The gamecock. (Columbia, S.C.) 1908-2006, March 30, 1983, Page 13, Image 14
- 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.
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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