University of South Carolina Libraries
? ft ' ' Entertainmer * mi?r ? Gemini pa By David Baker FHm Critic Watching Richard Benner's Happy Birthday, Gemini is like watching a three-ring circus; so many things keep happening at once that there's just no keeping track of them all. Based on Albert Innaurato's hit play, Gemini, which is currently in its third year on Broadway, the movie is about a group of people on Philadelphia's south side, all of whom desperately need to be noticed. At tne center ot tne group is Francis Cieminiani (Alan Rosenberg), a Harvard student who's about to celebrate his 21st birthday by having a nervous breakdown over the possibility that he might be gay. He's hoping to spend his birthday in solitude, quietly sorting out his sexually mixed-up life. His father, Nick (Robert Viharo), has other ideas. He wants to throw Francis a stupendous birthdav Dartv and has Benner's direction is polished and for the most part well-placed. j i ??-?-? euiiaicu nit; ciiu ui iwo neignDors, Bunny weinoerger (Madeline Kahn) and Lucille Pompi (Rita Moreno), to help him get things moving in the right direction. When two of Francis' Harvard friends show up unexpectedly, Nick, Bunny and Lucille are overjoyed, thinking that their presence will put Francis in a good mood. As it turns out, of course, they're the reason for Francis' being in a bad one. The girl, Judith (Sarah Holcomb), had a brief affair with Francis last semester and is now starved for mnrp of his affections. Her brother, Randy (David Marshall Grant), however, is the only object of Francis' desire, though neither he nor Judith has the slightest idea of who Francis really wants to bed. And speaking of having the hots for Randy, Bunny can't seem to keep her eyes and hands off him, either. rreaiciaDiy, dui nnariousiy, everytning comes to a Head at the birthday party, which is more like a shouting match than a celebration. Bar behavior: Meeting girls By Janet Gibson Staff Writer After numerous visits to bars, lounges, pubs and discos I've seen my share of the phenomenon known as the basic jerk. As a cocktail waitress at a Columbia "swingers" night club, I feel qualified to instruct gentlemen on the methods for avoiding jernnooa ? ana set you swinging into the early hours of the morning. Whether you're new to the bar scene or just interested in improving your "score," you must make an important decision before entering any bar. Keep in mind exactly what type of woman you are prowling for. Do you want someone just like Mom, a classy businesswoman, or a vixen with a little kink? Make that decision and then prepare for your grand entrance. i musi siress appearance, mere is notning more deplorable than a slob, except maybe a severe case of b.o. I'm not saying you must be an American Gigolo look-alike. Simply be neat and fashionable. And to prevent any "unpleasant odor" problems, I recommend Halston, Pierre Cardin, or Jovan Musk Oil toiletries (please, none other than Jovan). Many others are too overwhelming. Stride in easily. You're a man of action, confident of your abilities, yet vulnerable. You know where you're going. As you scope out the bar scene, establish eye contact. Don't be timid or afraid to look anyone in the face. The eyes can be the most expressive part of the body, and that is what you want to do, express your inner personality and thoughts. Smile. Just be sure the steak you devoured for dinner isn't I 1 A. At- m.Y_ !! 1-11 cctugni ueiween your leein. ino one win leu you! Depending on the place you are in, the music and dancing will differ. Fit yourself into the overall atmosphere of the club. Only one suggestion here. Ask that lady to fast dance first. Too many men risk asking an unknown woman to slow dance to a mellow number full of sexual innuendo before striking up a conversation - or a fast dance. More than 90 percent receive a "No thank you," if not something a little mure uneci line, "uei oui 01 my iacei save me sexuai innuendo for later. One of the most important aspects of your conquest is now approaching ? conversation. If you are an active (let's hope in many ways), self-confident individual, you should have no problem talking. Just remember, don't sound rehearsed! I once met a man that must have used the same lines 50 times in one night ? all to no success, I'm sure. This classic jerk spoke to me for one minute before going into detail about his ex wife and a nasty divorce. Take my advice. Forget the exold lady, whether she be a former high school sweetheart, fiancee, or spouse. This is vour night! Just a few more pointers (I know you must make Happy Hour so I won't delay you much longer). Don't be cheap. If a cocktail waitress or bartender brings you an alcoholic delight, give them a tip. Fifteen percent is minimum. Remember too that although conversation is a must, silence can also be nice. Also, never, but never, pinch a lady's behind ? no matter how sleazy she looks. This, like the slow dancing and sexual innuendo can be savored later. Enjoy! rtu for all Interwoven into this already elaborate story line are