The gamecock. (Columbia, S.C.) 1908-2006, October 20, 1982, Page 9, Image 9
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T o wnship
sophisticated this time and tied the show together. Simple but
effective blue and red lights created different moods and
helped set the tone for Grant's numbers.
AN EVEN bigger surprise came at the beginning of Grant's
second set, when she ran on stage in red satin slacks and a
black and white blouse ? not the expected costume for a
Christian artist. The change was appropriate, however,
because it reflected Grant's uninhibited, fun-loving attitude
toward her faith and her work.
Chapman offered the biggest surprise. His solo stint during
Grant's break included a little of everything. Beginning with
a song based on scripture, Chapman went into a more rowdy
tune, and then he pulled the big one on the audience
"I wrote this song in a cemetery one night," Chapman said.
He said the song describes his feelings of mortality,
relationships with others and his relationship with God. With
that as an introduction. Chapman quietly led into "Finally,"
a country hit that recently moved to the pop charts, released
byT.G. Sheppard.
Grant returned to open the second set with her husband, as
they sang a piece he'd written and played for her via
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telephone two weeks before he proposed. The lyrics were an
appropriate lead-in to the duo's quiet testimony of how their
faith has kept them together:
And no matter where time takes us
Together or apart
J will always be a part of you.
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uincr toves nave made me think
But they never let me know...
TESTIMONY IS a standard part of Christian concerts, but
Grant resisted the temptation to overwhelm her audience
with religious jargon. Her story was woven into the concert;
she never had to preach.
Smith took the spotlight again to answer the crowd's crv
ior an encore witft a complex classical number. It was a
startling surprise, as evidenced by the sudden hush in the
audience.
Smith's performance led into Grant's finale, "Too Late," a
peppy number that left the audience members the way she
found them, cheering the performer and their tie to her ? a
common faith.
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IKS WITH At
Longstreet
Hurley's performances mixed narrative with first-person
excerpts and were decidedly geared to an intimate theater
setting. Her show, while meticulous in detail and voice, was
informal in overall style. Hurley spoke directly to her
audience, tracing her characters' lives with touches of
humor.
Her most emotional attachment seemed to be with the
character of Nancy Astor; Hurley agreed with this opinion
ofto. *u? .L - - * ?... -
aiwi uic bhuw, nuung inai sne is considering expanding the
As tor role into an entire show along the lines of "Despite the
Odds."
HURLEY ALSO SAID she felt she needed to cut parts of
her current drama, explaining her dissatisfaction with
certain aspects when performing after a break in touring.
"Despite the Odds" is not Hurley's only dramatic creation;
she has performed for hundreds of similar audiences in
"Between Two Worlds," another original show.
"1
L.
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