The gamecock. (Columbia, S.C.) 1908-2006, August 31, 1981, Page Page 19, Image 19
Dames At Sea...
Imagine, if you will, the familiar overnight success story:
a girl comes to Broadway from the Midwest wanting to dance
in a chorus line, and ends up being the star of the show. Add
to that fantasy and have her meet the man of her dreams,
make a new best friend, and have her do it all in twelve
hours.
This is what playwrights George Haimsohn and Robin
Miller have put into the musical comedy "Dames at Sea,"
which opened the USC summer theatre series. Set on
Broadway in the 1930's, "Dames at Sea" illustrates the
overnight stardom of the heroine, Ruby, and her triumphs
over seemingly impossible situations, such as not even
having a theater in which to perform.
The plot progresses from this already inconceivable story
line to develop into an interesting, although not really
momAroKln 1
...vuviouic muaujtti cumeuy. me actors of the Summer
Repertory Theatre did well to carry off the incredible
amount**# cornball humor while actually making it amusing.
For the most part, the acting was of good quality, the cast
doing a good job in portraying their stereotyped roles.
Anne Allgood was in the leading role as Ruby, the small
town girl looking to make it in the city. Her fine singing voice
and acting ability really did a great deal for the role as the
earnest, yet occasionally bumbling Ruby.
In contrast to the naive Ruby, the character of Mona Kent
is the worldly, snobbish Broadwav star whnco namo
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marquee is never large enough. Played by Susan Reeves,
Mona's obsession with herself and her stardom was quite
evident.
Tamara Gebelt was wonderful as Joa?/ the chorus line girl
who becomes Ruby's first friend.
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White Knights...
It opened to the twang of old country and western music
and the setting of a shabby hotel meeting room, and from
that point on the USC Repertory Company's presentation of
"The Last Meeting of the Knights of the White Magnolia"
crackled with rough Texas-style humor.
"Knights" is the first play in Preston Jones' famed Texas
trilogy, each part of which deals with life in a small Texas
town. "LU Ann Hampton Lavertv Oberlander " thp ewnnH
play in the trilogy, was presented last summer by the
company.
THE ALL-MALE cast of "Knights" gave a colorful and
hilarious performance that was filled with down-home
profanity. The Knights of the White Magnolia, a fraternal
order similar to the Ku klux Klan, but basically harmless,
staged their meetings in the Cattleman's Hotel in the fictitio
us town of Bradleyville, Texas. j
The trio of Stan Achlou niojior/i t i??; ?1 ?**
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McCalla, however, stole the show with their wisecracking,
bickering performances. Little more than overgrown kids
interested in dominoes and liquor, the three actors proved to
be a hilarious comedy team, a mixture of the three stooges
and the characters on the "Andy Griffith Show."
Jim Holmes, as the effeminate Mama's boy Milo Crawford,
Hr0Uf narKorw t m * "
? ~.. uic iuuucsi taugns ot tne night whenever he
spoke in his high-pitched voice. He nearly brought the house
down with one line, "I am the moon," during the scene where
the order was inducting a new member, played by Michael
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Glass Mt
Susan Reeves' excellent
portrayal of Amanda
Wingfield highlighted the
USC Repertory Company's
presentation of "The Glass
Menagerie" June 24-28 at
Longs treet Theatre.
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
nact tho r? oof
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Richard L. Jennings, Anne
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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
entire play take place at one
scene.
The interplay between
Reeves and Jennings
produced the play's finest
moments, as they were
remarkably convincing in
their mother-son exchanges.
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