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_entertainmen USC nrnriui By John Vaughan i i Sneaking up lightly on a theatergoer is one of the best ways to hit him with some power. That's the strategy employed by Lanford Wilson's "Fifth of July," a funny, touching stage work with a powerful undercurrent of drama. Wilson's play never toots the horn of pretentiousness; it is confident enough to allow the viewer to enjoy the play without strucclinc to "internrpf" pvprv linp And the best part of USC's current production of "Fifth of July" is that it's good enough to invite the viewer's attention while it sneaks up with a pleasant punch to the emotions. NOW PLAYING at Drayton Hall, "Fifth of July" is one of this year's best efforts, second only to "The Birthday Party," which opened the 1982-83 season this past September. This reviewer might also recommend it to USC audiences as strongly as the season opener, if only because its material is more accessible than the complex and emotionally draining riddles of "The Birthday Party." The play is the second in Wilson's trilogy about the Talley family of Lebanon, Mo., the playwright's hometown. It was produced on Broadway in 1980, the same year that "Talley's Folly," the first play in the trilogy, won the Pulitzer Prize for drama. "Fifth of July" centers on Ken Talley, who lost his legs in the Vietnam War, and his confusion about his place in life as a handicapped person. Talley has returned to his family's farm with his roommate and lover, Jed Jenkins, and is supposed to resume a career as a teacher in his hometown. IfPW 1C ofroi/< I 1 >ui* iu un uiu ctnu uiatxui c, nowevcr, <inu is secretly thinking of selling the place to an old friend, John Landis ? much to the disapproval of Ken's 64-year-old aunt and Jenkins. Interpersonal conflicts, broken dreams and changing lifestyles surround the play's belief that human compassion and commitment to a cause make life worthwhile. Characterization is. then, crucial tn t.hp 'The Lords of Discif Film differs 1 By Doug Bell In reviewing "Sophie's Choice," this review his whole thesis on book-to-movie translations, polemic should have been saved for "T Discipline." Pat Conroy's novel is something of a religion area, and understandably so; it is set in Charle: with events at the Carolina Military Instit disguised replica of The Citadel. It's an exciting, involving book that revels ir pungently obscene milieu of military cadet analyzes the peculiar psyche of Charleston velous detail. mmmmsmsm WSBBBBKxmmm Cadet Will McLean (David Keith) salutes stiffly Military Institute, with knowledge of the general's t j l;uuii uiiuer play, and this production does encounter some early problems. Director James Patterson has placed perhaps too much emphasis on frantic dialogue and peripheral characters, especially Ken's teen-age niece, Shirley Talley (Carol Cartzendafner). This distracts the audience's early ability to relate to some principals, and character development is somewhat gradual. BY THE close of the first act, though, the theatergoer's sympathies and interest have been kindled through fine performances from most of the cast. Michael Dowell (whom this reviewer has long considered one of USC's real prizes) displays a confident understanding of Ken's shaken confidence and fears. He doesn't try to upstage some of the first-act distractions to establish his character, and becomes a sort of "eye of the storm." Attention to detail is often unappreciated, but Dowell's definition of the paraplegic again reveals the consideration that led the actor to shave his head for a small role in "The Birthday Party." Lucinda Hamrick easily avoids the pitfall of one-dimensionality in the riotous character of Gwen Landis. Hamrick has some especially powerful moments when she defends Shirley's mother to the girl and when she challenges Ken to face himself. AS JUNE Talley, Shirley's mother, Connie Blankenship seems too strident and superficial early on, but finishes well in the second act with added sensitivity and character depth. Likewise, Glenn Rawls' portrayal of John Landis takes longer than others to develop, Dut he also finishes in decent shape. Reid Davis as a spaced-out, would-be composer and James Weiner as Jed Jenkins, Ken's lover and confidant, give strong supporting characterizations. Weiner avoids stereotype and is supremely sensitive, while Davis' telling of an Eskimo "folk tale" is hilarious. r i~r 1 * ??? i/.eiiumuer anu wenay worn rouna out the cast in respectable form as Shirley and Aunt Sally, respectively. iline' from book, but er structured film fe Perhaps that he Lords of ?? ? ? ???i--. WHEN A book so close to ho s cause in this the movie version of that bo ston and deals amount of disapproval. Devote ute, a thinly personal offense when their fav the movie. If this descriptioi , warned ? "The Lords of Discir 1 the rigorous, * life. Also, it Any book must necessari itself in mar- characters in passage to the Discipline" probably loses mor hbh ?