, is a hilarious satire on the ill-effects of exterior influences on sexual behavior. The play, written by David Mamet, is directed by Paul M. Patros in partial fulfillment for the requirements of a Master of Arts uegreein i neaire ana apeecn. In a dress rehearsal Wednesday night, the small but very responsive audience was exposed to a unique production of a contemporary drama with over thirty scenes in an hour and a half. THE THOUGHT OF so many scenes, tons of profanity and a title IHBM ? MHHiBitt ii*' m w|^ -J8W| HP^T -ai^r^ ^* ;- v , . QCfc,. . ^^J^^.yjj.. . .-. Vy... ' W--"' <WB^| v; Suzanne McGarrig/e at 'Sexual Perversity.' 'Mountai yn^B v . >vx' * ^K . -ppgjp|^^j BBS^ <a ^Ht ;: PMHK:H i; M&. :>h^HHHHL M&L^ ^mS&i?a Barbara Montgomery, A and Graham Brown in a Daw.' '*> Throug Perversi like Sexual Perversity in Chicagi conjure up an anticipation that i would be a jumbled mess of people running around trying to 'score, but it flows nicely, nevei Histrartin0 from thp rpntrnl thprru ? o - - ?? ? of plot. The play evolves around foui main characters: Danny Shapin (Bill Taylor) , Bernard Litk< (Charlie Peterson), Deboral Stevens (Suzanne McGarrigle and Joan Webber (Jane Turner). The story is about the love affaii between uanny ana ueDoran, ant the gradual destruction of i because of their friends' influence on their views of sex and its role ir relationships. In the beginning Bernie and Joar meet in a bar and are totally in compatible and rude to each other pr:v; Dave Roback - GAMECOC )d Bill Taylor rehearse for in Dfiiii' hi ^MH|?|^? ^^~:'":'-r''" ?<: ^Vvjj^ /&.^^p#^^BBl!|fe..: ' ^^|B81| 1 ?; " 1 * _ ^ . j . l\>Aitht fl' ix 1 rthur French. Frances Foster scene from 'Nevis Mountain [h Saturday at Lon <9 .41 ty will m > Deborah and Danny begin to hit it 1 off and eventually move in 5 together. All four characters go through a drastic change from r start to finish. Bernie and Joan, at ; first, are insensitive arid base their relationships totally on sex, r itiaraoc Hannu nrtri Hohnrnh arp VT 11V/1 V/UO JLvaiulJ M>IV? ^v.-* V > 'in love' with each other. > 1 DUE TO THE CONSTANT > 'advice' from their respective friends, Danny and Deborah become cold and rude and even^ tually split up. Bernie and Joan t finally realize that there is more to ^ life than sex. 1 All four of the main characters are outstanding in their respective 1 roles. Charlie Peterson and Jane Turner are very convincing in their portrayal of their characters, I and make the transitional changes in their attitudes fluidly. The production also includes a thirteen-member ensemble, which did not exist in the original script. Patros explained, "I added the ensemble to give the play a more flowing effect, and to create the image of the fast-paced lifestyle of city life." WORKING WITH A group of B Deoole with minimal experience is not an easy task. "The ensemble developed rapidly, creating characters themselves," Patros said. "Everyone gets along together very well; we've had a great rehearsal process." The show is extremely funny, not ; only because of the jokes, but | because in observing the actions of the characters one can find similarities between the cast and friends in real life. The exaggerations 01 language anu 11 habits are still realistic, and thus I they appear comical. The stage has a simple set that k never changes but because of the fine acting and obvious commanding directoral work of nhhles wii Ii By Lisa Miles Gamecock Staff Writer Nevis Mountain Dew, presents I Ensemble Company at Drayton Ha j'night, makes an impressive statem* j more importantly captures the m I death present in the life of an individ j| THE PLAY deals with a West I once-notable lineage that has beei ?l Aimnnc Mmn Vn??l/ in fKo 1 ACA'P A IV^UWIIO^ il^TY A Vll\ All Vllt JLUO\J O, /I tirely around the invalid brother of Philibert. Jared has a type of paral time has confined him to an iroi ominous machine that appears sit life. Yet while the machine alone V it draws all the vital energy c , characters until they become just 1 ? *Thftv fno nr<> hnnkpd lin tn thp mn Iy humming noise that is always cons I just under the dialogue. I IT IS JARED'S 50th birthday at I; guests gather round to toast hirr I native rum they call Nevis Mour I applicable is the term "truth s I. beverage does indeed invoke many I evening wanes. I The mood is set well before the li I thf? Rtfl0p In th#? rlnrk