The gamecock. (Columbia, S.C.) 1908-2006, September 22, 1980, Page Page 12, Image 14
Theate:
By Michelle Baiemore
Staff Writer
The Tooth of Crime, an
Qbie-winning play by contemporary
playwright Sam
Shepard, opens in
Longstreet Theater Sept. 2527,
and it is not one to miss.
The Tooth of Crime was
the first performed in
London in 1972. It opened in
(hp IT in Prinrpfnn N .1
and had its off-Broadway
premiere in New York in
1973. The play is produced by
the department of theatre
and speech, and is directed
by David Engel.
Shepard is the recipient of
10 Obies, more than any
other contemporary
playwright. The Obie is
awarded to the best in offBroadway
productions.
Shepard was born in 1943
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and grew up in southern
California. When he was 18
he went to New York and
more or less fell into writing
plays. "The world I was
living in was the most
fascinating thing to me, and
I thought the best thing I
could do maybe would be to
write about it." He did indeed
write about his world,
almost thirty plays since the
mid 1960s.
More than any other
American playwright,
Shepard weaves into his own
dramatic idiom the strands
of a youth culture thriving on
drugs, rock and roll,
astrology, science fiction,
old movies and cowboys.
"I'm interested in exploring
the writing of plays through
the attitudes derived from
other forms such as music,
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TOBER 1. 1980 6
APPLICATIONS
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subscription order.
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painting, sculpture, film,
and art, all the while keeping
in mind that I'm writine for
the theater."
Even now, Shepard
prefers seeing his works
performed in little regional
meaires or coneges, Decause
he feels professional,
commercial iheater is a very
stifling environment
creatively. All he hopes for
from an audience is that
"they bring to a play a
certain kind of openness, an
expectation of seeing
something they haven't seen
before, a particular vision
thnt lhf? nnHipnrp and fhp
actors take part in, in which
something, some truth, is
revealed and seen."
The focus of The Tooth of
Crime is on myth and
language. The basic myth is
that of the aging gunfighter
who must fight one last duei.
In The Tooth of Crime this
figure is a rock star, the
form of his duel is bizarre
language and he engages in
miont-ont of wnrns Thp
American past, present, and
future ? last cars
mecnanical gaogetrv.
chrome and plastic vaiues
festoon the stape and torm a
symooiic veneer vnuer
which the Amprican ineais
are s 11 r 1 v e i 1 n e. 7' h e
American myth is caoturea
by Shepara's brilliant idioms
and stage imagery.
The hero is Hoss,' rockstar
killer that is weary,
vicious, and doped to the
gills. He is still number one.
on top. His ihrone '.s
challenged by 'Crow' who is
lean, hungry and on the
move. The battle is part
musical cutting session and
part machine gun duel of farout
words and is as
strikingly ancient as a tribal
rite.
The Tooth of Crime is
style, the American style
that encompasses
everything from a rock star
to a Western gun-siinger, tc
a mob killer, to a movie star
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pm.
IN AT
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fate
Record
students
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7-day Record
and he will pick up
with' T
to a super-fly dope pusher, to
the president. Hoss and
Crow are all of these and
mnrp
Jim Holmes has the lead
role as Hoss. Holmes is a
senior theater major and has
played a number of roles for
USC, Workshop Theatre,
Town Theatre, and Hiers
Dinner Theatre. Gerald
Heaton is Hoss's competitor,
Crow. Heaton is a
sophomore theater major
from Reevesville S.C.
Heaton just returned from
H.B. Studios in New York,
where he studied for the
summer.
The set design is by Isabel
Vandervelde, lighting by
Debbie Rosengrantz, sound
bv Brian Gilbert, costumes
by Norma Jean True, and
technical direction by
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23
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