The gamecock. (Columbia, S.C.) 1908-2006, March 30, 1983, Page 13, Image 15
-entertain men'
' Sold-out Bal
By Jim Van Arsdale
r ew 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 by the
^ sold-out crowd that did an excellent job of
dressing up for the occasion.
R.E.M. opened the show with a few tunes
r At. _ ?
11U1U [\m LP, Uironic 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.
-
|' fie? xuf %
Photo by Dave Grimley
R.E.M. Jead vocalist Michael Stipe twists
and shouts during one of the band's 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
(? 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.
Kumin won the 1973 Pulitzer Prize for her
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.
Hpr latoct hnnlc of rwvtrv "Our firnnnH
Time Here Will Be Brief," and a book of
The Acting Com
"jtirSiMHwi
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v . JgflRBH
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Malvolio (David Minis) reads a lova letter he b
Olivia as some of his tormentors look on in "Twel
*
Iroom concer
The band's big hit, "Radio Free Europe," WM
was a definite crowd favorite. Lead singer
Michael Stipe's twisting body added greatly ||?
to the crowd's excitement.
FOLLOWING R.E.M., The Beat delivered S
close to 1 1/2 hours of solid entertainment. [
They opened the show with one of their ^9
biggest hits, "Twist and Crawl." i /
Both vocalist Ranking Roger and H
guitarist/vocalist/songwriter Dave i
Wakeling did-fine jobs getting the audience
to dance and sine. After "BiBshot " from the I :
band's first album, "I Just Can't Stop It," |
Roger yelled to the crowd, "Can you feel it H
pumping?" They could. f
The English Beat's stage was set about six H
feet off the floor, and the group made full
use of the excellent lighting system. As they H
played "Mirror in the Bathroom'' later on in 9
the set, spotlights were put on two mirrored B
balls on either side of the stage for extra H
effect. Also during this song, Dave | ;
Blockhead came from behind his keyboards j
to do a jig with Roger. [
Other songs included the band's remake
of "Tears of a Clown" and "Hands Off.... _
She's Mine." One of The English Beat's
more political songs, "Stand Down pai
Margaret" (about British Prime Minister SQr
Margaret Thatcher), was another crowd fh
favorite. ^
the
THE BAND played most of the songs off to *
their new album "Special Beat Service," pla
including "I Confess," and "Jeanette," Lai
which was dedicated to all the Jeanettes in
the audience. I
The last three songs of the first set were wh
from the new album. They included "Spar by
Wid Me," "Sole Salvation,"(which featured clu
some excellent bass guitar playing by David she
Steele) and "Ackee 1,2,3." 1
Aftpr thp first nf Rnflpr'c lpanincr anH Kv
-.-O f "fc> ?"" "J
hopping, Steele's constant reeling to and fro rer
with his bass and the display of Wakeling's Cli
ining poet reads toi
short stories, "Why Can't We Live Together
Like Civilized Human Beings?" were
published simultaneously last year by I
Viking Press and Penguin Press. I
Kumin is now serving as a visiting \
professor at Princeton University and is 1
Consultant in Poetry to the Library of [
Congress. ?|
While much of contemporary poetry j
reflects a chaotic and meaningless H
universe, Kumin is one of a small group of
poets who insist upon order, upon finding or j
creating meaning where others deny it H
exists. j
"I think there is an order to be discovered, k
that's very often true in the natural world, H
but there is also an order that a human can H
impose on the chaos of his emotions and the %
chaos of events," Kumin said of her poetry.
inan\/ falk chnrt r
J I U1IU UIIUI I W
I By Pamela Shaw
Since its inception in 1972, T
received extraordinary praise fr<
But Monday's performance of
Night" at The Township provided
compliments on the cast and crew.
Professional acting companies
amateurish as this one was.
Presented by the USC Cultural
was the only S.C. appearance of
schedule that began in August. It i
three years that "Twelfth Night" h
Company's repertory ? but that
applause Monday night.
IN THEORY, there was noth
formance; but on the other hand
about it. Director Michael Langh
conservative and loyal to the te
rather blase.
"Twelfth Night" is an extren
woman named Viola who discnisp
^Hj subplot concerning a stuffy stew
IB on ^at *s ?^en more a
&S* &JbI Langham, however, managed I
comic material away, and his per
MP characters and many of Shakes
!P|||. Chief among the subplot cha
steward, a pompous and thorough
character that can make or break
potential. Thankfully, David Man
_ s best performance as. Malvolio, w
viiavow <9 ii um almost salvaged the subplot a
Ifth Wight" v -characters^ >v~ - 4
t wins loi
HL
** *
he English Beat's vocalist Ranking Ro
"form before an enthusiastic Russell Hoi
gwriting talents, the crowd refused tc
band leave.