a mpnarintf 1 hollow hum emanates from th< combines with the sound of a fore ' the subsequent and equally forcec man encased. THIS LIFE-SUSTAINING n ceremoniously detested by Uie si! wife, by the fiance of one of the siste by its prisoner because while it pi body, it chokes the others. Jar&) i? would grant his "steel shroud" any his opinion, it has failed so miserat all meaningful definitions of the , desire is to make the pronouncemen Jared, however, realizes what th i murr-i gstreet i , -tPB ^pU|J| Candy Blades and David Gi Patros, the locale of the various scenes is apparent. A MATIIL1!! A l/\I? i iiCiii ^n/ii^uEi Patros made was the addition of a punk rock scene, which makes the play more modern. The scene is quite amusing, but the ensemble fails to capture the true image of punk rockers and their style of dance. Because of the subject matter and language, the play is for mature audiences only. It appears as if it would only be totally understood by people between the ages of eighteen and twenty-five, f-U 1 UUfllCU face. There is o d by the Negro attitude is rema ill on Wednesday satire intermingl ant about life, but almost make one tood of lingering mind is still verj lual. moan of forced cylindrical apar, Indian family of trom tne knowled 1 transplanted to PERFORMAN action centers en- augments the in the family, Jared who plays Jared ysis that for some Ayton Morris arc n lung, a rather Walker's Wei :keningly void of demanding of co .eeps jared alive, humorous quips >ut of the other presentation of 1 as "dead" as he. cessfully become chine's relentless the audience, so picuously present machine who cai by and, knowing even harder for \ id the family and tease him with 1 with the potent comparable torn* itain Dew. More LEA scoTT, yrum since tne kq uu' u Miumjjvuici revelations as the fine balances f Gaskins as Evei ghts are raised on protective siste , almost chillingly condition of her 1 g respirator and through 1 ed heart beat and 1 challenge of a pr 1 breathing of the Samm-Art V professional in h in the portrayal < mchine is un- His friend and t sters, by Jareds .Patterson, who rs, and especially members. imps air into one Nevfs Mountc s the last one who Saturday is a poi credit because, in and emotions, e; )ly. He is dead in killings are suet word. His only stand is clear. ' it official. present with no e others refuse to, serious subject h i laucrh roon in nitrtlr mnlt crono - ww,, ... r-"" ? but Patros explained, "The major difference is the language, dance and clothes styles; the actual process of finding a mate is not any different. Older people will find it amusing also. THIS PLAY is a chance for people to observe some things we do in everyday life and see how f. ? A* 11 TX U 1 naicuious mey reaiiy are. lioti i ue offended by the language; it serves a purpose. Just relax and let this hard-working and talented cast allow you to laugh at yourself and friends. y,- drama nly one choice open to him,but,, his rkable. His understandably biting ted with antithetical stoicism could i forget his physical condition - his / much alive. But the omnipresent mechanical life and the metallic atus won't let the audience stray Ige that it controls. tCES by the entire cast greatly lpact of the play. Graham Brown, , and Sullivan Walker, who portrays ! by far the best of the group. ;t Indian accent is think and nstant concentration to catch all his Brown likewise is superb in his lis character. Just as Walker suc3s an uneducated, lovable scamp to ? Brown becomes a part man, part i do nothing but wish for times gone that fulfillment is impossible, wish kn ?n/l t/. .:?l <1 ? 1.. vuu w an caisiciivc uiai can uiuy memory and offer no hope of a MTOW. who plays Ay ton's fiance and Bar7, who plays Jared's wife, Billie, are or their male co-actors. Deloris elda does well in depicting an overr and nurse-maid who enjoys the brother simply because he needs her. lim, has an excuse to give up the oductive life. Williams, although a little less is delivery, is still an adequate actor of the third vertex of a love triangle, noral supporter is played by Chuck rounds out the list of qualified cast i in Dew which will run through gnant play that raises many thought specially during a time when mercy i a volatile issue. The playwright's rhe mood of lingering death is ever release of tension. Conveying this \ truly essence of drama. .