The gamecock. (Columbia, S.C.) 1908-2006, January 29, 1982, Page Page 5, Image 5
4C
Worksh<
* Just Doe
BY JOH1
Entert;
Theater in the Columbu
several times each year,
frequent traveling Broadv
stages such as Workshop
may encounter professior
* claimed by so-called "maj
sort associated with the so-<
^ As a firm believer in the c
been especially impressed
Theatre. And so, I found n
pointed with Workshop's ci
Is It Anyway?
Brain Clark's sensitive, ii
sculptor named Ken H
paralyzed in a tragic a
displays exceptional wit ai
London hospital, but when f
will never regain the use
wishes to be discharged froi
The emotions here are
^ avoids degenerating into t
Anyway?addresses the ver
right of the individual to de
the restrictions of a doctor';
Trie play received wid
Broadway with Tom Cor
Harrison. Later, the pla;
protagonist and MaryTyl
performance. Most recentl;
with a screenplay by Cla
Richard Drey fuss.
Kay and Jim Thigf
current production
paralyzed sculptor ?
Workshop Theatre's pre
talented actor who also has
turns in a solid, multi-fac<
sculptor, succeeding in th
variety of emotions using
wiy ucnvciy icidAca iiic c?i
Harrison's peculiar humor.
Much of the humorous in
interning nurse Kay Sadl
sonable as the young ing<
between the pair is nicely d<
@ Ironically, the chemistrj
Kay, as Dr. Joan Scott, is
with a couple of exceptions,
unconvincing.
Harvey Golden's direct
resulting in such problems
places the actors with the
?
piayei b iet>puiifcti& are une
they might have taken a 1
timing.
Exceptions to this unfo
Rawls as John, a miscl
HI befriends Harrison, and Pel
Still, Clark's play in itsel
theatre. I'd suggest the fil
fans. Whose Life Is It Anvw
Sunday night at 8 p.m. at W
call the box office at 799-655
?K ^
op's 'Life9
sn't Work
NVAUGHAN
linmcnt Editor
i area reaches highs and lows
between USC productions, invay
shows, and plays at local
and Town Theatre. Audiences
lalism of the the sort usually
or" stages or mediocrity of the
:alled "local" productions.
:ompetence of local theater, I've
by presentations of Workshop
lyself disappointed to be disapLirrent
production of Whose Life
intelligent play concerns a young
arrison who is permanently
lutomobile accident. Harrison
nd courage during his stay in a
aced with the realization that he
of his arms or legs, decides he
m hospital care to die.
never maudlin and the humor
)lack comedy. Whose Life Is It
y question posed in its title: the
cide his or her own fate, without
5 "legal responsibility."
e acclaim in London and on
iti orginating the role of Ken
y was adapted for a woman
er Moore gave an exceptional
y, MGM unveiled a film version,
rk and Reginald Rose, starring
p^fr/
^ - >** v'-- j^^^HHK .
ten star in Workshop's
9G Hr Inon fipnH o r?#l
M * WMIB UHU
Len Harrison.
SUff Photo by ROX POLLARD
)duction stars Jim Thigpen, a
? directed at Workshop. Thigpen
3ted performance as the young
e difficult task of conveying a
only his facial expressions. His
idience, inviting it to respond to
terplay involves Jane Turner as
er. Turner is warm and per*nue,
and the stage chemistry
eveloped.
r between Thigpen and his wife
not nearly as effective. In fact,
the supporting cast is bland and
ion seems to be quite loose,
as blocking that too frequently
;ir backs to the audience. The
n blurted out too quickly, where
lesson from Thigpen's sense of
rtunate indictment are Glenn
hievous hospital orderly who
te Saussy as Solicitor Philip Hill.
If warrants an evening at the
m, but for the interest of stage
ay?may be seen tonight through
orkshop. For more information,
1.
I# ULJL
Qmec
Mangi
By CYNDIE LAKSEN !
Staff Writer p;;
| Some argue that Chuck M
| Mangione best shows off a p
classical, big-sound
background; that as part of
a quintet, a vehicle for the I
pure form of jazz, Mangione [
has no part. But the audience
at the Township Auditorium P
on Wednesday night overwhelmingly
disagreed, of- II
fering two standing ovations. ||
"His music is universal," ||
koch and Soul magazine g|
said of Mangione, winner of j|
two Grammy awards and an j|
Emmy award. "He can play ^
commrtably with his quartet
| or an orchestra, and his
audiences range from the VI
very young to the very old." |j|
They were there all right.