Vith deafening chants of "Beat, Bef
audience was able to convince the b
:ome back for its first encore. The B
yed their most recent hit, "Save It
ter."
T WAS followed by "End of the Part
ich included an excellent saxophone i
Wesley Magoogan. The last song
ded "one minute, twenty seconds
;er madness," according to Wakeling.
^his turned out to be true as the band,
lead toaster Roger, gave an excel]
idition of a first album tune, "Cli
ck."
night as Writei
Hp- -- JSXfsm "
' " 'yV.^^^r^ ^_?C- .':
3 J P^fS
Maxine Kumin
if 'professior
UNFO
: ; ? 7"? enough t
he Acting Company has Toby
)m critics and audiences. (Andrew
Shakespeare's "Twelfth rr
very little cause to lavish funniest
Partici
simply should not be as played t
characte
t Series, the performance noticeab
the troupe this year, in a The ac
narked the second time in were, lik
las been part of The Acting constrair
decision did not deserve viola, m
eventual!
Forme
ing wrong with the per- Reed, a*
I, there was nothing right counterp
lam kept his structure so
xt, it was unoriginal and THE <
"Twelfth
lely funny play about a Shakespt
s herself as a man, with a Shakesp*
ard and a practical joke Richard
musing than the main plot But th
another
to throw nearly all of the repeated
formers ruined some good as Harle
peare's best lines in the different
fr?Ai i wo o 1
VI Ol
racters is Malvolio, the Acting C
ily unlikable fellow, and a Overal
much of the play's comic ?
is turned in the evening's smoothly
ith an excellent portrayal ** n(^nd
overshadowed the main Sufficc
v." ?- v ' ain. '
id applause
f ^
photo by Dave C.rimlcy
ger and guitaristjvocalist/songwriter Dave Wakeling
ise Ballroom crowd Monday.
let Once again, the fans refused to believe it
was over and chanted "Beat, Beat." One fan
it," had to be removed from the stage after he
ind used Roger's microphone to help the crowd
eat chant
For For its second encore, The Beat opened
with "Best Friend" and closed with an
extended version of "Jackpot." During
y," "Jackpot," Roger shook hands with some
;olo crowd members.
in- If the USC crowd's response to The
of English Beat is any indication of what the
band has experienced in the South thus far.
led we should be seeing more of The Beat in the
ent future. This idea was attested to with
ick, Wakeling's closing words: "We'll see you
again."
rs Series continues
I "That's what writing poetry is all about,"
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
tr r_n A I i J -
I senes, tYuiimi ioiiows noiea merary critic
Richard Ellmann, British playwright Tom
Stoppard and Pulitzer Prize-winning poet
Howard Nemerov. Acclaimed novelist Toni
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.
iol' n+ Tmnmokm
icai qi i uvvnoiii|J
RTUNATELY, Manis' talent was ultimately not
o cover the weaknesses of his three tormentors, Sir
;lch (Richard Iglewski), Sir Andrew Aguecheek
McGrath) and Feste, the fool (Philip Goodwin).
>les were discarded ? and with them, the play's
lines.
jlarly disappointing was Goodwin's Feste. When
o the hilt, the jester can be the most welcome
r onstage; in this production, he was barely
le. Or worth noticing.
tors in the leading roles of Viola, Olivia and Orsino
e the subplot performers, understated, reserved and
?ed by Langham's direction. Megan Gallagher, as
ade an occasional effort to act more freely, but
ly withdrew.
r USC student John Stehlin, as Orsino, and Margaret
? Olivia, displayed the same mildness as their
arts.
COMPANY refused to take any chances with
Night," which today can be poison in a
sarean production. Noveltv is what distinguishes a
iarean presentation now, unless a top actor such as
Burton or Laurence Olivier is in the cast,
is performance had no ambitions other than to be
classical rendition of a play that has been staged
ily since 1602. A director need not use a setting such
m or costumes such as leather jackets to create a
:e, but "create" is the key word here; a professional
lould be able to create a sense of originality, and The
ompany did not.
II, the performance was not odious, but it was dull. Of
ara s comeaies, iwemn iNigni moves along most
r and hilariously if done well, but clunks and clatters
i it to say this was one presentation that made quite a