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- ntertoinmen ' Sold-out Bal By Jim Van Arsdale Few people left dissatisfied Monday night after the spectacular performance of R.E.M. and The English Beat in Russell House Ballroom. Both bands were greeted with thunderous applause and cheers bv the y sold-out crowd that did an excellent job of dressing up for the occasion. R.E.M. opened the show with a few tunes from their EP, "Chronic Town." They also played a few yet to be released. Judging from the crowd's response, the Athens, Ga.based group was far from the stereotypical opening act bomb. 4 BBllSl^^ , - j| j.:t;ni. -.': K M BL f - - ^^Kf^y^g^:-xy .:>&g?:'-^ST '2R P^wWpiW^?jM 1^" fflfe jj ^mmHHHrniHHis * mjw m - HF' Photo by Dave Grimley R.E.M. Jead vocalist Michael Stipe twists orerl 'L- * " unu omuhio uuimy una ui uitj uuiiii 5 songs. Pulitzer Prize-win From Staff Reports Pulitzer Prize-winning poet Maxine Kumin will speak tonight in Belk Auditorium in the College of Business Administration as the fourth guest in the 1983 Spring Writers Series. Kumin will attend an autograph party in (0 her honor at 3:30 p.m. today in the University Bookstore. Her 8 p.m. reading will be followed by a reception in Gambrell Hall's third floor lobby. Tfnmin \imr? tho 1 QWI Piilitvor Dri fnr hor tkuniill TT w* I Uiv AiSfC JL UlltliVJl X & ICtKy iWl ilL-l book of poetry, "Up Country." She has written six other volumes of poetry, four novels and a book of short stories. She coauthored, with Anne Sexton, a number of children's books. Her latest book of poetry, "Our Ground ^ Time Here Will Be Brief," and a book of The Acting Corr I v R 'ni JHK t<B Malvolio (David Mania) reads a love letter ha b Olivia at noma of his tormantora look oa in "Twal I llroom conce The band's big hit, "Radio Free Europe," was a definite crowd favorite. Ledd singer Michael Stipe's twisting body added greatly to the crowd's excitement . FOLLOWING The Beat delivered close to 1 1/2 hours of solid entertainment. They opened the show with one of their biggest hits, "Twist and Crawl." Both vocalist Ranking Roger and guitarist/vocalist/songwriter Dave Wakeling did-fine jobs getting the audience to dance and sing. After "Bigshot," from the band's first album, "I Just Can't Stop It," Roger yelled to the crowd, "Can you feel it DlimninP?" Thpu nrmlH The English Beat's stage was set about six feet off the floor, and the group made full use of the excellent lighting system. As they played "Mirror in the Bathroom" later on in the set, spotlights were put on two mirrored balls on either side of the stage for extra effect. Also during this song, Dave Blockhead came from behind his keyboards to do a jig with Roger. Other songs included the band's rema' e of "Tears of a Clown" and "Hands Off.... She's Mine." One of The English Beat's more political songs, "Stand Down Margaret" (about British Prime Minister Margaret Thatcher), was another crowd favorite. THE BAND played most of the songs off their new album "Special Beat Service," including "I Confess," and "Jeanette," which was dedicated to all the Jeanettes in the audience. The last three songs of the first set were from the new album. They included "Spar Wid Me," "Sole Salvation,"(which featured some excellent bass guitar playing by David bteeie) and "Ackee 1,2,3." After the first set of Roger's leaping and hopping, Steele's constant reeling to and fro with his bass and the display of Wakeling's ininn poet reads ti short stories, "Why Can't We Live Together Like Civilized Human Beings?" were published simultaneously last year by Viking Press and Penguin Press. Kumin is now serving as a visiting professor at Princeton University and is Consultant in Poetry to the Library of Congress. While much of contemporary poetry reflects a chaotic and meaningless universe, Kumin is one of a small group of poets who insist upon order, upon finding or creating meaning where others deny it exists. "I think there is an order tn ho - ? ? ?~ ^v 1 that's very often true in the natural world, but there is also an order that a human can impose on the chaos of his emotions and the chaos of events," Kumin said of her poetry. ipany falls short received extraordinary praise But Monday's performance I Night" at The Township provic compliments on the cast and cr< Professional acting compan amateurish as this one was. Presented by the USC Cultu was the only S.C. appearance schedule that began in August, three years that "Twelfth Night Company's repertory ? but tl applause Monday night. IN THEORY, there was n< formance; but on the other he about it. Director Michael Lai conservative and loyal to the rather blase. "Twelfth Night" is an exti PHf ^H| woman named Viola wno disgu v.-Sr^, yW subplot concerning a stuffy st jjj played on him that is often mor |^|ihH Langham, however, manage ?Bk8B8I comic material away, and his \ Bllir^WHP characters and many of Shal |P8p*,'' Chief among the subplot c steward a mmnnu? nnH Hinrni character that can make or br< potential. Thankfully, David M Im-'-'I i fc. l>est performance as. Malvolio, elievet is from ^at almost salvaged the subplo Sfth Night" ' characters. *- ? *': ?'