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Evans. Ha in 'Lov By Teresa K. Weaver Gamecock Staff Writer "If your bones are good, age Hftfcn'f moHor 1? vww. V iuunv.1 . I vmi ii rtlWU^S ue beautiful." Helen Hayes and Maurice Evans, proving that in the words of Somerset Maugham they both have awfully good bones, performed spectacularly for an exclusive audience at USC's Longstreet Theatre Wednesday night. THE TWO LEGENDARY Theatre stil for Mauri By Ter esa I Gamocock ? For the past two weeks Mauria visiting lecturer on campus, advisinj IN AN INTERVIEW last week, students here that singing is the basi scales in the showers and try to g< position for speaking. So you may he some of the dorms.'' Evans "made it to the big time following his first American perform "From then on it was pretty muc some hideous gaps in between, but enlar^P mv sontv ar?H ant tr? tnnui O- "V 1? O"* """" ? pretty easy time of it," he remember ALTHOUGH HIS career has con movies in recent years, Evans said hi ! "Of course one prefers the theater is a success you're faced with doing i to keep on your toes. "At least with a movie or televis with. You can forget you ever made t EVANS HAS NEVER spent time 1 and he said it has been much more e? "Lecturing is hard work. Professi at 9 a.m. But I've been very impn going on here." 1 ?w ???M? ( 'Iguana evNOOcvVo"?? Gamecock Staff Writer Any production of a Tennessee Williams play is always an event. And if the players can bring an added sense of intensity to the drama, it is even more so. The University Theatre's production of The Night of the Iguana proved to be such an event Tuesday night at Drayton Hall. Susan Hernandez, as the widow Maxine Faulk, and Robert Johnson as the Reverend T. Lawrence Shannon, delivered just the right amount of neurosis to their characters, in this drama based on human frustration and bondage. Set on the Mexican west coast at a run-down hotel resort, the story begins as the Reverend Shannon and the tough domineering manager Maxine are discussing the tour group of women, which Shannon is serving as the guide. Already one can see the feeling of frustration-the helplessness and hopelessness of these two people. MAYINR PERI ? oov.ol frustration because of her lessthan-satisfying May-December marriage. Now that she is widowed, she vies for Shannon's affections. Shannon faces troubles of his own: his moral behavior has caused a rift between him and his church. Now he feels torn between his duty as a minister and the psychological disturbances inside of him.At the hotel Shannon encounters - - - l^A iyes oetier e Sweet ar performers have more than 135 years of acting between them, and have spent some fifty years working together on numerous occasions. Hayes, an honarary degree recipient from USC, won Academy Awards for her roles in The Sin of Madelone Claudet in 1931 and Airport in 1970. She is also known fnr hor ru>rfnrin innac in c-imVi ""va ^Iiviiliniiwo 111 ouvn productions as Victoria Regina, The Merchant of Venice, and The Glass Menagerie. Evans has directed, produced l first love ce Evans K. Weaver >taff WHter ^ U I -1? -a? 1 -t s ?jv<iiis? iicib utrt'ii a uisunguisnea I students on the art of acting. Evans said, 4'I keep telling the is of good speech. I tell them to sing ;t their voices in the best possible iar some weird noises coming from " with surprisingly little trouble, ance as Romeo in the early 1930s, h job to job. Of course there were I kept my eyes open and tried to s many people as I could. I had a ed. centrated more on television and is first love is still the stage. , except for the drawback that if it t eight times a week. It's very hard ion show, when it's over it's done he beastly thing," he laughed. ecturing to college students before, chausting than he expected. ional actors aren't used to working jssed with the work that I've seen ' emerges a forty-year-old unmarried lady and her elderly grandfather. Hannah is a painter while her grandfather Nonno is a poet. They have come to Maxine's hotel because it was the only place they could afford. Poor but happy, Hannah tries to help Shannon through this difficult time. WHEN THE MEXICAN em kl-^v^i'-S^^B^x"-' ' ' 'x* [T..i:-fr'i-^Sm: **'>**' w.