The gamecock. (Columbia, S.C.) 1908-2006, September 29, 1980, Page Page 7, Image 7
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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
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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
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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
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Light board 01
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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.
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