| ^Kb&. % I Br I before confronting General Durrell (G.D. Spradlii endorsement of an evil, secret internal society. BHBnnMaManMBHHnnBBHaMnBHMBBMI stands ola ?8 *. <A fl / J ^b 11 { s ^j| | v - wKs fl I... *** On the porch of the Talley home, Shirley Ti (Jemes Weiner) with her edolescent drametics i TECHNICALLY, the production glows with warm, inspired lighting and a superb set by Susan Gratch. Even in this regard, the show packs a powerful punch with no neeu ior extravagant nreworKs. The play is certainly more deserving of large audiences than either of USC's other succeeds on i The most . _ mysterious Ar VIPW ----- uutssn i appea references to great me captures so many hearts, been consider ok is destined for a certain still, a mov id readers tend to take it as a include; rath* rorite scenes are omitted from elude, if the n fits, the viewer should be justifiably dei >line" is likely to rouse ire. Discipline" ca ly lose a few scenes and screen. Gut "The Lords ot THE STOK. e than most. (David Keith) Institute. Wi j fectionately ni only C pj ^ B his fellow clas terrifying, se< profoundly d determinate devastating c\ The openin perclassmen relentless, vu vincing in its f Excitement snnnences. in< v/IIVy V/* * V/ilC iflH statute's presi L* The ensemt Vl # >1 Tradd (Mitch* ^ Pig (Rick Hoj ^ lacks the mor **##' '' "* conveys integi 1.., ..^. 3&0Z" The contro\ ??*?*s??Ww. filming on the sname the m< i), president of the Carolina movie about n some signific y's intent HillHHI WW ^-:-;?B;:M:^|JM : -- :;:i^::-v- :?::;vr: r E^ffl I H .5^HE<&? vH| y ff SBML^- VnJ^^V . ..vy "^v >N~v?~*m-''s'i*i ^g^piV* ^VWtiYit<^.:??;.,I li^t *>>? ^ ^ ^ ^ ^ ^ 4 AAA Photo by Dave Grimley illey (Carol Cartzendafner) regales Jed Jenkins n "Fifth of July." mainstage shows this year, and yet it has earned small crowds. Go see it. "Fifth of July" runs through tomorrow, ? with performances at 8 p.m. Tickets are $4 for the general public; $3 for USC faculty/staff, senior citizens and military personnel; and $2 for students. For more information, call the box office at 777-2551. ? ts own merits . serious omission is the love interest. The inie Kate, who figures prominently in the book, ir in the movie at all. Gone as well are any the central character's freshman (plebe) year passion for basketball. Also, the ending has ably whitewashed for the screen. ie shouldn't be condemned for what it doesn't *r, it should be evaluated for what it does inmovie works on its own merits, one can't nounce it altogether. Happily, "The Lords of in stand on its own. ^ Y, set in 1967, concerns cadet Will McLean during his senior year at the Carolina Military 11 is assigned by Colonel Barrineau, afcknamed "The Bear," to protect the institute's black cadet from the vicious prejudicial spite of smates. is duty, Will learns of the existence of a iret internal organization, whose heinous acts isturb his moral sensibility. Will's blazing i to expose this organization sets off a ^ lain of events. g scene precisely sets the mood; two uplinsnarincflv Hrill o e ; rv.. ?ov v????? u jjicuc wmi uwi ItilOCIOUS, lgar military jargon. The film is totally con>resentation of the military school atmosphere. is sustained in a series of remarkable eluding "Heil Night," the riotous rite of hazing n excruciatingly hilarious scene involving an is tied to a railroad rack. \ iases, actor and part are well met. Robert ^lany inuiiioraoie as " rne Bear," a thick-set, \ commandmant and confidant who is utterly "lambs." . play a stiff-necked autocrat quite as well as G. * the coach in both "North Dallas Forty" and '). Spradlin portrays General Durrell, the indent. >le playing between Will and his roommates, 1 I ,if>htonotnin\ ' T ~1 * 1 " ulviivviiottui/, ivicii tv vjoun l^avacnieni) and isevich), is jocular and natural. As Will, Keith e sensitive qualities of the book's hero, but he rity, humor and determination. 'ersy over The Citadel's refusal to allow any premises is too familiar to reiterate, but it is a )vie doesn't capture more of the ambience of t..? var 'he Lords of Discipline" is a solid, exciting lilitary values and masculine bonds that raises w ant points about friendship, duty and honor.