sub plots dealing with Bunny's desire to boff anything in pants Lucille's desire to marry Nick, Bunny's hatred of her over weight, asthmatic son, Herschel (Timothy,Jenkins), Her shel's obsession with becoming Randy's best friend, an< Bunny's being sued for breaking the arm of the wife of one o her boyfriends. All the stories fit together surprisingly well and the movit is never less than entertaining, even though most of th< characters are so obnoxious that they begin to grate on tht viewer's nerves long before the picture ends. Benner's direction is polished and, for the most part, well paced. His script is particularly insightful when it comes t< exposing mose paris ot eacn character which each charactei would just as soon keep hidden. The acting is erratic, witl Grant and Holcomb creating the most consistent charac terizations and Kahn stealing every scene that isn't clearh labeled with the name of another actor. With her hair teased into a Dolly Parton bird's nest and i wardrobe that goes tacky one better, Kahn is the con summate neglectful mother. She's shrill, wanton, foul mouthed and totally lovable. Coupled with her Dreviou: standout performances (Eunice Burns in What's Up, Doc* Trixie Delight in Paper Moon and Lili Von Shtupp in Blazini Saddles), Kahn's portrayal of Bunny places her at the top o the list of modern day comediennes. Gemini's production values are all sleazy, but in this case sleazy is appropriate. The movie doesn't stand a chance o winning any kind of an award (unless they start giving j prize to the movie with the highest decible level of the year) but the only movie I've laughed harder at this year is Air plane!. T echnicians pa By Dean Foster From the play's inceptio staff Wrhvr Rosengrant conferred wit In the setting of moods for the various directors an a theater play, the coor- technicians in an effort t dination of players and lights catch the proper moo is essential. The field of needed from scene to seem lighting design is a major "First I did a light pic concern of the department deciding which color washc of theatre and speech. and angles would be moj Heading up the faculty sufficient," sai element of theater lighting Rosengrant. "My electric* at USC is Michael Brill, a crew then positioned th graduate student whose instruments as I focuse interest lies in providing the them on stage. During th practical experience in this artful field. "I consider the training and experience to work professionally the IA/o . ., rru ui & K/ltUfmiG main strength in our department," noted Brill. "I theater for OUT US do have some students who run shows from the very beginning." During the recent showing technical rehearsal of "The Tooth of Crime," decided how long the colt Debbie Rosengrant made fades would last and then s< her debut as a lighting the lighting board which designer. A student of Brill's programmed by a con working on her independent puter." studv. Rosenerant snonf As an unHproraHnato ai J I U ' ,J I 1 ?' over 100 exhausting hours major Rosengrant consider and utilized 115 light in- herself basically an arth struments preparing for and setting moods with lights. 4 putting on the play. find it appealing to be able t " ' | ;V^-;: |?1 ?\ "y': . ; :"" l:I?Hi Light board 01 44$jt$y^^' '^.;r V Hk ^^atBa^ ;& *** * ^: <: :> i M ?.%< | ! 5 # i "^V** ? -~~ ~ Birthda y boy Geminiani (Alan Rosen burg) lint with light ii paint with light," she said, commented Brill. "We are h "It's like a new reality." fortunate to have Longstreet d Brill's lighting courses are theater for our use. It is the o the only ones offered at USC. best acoustically built d They have no pre requisites theater that I've ever !. and are ooen to anv student worked in and has four it "We offer a fairly in-depth channel capabilities." s introductory course and tend There are three basic it to draw a number of students courses in lighting which d who are not theater Brill supervises. These are tl majors," continued Brill. 220 lab courses that place le "Some of the students are students on the sets of shows d photographers or art majors working the lights. Students le looking to learn about taking these courses are required to put in 40-50 hours of work during the running of a normal show. Theater ' to ha vet Longstreet e. -Min ha** I RriU which stresses the importance of practical experience. The next instruction Brill I lighting. However, we are presents to his students is in >r left short at times because a his stage lighting course it few are not familiar enough (558). All the basics are is with the equipment to covered in lighting and light i- troubleshoot when problems design. An advanced lighting arise during a show." design course, in which t Many of Brill's students students practice drawing s are also exploring theater up blueprints and personal t sound, which is produced by designs for shows, is also I the media arts department, offered by the theater o "This is a very broad area," department. 811 -Bl I 1 gg w*iSlHPV' 19 M ' ~ ~ Wmo^^BBK^BUB^BBBBBt&Ft&H ..^dlreowgi^By - ? *f / ^ w??if w*Ktng CUBS.