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"IEi itentaini I 'Crossir Bv Lvnn Massev Asat Ent?rt<iinin?nt Edhor j . The Workshop Theatre produced it's first full-length world premiere drama Wednesday night when it presented the new play "Crossings" written by USC English professor John MacNicholas. The new production of this play will run through the first of February which features some of Columbia's finest performers. The play is about conflicts and growing up. One of the main problems is the parents were raised in Ireland, but brought up their own children in America. The parents still have some feelings for their homeland and can't understand why their American children can't relate to their sense of loyalty. The parents and their two sons, who are of college age, have different ideas of ttrkof oVlAl?1/l /Ia ttiifK Ihiao wuai mvjr oiiv/uiu uw vyim iiiuu uvea. 1 IICIC is disagreement between the father, a blue collar worker in a mill, and the oldest son, a college graduate who wants to pursue a white collar job as a stockbroker in another city. There is also conflict between the sons which provokes jealousy and selfishness. ALTHOUGH MOST families have difficulties during the transition of their children growing up and making it on their own, "Crossings" presents a family with unusual perplexities stemmed from dark secrets, politics, religion, and obsessions. There are waves of fury and fiery dialogues which project the strong wills of the O'Brian In one scene from the drama "Cros. youth in Ireland with Dede Corvinui Parnel/J Sin2Z's: t By Jim Poindexter Staff Writer The Sin 2 Z's opened a two night engagement Wednesday night in the Spur. The Atlanta based band was formed through the collaboration between Glenn Phillips of the Glenn Phillips Band, and Jeff Calder of the Swimming Pool Q's. "The other bands haven't broken up. The > r/'t? uroc- m r\i 11 rfrni pth fnr no I/iff wnii ^ gj r> v> an <i luuui ui uui^i w?ui iwi uo. u^n and I have been writing together a long time," Phillips said. This was the band's first performance outside the Atlanta area, according to Phillips. Phillips and Calder believe in "doing their own thing " Their own thing happens to be writing and playing good, solid rock and roll. "Our music is based on what we want to play. If we're in fashion, great. If we're not, we'll just wait," Phillips said. "Music has become a fashion. You can't cater to a fashion. Groups try and they fade incredibly fast. I've seen a lot of fashions come and go," he added. The Sin 2 Z's, a name made up by Phillips, serves as a second release for each member of the group. "The majority of our material is not taken igs' reali; family. There are some scenes so sincerely intense that it almost becomes too disturbing to witness. However, there are a few humorous moments between the youngest son and his illiterate mother which breaks the tension when it's needed most. The play has been billed as a fresh unique work written in "a beautiful, lyrical manner." MacNicholas expressed the importance of language and how people use it differently to express themselves individually. While on a trip to Ireland, he took advantage of the opportunity to observe conversations among the Irish to get an authentic feel for his play. The production carries a talented cast to nrst tacKie tms premiere periormance. The high-strung mother, Kate O'Brian, is performed by Dede Corvinus who fit s the character well and splendidly projects a solid Irish brogue. The father, Will O'Brian, is portrayed by Jim Thigpin. Although his Irish accent is not as consistent as Corvinus's, he develops his role of a man wrapped up in politics and ties with Ireland well. Craig Downing plays the youngest son Billy, who is constantly considered second to his brother and had quit school to work in a mill. This alone created a gap with his brother who went to college. Playing the cherished older son is Don Upton, who portrays Art as a worldly ambitious spirit. OTHER MINOR roles are played by Christy Smith, a friend of the mother, and [7-; *-. ^ r wl M&^ fflf II .^MMbareSSgafc. v. N> 1 ^ V, ?rj|^__r ^r_-i_~_J,gf"jiii*z'~-~^~]7^'7>L':.? -r- T *7 = ? ^||3?||fl- ?| | <v?.- .