-. a? . ; ':... - Aubrey Gooding, Susan h 'Night of the Iguana' at Dra\ than ever id Sour and starred in such theater and movie presentations as Richard II, Hamlet, and Rosemary's Baby, He is probably best known in this country for his portrayal of Samantha's father on the popular television series Bewitched. THEIR PERFORMANCE together at USC, entitled Love: Sweet and Sour was a unique collection of vienettes taken from works of William Shakespeare, Lawrence Houseman and Somerset Maugham that showcased the ageless expressiveness of Hayes' face and the suave elocution of Evans. The famous pair introduced their act to the audience with several minutes of hysterically satirical Shakespearean humor which led up to their explanation that love was the theme of the night's entertainment. Beginning with an excerpt from The Twelfth Night, the duo showed how Shakespeare could "take anv theme in the world and make it, sing." Hayes and Evans appeared together in the same play in 1940 and then renewed the partnership again in the 1962 performance of ; Shakespeare Revisited. Both have 1 gotten older and the movement ] onstage is much more restricted, 1 but the vitality and enthusiasm in , the reading was just as impressive ? as when they were forty years 1 younger. 1 THE MOST ENTERTAINING piay pertormed by the actors was i the Taming of the Shi ew, probably the funniest of Shakespeare's i works. The story is one of an in- < domitable wench and the man who ? finally tamed her. It was the ] antics of Hayes as the shrew that i brought magic to the brief role. 1 This excerpt was presented using boxing ring sound effects, I with an offstage announcer v from the ployees of the hotel capture an iguana, the story begins to unfold. The iguana, a large Mexican lizard, symbolizes the frustration and lonliness of the characters. Like the iguana, *hey are strung up and tantalized to death by the people surrounding them: Maxine by the assorted outcasts, including a German refugee family, at her P^ IpSIIHI H^mwrnam \ \ is m wm : m 1LI , ^Kn| m f, m;. jjM|feg ^ S8SB^B> iI^^B^^B8BBR ^aBBBraaiB ;" _" 1emandoz, Molina Herring d/scu, /ton Hall, Tuesday. 6~ ||| ,, ~\iWL m ;V/-'l-^2 ' SjL. Maurice Evans and Helen Ha ye, performance, 'Love: Sweet and < tallying the score at the end of q every round in the battle of wits. c Showing "the way to kill a wife f; with kindness," Evans as Petruchio Drodded Haves' Knthrvn u ? _ ^ " J mm to tell the audience exactly "what R a woman owes her lord," which r she did dutifully with an impish p wink to the audience at the con- d elusion. p A short piece from the more h modern drama of Lawrence s Housman, Religious Difficulties, v featured a discussion between an aged Queen Victoria and the Dean of Windsor concerning the queen's a problem in accepting the Biblical s notion that Jonah was swallowed V by a whale. v THE ENSUING EX- P SANATION by the dean was met ? vith unabashed confusion by the dark at D hotel, and Shannon by the pious members of his tour . When Hannah urges Shannon to go free the li7_nrH from tho Movicon Ka?c he too feels a sense of freedom. Susan Hernandez fell into her role with ease. She was tough, brassy, contemptable, and she showed it with her every move. She is one actress who is easy to ss thoir hotel rent during *') Ru?t?a Pac* GAMECOCK ?, during their heart warming Sour' at Longstreet Theatre. ueen in a role that highlighted the omic p< ential of Hayes' magic Rounding out the performance rith a selection from Somerset laugham's The Circle, the enowned thespians examined the itfalls of marriage in the satirical [rawing room comedy. Evans layed a gruff and grumbling usband to Hayes' flighty wife in a pot that ended in a heart-rending ersion of living happily after. HAYES AND EVANS concluded brilliant performance with a hort song, "I Remember It Veil," asssured that the audience fould lone remember their an earance. It seems that talent md beauty are indeed ageless. rayton "read", easy to understand. Robert Johnson's performance of the distrubed minister was captivating. He created a haunting and brooding atmosphere every time he entered the stage. Whereas Hernandez's character was physical and gut-level, Johnson clearly showed the psychological and intellectual disturbances of his character. This combination of physical frustration versus psychological frustration sparked the whole performance. MELINA HERRING'S Hannah was enigmatic; she seemed to be a shadowy figure, a woodland nymph who possessed no physicality nor sexuality at all. She was just perfect in forming the third member of the triptych. Where Maxine was the physical, and Shannon was the intellectual, Hannah was the spiritual. A?U i-Ll- r uuici uuutuie periormances were Connie Blacenship's portrayal of Judith Fellowes, the pious mother-hen of the tour group, and Aubrey Gooding's Nonno. The set design by Susan Gratch made the tropical coast life-like. Rusell Green should be commended on his fine direction and his obvious knowledge of Williams' drama. The Night of the Iguana will be running through the 27th and concludes this season of the University Theatre. It is definitely well worth seeing but the adept performances can easily speak for themselves. , ,