Wednesday night young and
old, black and white ? fans r
from all walks of life ? I
flocked to hear Mangione's M
tn 11 c i lManrtinno ovliikif/>/l H
?Iu.l6lWliV- V-AIIIUllCU Bi
his expertise on the flugel
| horn, a brass instrument
resembling and sounding
much like a cornet but
j having a larger bore (bell), c
His co-star, Chris Valada, J
was featured on soprano (
saxophone, tenor sax, c- *
flute, alto flute, and piccolo. n
S
In many of the numbers F
Mangione led oil with a
| flugel horn solo, only to
surrender to Valada on sax,
j and they continued to "trade y
off' throughout the concert. J
Valada is an incredibly talented
and versatile ^
I musician, and easily equals .
Mangione's talent.
t
The rest of the quintet c
I Hr
S fljr ^jjjpW
*5m
k - gl^^P^jBjy^ m^jSk jg^S^
Chuck Mangione deir
comparable flugel horn
night at the Township.
e jbtii
OCk NTGRTrfll
lone Quir
Mangione's quintet included
Everet Silvers, and the fluge
r _ 1 _ -1 ? 1
unsisieu 01 arummer ciear,
Sveret Silvers, bassist great
iordon Johnson, and Peter and Vj
larris, the only black twice
nember of the group, on with
Ipanish and Birdland (by backg
'ender) guitars. Valacte
The band started the The
terformance with an upbeat "Land
azz song (for which they leading
lever revealed a title) flugel
eaturing Mangione on flugel Valadc
lorn and Valada on sax It foatnr*
ecame evident in thi^initial accom
ihase of the concert mat the marac
iand was very well syn- interlu
hronized. The music was
The
"Chas<
began
vibratt
Valad
Mangi
^teresti
flute a
*
n# frr ? ? ieaiun
W guitar,
|H| tune w
V | The i
Hi All ^
Br compoi
_ _ _=_ WTm the m
gBr^S j Lake 1
- U:I perfori
' 1 his hi
Mn nrtif
and w
Gramn
Valada
horn/s?
way to
Valad
tremei
and dei
ji? ^ ....Hp i ai ige
- 3 I _ _- ~r2-~ -B Harris
* . . ~i% : ': g?p p Birdlar
" ~ _ ! The
lonstrated his in- ~ h'!!f c
artistry Wednesday numbe
SUM Photo by DAVID CRIMltY preced
lay
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multi-talented Chris Valada, drummer
1 horn master himself. staff photo by david grimley
crisp and played with sax and guitar interplayed
precision. Mangione together, a forum previously
ilada alternated solos occupied by flugel horn and
during this numhpr saxnnhnnp Thic ?nno wiac o
Mangione playing bit more "rocking" than the
round organ for others; not just "Mangione
i. music," but some nice, jazzy
guitar work by Harris.
band then played Th . . ,f .
of Make-Believe," .}J?e ,l?fcond Va ' bega"
-off with Mangione on ?'ltl . b?u" and Gan?eS'
horn, followed by ftunng Johnson on bass
, on sax. Harris was "arr's on the B.rd and, and
d on Spanish guitar Mangione on flugel horn. A
panied by Valada on mel ow LhT QU6?V
as, creating a "Latin next much favored by the
Hp" fn thp cnnct crowd, followed by "Feels So
>.b. Good" from the Eleventh
Commandment album,
quintet's third song, silvers performed an
; The Clouds Away," energetic solo on drums,
with a very nice, exciting the audience.
o flute solo by Valada.
a was joined by <.Bellavia .. a love theme
one for some in- , .. i , \ i? ? ?
,.g harmony between dedicated to Mangione s
nd organ. Harris was mother. preceded the
!d again on Spanish erture fr?cm <he
and Valada ended the chl,dren of Sanchez. Again
Valada mesmerized the
audience, this time by way of
, the soprano saxophone. The
lext number, 'Give It quintet concluded with an
?j W^aS encore of "Main Squeeze," a
sed by Mangione for hard-driving jazz song which
iO Olympic Games at was one 0f ^est 0f
5lacid, where it was evening.
ned by Mangione and
ind. For this song __ , , _,
>ne won an Emmy Mangione s latest album,
__ Tarantdln is ? livp twn
as iiununaieu 101* a ~ "Vw
iy. Mangione and record set recorded during
played a flugel all-night, eight-hour
ix duet, which gave ^nefit concert to aid Italian
a tenor sax solo by e?*rthquake victuns. An alla
Valada is a s 20-piece band featured
idous saxophonist, *uch jazz greats as Chick
nonstrated incredible orea a?d Dizzy Gillespie,
on his instrument.
was featured on a Mangione's interest and
id electric guitar. involvement with jazz came
! narlif in hi c li Ta \r
vui aj in mo mu. A'idiirv
Mangione, Chuck's father,
band ended the first would take his sons Chuck
o ??^i an(* Gap ou^ to local jazz
i Smilin'. ' This clubs to hear artists like
r differed from the (riUesnie and nnnnnnh?ll
ing ones in that the 9e? jazz, page s