Historical Newspapers of South Carolina

Below is the OCR text representation for this newspapers page. It is also available as plain text as well as XML.

Entertainment JI ^ i v :i! >.-. ..v:.;5m> %:.vj:j:yffl^::^s ': )'JXTv i>^^.gv^^1^ ~*ig-A*iir*%\T Jcyj'. yjr i [m^^r %?I IB ^ >fMW?P -1 r ;"' :'flr %i% ^HkMQ W^^WW viii run Promises I HBi ? - noHifi v.;.' j F ?|| * - ,; -;"i y- ----' -v- . | ; PpP^""1 4^-1 j 'Gla A TO Fru By MICHAEL ROMATOWSKI Entertainment Editor Susan Reeves' excellent portrayal of Amanda Wingfielf highlighted the LJSC Repertory Company's presentation of "The Glass Menagerie" last week at Liongsireei i neatre. Tennessee Williams' classic play about frustrated lives and useless memories has only four characters. In addition to Reeves, who played the mother desperately clinging to her past, the cast members were Richard L. Jennings, Anne Allffood and Mirhnol nnwoll Reeves' portrayal of Amanda was both poignant and refreshing; her energetic performance carried the play along at a brisk pace, overcoming the limitation of having the I m 7 ' By I)AV If Tom Petty made any following about the quality oi some bewildered faces aftei The top 40 ? far from a classic or numb "sing-a-long" chorus that wi waves for some time. Petty and the Heartbreak of their career after their su< "Damn the Torpedos," < i "Refugee" and "Don't Do J i _ _ i siuerauie airpiay, lining prominence. Their second ; was also an optimistic indica IT IS possible that the ; become overly contented 1 , succeses, because "Hard Pr sound with little continuity upbeat, partying song to spe; of "A Thing About You", ar stories of love and hardshi "Letting You Go," and "Yo would be hard-pressed to ser hard listeners' spine. Perhaps the highlight of ^?a i? mumming eiion uy rieeiwc sider". The album certainb firepower to lift it above the n-roll circuit. It is evident that Petty anc breaking some hearts wit breaking some guitar string! | Petty seems for some rea ss Mi L!. ucnn stral entire nlav tnkp nlnr**? at nnp scene. JENNINGS also was fine in his dual role as Tom Wingfield and narrator. Jennings consistently drew laughs with his portrayal of the frustrated son bound to his role as family breadwinner while longing to break away and see the world. The interplay between Reeves and Jennings produced the play's finest moments, as they were remarkably convincing in their mother-son exchanges. ' Jennings often seemed to be | on the verge of a migraine headache as he endured his mother's nagging and I henpecking. g Anne Allgood, as the lame 1 and ultra-shv daughter 1 Laura, was overshadowed | by the excellence of Reeves f itest MM a ma more ;rs II) VVOOTEN narci promises to his tans and f his latest LP, he probably found - the album was released. single, "The Waiting", although er one hit, does offer a catchy, 11 no doubt keep it on the FM air zrs seemed to be on the upswing icessful second effort as a group, crashed the charts last fall. Me Like That" received conthe sextet to the verge of album, "You're Gonna Get It", ition of promising tunes to come, artist and his band may have with their early noteriety and omises" has an undistinguished or listening power. There is no ak of, with the possible exception id even the supposedly poignant ip, sucn as "Woman in Love", m Can Still Change Your Mind" id any shivers down the most dieTom Petty's latest is a har>od Mac's Stevie Nicks on 44Iny could have used a little extra I 1- -i* *<-? " - icveis 01 aiso-rans 01 tne rockI his Heartbreakers need to start h more inspired melodies or > with a more enthusiasitc sound, tson to be unwilling to take any enag< ig Ta hf&fl I i aiid Jennings. That, however, was quite fitting in view of the fact that her role called for a low-key performance. Allgood's best moments came near the end of the play in her long scene with Michael Dowell, who portrayed the Gentleman Caller. Dowel l's hnlH Anne Allgood and Richard Jennings in "The Glass Menagerie/' I Torn Petty takes no than chances on this effort. The be groove which quickly becoi repetitive and Petty's vocals the songs with any fire, welcome addition to the guit eiuier mixed aown to inaudi! existent. "HARD PROMISES" offei collection of ten similarly s repetitive lyrics. A comfortii hardly an awakening music r< HBMW?MflOTaMMmBMBmgaHwiKa?nsKaia? a erie i ves sustained the play while Reeves was offstage, and he produced subtle romantic A , sparks between himself and Allgood. THE PLAY'S final scene, an emotional monologue by Jennings, was quite powerful, and was greatly enhanced by the lighting of Michael Brill. Other highlights were the abilities of Reeves and Jennings to deliver their comic lines in vastly different but equally effective styles. Reeves relied on her bubbly energy, while Jen nings utilized exquisite timing and exaggerated facial expressions which delighted the audience. One very minor complaint was that the actors sometimes failed to project their voices when they were seated, as opposed to when they were standing or moving around. Jl "THE GLASS Menagerie" will next appear on .July 8. The play is well worth seeing and the Repertory Company and Director James C. Patterson are to be congratulated for a trulv fino presentation. ces on "Hard Promises." ind seems to settle into an early nes a rut. The melodies are are not strong enough to ccarry The keyboards, which would ar-oriented arrangements, are ale levels or else they are non- J rs little more than a standard ounaing tunes and ten sets of ig album to go to sleep by, but evelation.