> sings," Jim Thigbin deft) reminisces his ? and Craig Downing. (Photo by John alentfusion from the other bands. We do mix some of our other work in, though," Phillips said. There is nothing phony about the band. They don't feature flashy costumes with a brilliant light show. They just play good rock and roll Dressed in a black t-shirt and jeans complete with knee pads, guitarist Phillips attacked every song with renewed energy. Calder, vocalist for the group, at times seemed possessed by the intense performance, dancing in spasms across the stage. Behind them, bassist Bill Hay, drummer Doug Landsburg, and guitarist Pete Jarkunas played in deep concentration. The lyrics are tough and straight-forward. Phillips and Calder do not write sugarf?n;?t#?d b;iIbids Thoir wnrrts; :irr? ;ik hard as their rock. Phillips calls their style "original rock." "I hope the Sin 2 Z's can record sometime. It's a matter of economic situation," he said. Currently the Glenn Phillips Band has an album entitled, "Dark Lights", due for release in late January. The Swimming Pool Q's have an album, as yet untitled, due for release this spring. -- "1 stic, s James Freeman who plays ? one of the sons. Ray Kenned perfect character of the pries a convincing performance o way. Much credit should be giv designer as well as the light crew. Dee Albritton succeeded stage set the authentic appeal USC En 0 M A writes/ By Lynn Massey As*t Fntsrtairm.cnt Eauor USC's English pre ossor John MacNicholas will be presenting his "first fulllength drama" at the Workshop Theatre through the first of February. "Crossings" is an extraodinary play about an Irish/American family who try to deal with dark secrets, selfishness, religious differences, and other personal conflicts. The play takes place in New England around the 192' during the (imo r\f (hi nrnhihitifin something the Irish did not consider to be such a "great thing." "Although the family is Irish, it is an American play," MacNicholas said. This family struggles to make it in a small mill town while at the same time they ctrnrtrfln fn arlinc# / > tKnir Oil IU UUJUOt IVJ I I 1*. I I personal problems. MacNicholas became interested in this era while studying author James Joyce for his doctorate degree. The Irish immigration into America did not begin until the 19th century when millions made new homes in the New England states already established by the Puritan nr1nnt<; n ff?vju ^nntiir-iov: earlier. This alone created a social barrier which pushed the Irish in a lower class with little education and too much illness. The play is set at a time when a Catholic, A1 Smith, runs for president, but is later soundly beat by Hoover. The idea of Catholics having power was night in the Golden Spur, f ensiti i "fri??nd *m the production y portray a "ici. typical* it. He projects is complete v f Father Con- cupboards, ani With the e 'en to the set termissions b ing and sound Theatre succ< d in giving the tation of MacF ranee need for an intriguing p glish pr \mericc a hot political issue then and was still controversial when John Kennedy became president. However, the power conflict between the two classes is hashed out wun everytning else in the production THERE IS ALSO a more personal reason for MacNicholas researching this time period. His grandparents, whom he never knew, were of Irish desecnt and were living during this trying time. Writing a play of this kind was a way of attempting to understand <gBS John MacNicholas t t-w>%? ii hj wiucciis u icy iictu iu contend with. The professor spent five years off and on completing this work. Although the main ideas never changed, the script had to be written six times. However, MacNicholas had a script he was KnfA**n c#oi*linrt OUHOUV.W Willi V olill 11 I I fa the production with Director Harvey Golden. It was after a few rehearsals that MacNicholas realized that improvements could be S jgn ^ JBm ! ; '?' --jjftiffn: v.. .wjdaSS -,x-y f mmm |HH|^Bf g fBI^HnmB -:v ;-V 77 SBSBS&i' . 18 ~ ? ' ? Z's pauses before finishi, Photo by Jose Panganiban) ve i. The setting is a kitchen and of a mill house in the 1920s. It vith an old fashion ice box, rl 1 II m uiciiuw-iuiicu wan (Mpci . xception of the lengthy inetween acts, the Workshop eeded in their first presen4icholas's play. It is definitely erformance to see. ofessor in play made in the th<rd art. Tin minor alterations only changed the original script less than 10 percent. MacNicholas is pleased with the progress of the production so far. He has worked closely with Golden and they mutually agree on the way the work should be presented. "He respects it," MacNicholas said. He is also content with the rest of the production staff, especially set designer Dee Albritton Albritton has revealed a talent for creating the appropriate atmosphere necessary for the focus of the play, according to Mac Nicholas. "Crossings ' prei <,e?:l Wednesday night I1 , an engrossing work unravelling i the fiber of the ()'Brian family, but is not presenting .. r.,. * .o .-I f t ?n v ^vaiai ?> i a i v 111 v. 111 [ MacNicholas said. "It (wasn't written to prove anything." i AFTER (JETTIMl his undergraduate degree in Chapel Hill. N C MacNicholas obtained his doctorate degree in English at the University of Texas. There he produced his first play as a graduate student i A .. * ami ai.M> wruie Mnnr penury and fiction. He came to L'SC in 1973 and now leaches British American Literature and Shakespeare. MacNicholas plans to continue to concentrate on drama and already has two on the drawing board. For now, he plans to concentrate on the progress of his latest production. ng a number Wednesday