?' - * rt wins loud * * /ft ' ' The English Beat's vocalist Ranking Roger ai perform before an enthusiastic Russell House Ba songwriting talents, the crowd refused to let the band leave. With deafening chants of "Beat, Beat," the audience was able to convince the band to come back for its first encore. The Beat played their most recent hit, "Save It For Later." IT WAS followed by "End of the Party," which included an excellent saxophone solo by Wesley Magoogan. The last song included "one minute, twenty seconds of sheer madness." according to w^kplintr This turned out to be true as the band, led by lead toaster Roger, gave an excellent rendition of a first album tune, "Click, Click." might as Writers '9%^^ Sp3 M&xine Kumin of 'professional UNFORTUIN 7? ? ? enough to cov< The Acting Company has Toby Belch ( from critics and audiences. (Andrew McG oi anaKespeare s i"wenin These roles w led very little cause to lavish funniest lines. Jw- Particularly ies simply should not be as played to the character onj iral Series, the performance noticeable. Or of the troupe this year, in a The actors ii It marked the second time in were, like the s " has been part of The Acting constrained b) lat decision did not deserve viola, made ? eventually witl Former USC lthi nU wrnna with tho nor. n 1 ? o ? " neeu, as un\ ind, there was nothing right counterparts, igham kept his structure so text, it was unoriginal and THE COMF "Twelfth Nig *emely funny play about a Shakespearear ises herself as a man, with a Shakespearear eward and a practical joke Richard Burtoi e amusing than the main plot But this per another classi d to throw nearly all of the repeatedly sin >erformers ruined some good as Harlem or tespeare's best lines in the cunerence, dui troupe should I characters is Malvolio, the Actin8Compa; ighly unlikable fellow, and a Overall, the *ak much of the play's comic Bard's lanis turned in the evening's smoothly and 1 with an excellent portrayal if nott and overshadowed the main Suffice it to s . *.? ?... din. applause Photo by Dave Crimlcy id guitarist/vocalist/songwriter Dave Wakeling llroom crowd Monday. Once again, the fans refused to believe it was over and chanted "Beat, Beat." One fan had to be removed from the stage after he used Roger's microphone to help the crowd chant. For its second encore, The Beat opened with "Best Friend" and closed with an extended version of "Jackpot." During "Jackpot," Roger shook hands with some crowd members. If the USC crowd's response to The English Beat is any indication of what the band has experienced in the South thus far, we should be seeing more of The Beat in the future. This idea was attested to with Wakeling's closing words: "We'll see you again." Series continues "That's what writing no*?trv is all ahnnt " ? O E J "" she said. "You begin with the chaos of impressions and feelings, this aura that overtakes you, that forces you to write. And in the process of writing, as you marshal your arguments, as you marshal your metaphors really, as you pound and hammer the poem into shape and into form, the order ? the marvelous, informing order ? emerges from it." One of five authors appearing in the 1983 series, Kumin follows noted literary critic Richard Ellmann, British playwright Tom Stoppard and Pulitzer Prize-winning poet u,>,....3 ? a?i -: s ' nuvvaiu mciiiciuv. rtCClcUIIltJU UUVCllSl iOIU Morrison will close the series April 20. The annual series is sponsored by USC's Department of English. All events are free and open to the public. For more information, call 777-4203. I' at Township IATELY, Manis' talent was ultimately not ;r the weaknesses of his three tormentors, Sir Richard lglewski), Sir Andrew Aguecheek rath) and Feste the fonl (Philin ere discarded ? and with them, the play's disappointing was Goodwin's Feste. When hilt, the jester can be the most welcome ;tage; in this production, he was barely worth noticing. 1 the leading roles of Viola, Olivia and Orsino ubplot performers, understated, reserved and ' Langham's direction. Megan Gallagher, as in occasional effort to act more freely, but idrew. student John Stehlin, as Orsino, and Margaret rio ^ ^ 11 J? ? Al ? ?i?, uiopajr^u ujc adlllC UIIIUIICSS US llltJir 'ANY refused to take any chances with ht," which today can be poison in a i production. Novelty is what distinguishes a i presentation now, unless a top actor such as n or Laurence Olivier is in the cast. formance had no ambitions other than to be cal rendition of a play that has been staged ce 1602. A director need not use a setting such costumes such as leather jackets to create a "create" is the key word here; a professional >e able to create a sense of originality, and The riy did not. performance was not odious, but it was dull. Of uomtxiies, rweuui iNigni moves along most lilariously if done well, but clunks and clatters ay this was one presentation that made quite a