The gamecock. (Columbia, S.C.) 1908-2006, April 15, 1983, Page 8, Image 8
.entertainment
DIMU /iaIC ' !
jpr n i
By John Vaughan
With "Everyman," USC is closing its 1982-83 theater season in
the admirable spirit of "the old college try."
Adapted and directed by Russell Green, the production ggi
represents all the best aspects of university theater ? innovative
styling, technical expertise and enthusiastic exposition ? and
although it doesn't always succeed, one has to admire it for its I
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wunngness 10 ia*e tisks. i ^
Considered the greatest of the English morality plays, the _
anonymously penned work has been performed since medieval |
times. It must be adapted in some form for presentation, and this ;
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DIRECTOR GREEN has certainly not held back on novelty; j
we meet his Everyman riding a mechanical bull in a Texas p;
honkytonk bar. [
That's rieht. In the hest "Gillev's" tradition. fo
I liked the idea, from the moment I walked into the theater to
the strains of Kenny Rogers' "The Gambler." Green has made an |
obvious choice in bringing the play to the 1980s, but he has also
recognized the subtle foil of the bar scene ? with its would-be [
cowboys and sad single women, its smoky offer of escape from
the rat race, and its endless stream of cliched lines and phony
pickups ? for the not-so-subtle preaching of the moralistic
material.
The country music is sad, sweet and ripe with self-pity, and the
patrons represent the specter of modern middle-class humanity.
*** ? ? * 1 * * ' f- -1 1 1 U A
i ne cnaraciers, aesigneu as various nit: contepis, aic ucic uiuugm
down to flesh-and-blood men and women. Green's vision of
Everyman as the Urban Cowboy is both fair and funny.
GREEN APPARENTLY did not feel this was enough, though,
for he has made a more elaborate decision in adapting his script
into rhyming couplets.
That's right. In the best would-be Moliere tradition.
This doesn't come off as well. While Green demonstrates fine
structure and a little humor, the Texas twang stomps over some
pretty corny lines. One cannot fault his creative intent, and should g
admire his dedication in completely re-writing the script, but it's [
just not a very good or very necessary innovation.
The most shining aspect of the production is the technical side
of things. "Everyman" is technically the most impressive show ^
USC has staged this year, and Green makes full use of /,
Longstreet's potential.
t
UPON ENTERING the theater, the audience sees the central
stage dropped beneath floor level, with a long rope from the cat- I
walk to the ground. Peering down, we see what appears to be a >
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David Bowie's newt
By Marc Fink
David Bowie has perhaps gone through more personality shifts
than any other rock performer, and with his latest album, "Let's
Dance," Bowie turns yet another "chic."
Produced by Chic mastermind Nile Rodgers, "Let's Dance"
would be a good album for a performer of lesser stature than "the
man who sold the world." Rodgers diminished Debbie Harry's
persona on "KooKoo," and he does the same thing to Bowie here.
It has been three years since Bowie's last studio album, "Scary
Monsters." In the interim, he has released filler such as
"Changestobowie" (a second "best of" package) and the soundtracks
to "Baal," "Cat People" and "Christiane F." Bowie fans
have been barely satisfied.
"LET'S DANCE" isn't that bad; it's just bad for Bowie. The
title track, a decent get-up-and-party tune, should crack the Top
10 within the next week or two, and the album should do well.
Two cuts on the record were written or co-written by other ar..
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tists. "criminal wonu is a tunc num 1710 uy 1 bi^i uvumu,
Duncan Browne and Sean Lyons. "China Girl" was penned by
Bowie and Iggy Pop. Bowie revived Iggy's career in 1973 and
1977, and Godwin and Browne have both released solo efforts.
The latter tune features a guitar opening straight from the pop
shop, similar to the one used a decade ago in the movie
"Chinatown." "Criminal World," meanwhile, is a more danceoriented
number with the best guitar solo on the album.
The opening cut, "Modern Love," begins with scraping guitar
before being dominated by stylized saxophone lines from the late
1950s. Bowie throws in some degree of wordplay:
wmmmmmmmmmmmmmmmmtmmmmammmmmammmmmmmmmmmmmmmmmamm
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Photo by Dave Grimley
Mert Hatfield, as Chance the narrator, strikes a ir
>ensive pose during (JSC's production of 3
'Everyman/' set in a Texas honkytonk bar. g
>ar, though the set one story below is dark. - p
Within the next few minutes, we hear God (the voice of Sandria g
leese) floating from the overhead sound system; we see Death (Jo n
\nn Fithian), hanging onto the rope, raised from the ground c
Carolina Ali
H Carolina Alive, (JSC's pop *
cert in Russell House Ballroo
formance before touring Roi
will perform a few number!
Director Richard Conant. Adi
p.m., is $2 for the general p
is* album seems ins
Modern love walks beside me
Modern love walks on by
Modern love gets me to the church on time.
tlusiinii mul one is witnout you, no relation to tne
1970s' hit by Badfinger. This song has the most interesting vocal
inflections on this side of the vinyl, as the boy keeps swinging.
"Ricochet," the most adventurous track on the album, leads
off side two, and is the song most Bowie-philes will most appreciate.
The despairing lyrics recall Bowie's earlier and more exotic
style:
March of flowers, march of dimes
' / */i n est /if/i / Lt st m r /li nr/i /#? /> / It /j / ?? ?
i ricjc. u r c inc yr ificjc ufc #fic tf ffficj.
Obviously the best cut on the album, "Ricochet" offers flowing
percussion, flourishing horns, the LP's best lyrics and other
worldly voices.
A fiery, punchy version of "Cat People" gets started much
sooner than the dragging version on the movie soundtrack, with
double the energy and an added opening with guitar distortion.
^-ai reopie mentions tears so oiue, ana me aioum s closing
tune, "Shake It," reflects this as "feeling blue." This is the
most Chic-like of the LP's songs, and adds to side two's meager
superiority over side one. The lad seems insane about funk.
ALL OF THIS adds ud to the inescaDable conclusion that this is
a weak effort for a musician of Bowie's stature. The release of a
Bowie album is often an "event," but in this case, only his signing
of a double-digit million dollar contract with EMI Records is
noteworthy.
ge try' 1
or; and we see silent bar patrons miming below before the
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chanical bull ? as Longstreet's hydraulic stage elevator brings H
: barroom up to our level.
ff those nnfamiliar with Longstreet's superb facilities are still
impressed, a mysterious fog seeps up from beneath the boards,
see a cross of light beamed on the stage as a symbol of Christ ft *
d later a trap door in the stage floor serves as a murky grave,
reehnical director Tim Parsons, lighting designer Eric Tishman \
ri cAt ri#?cionnr Sucan riratch have wrought impressive work, and j
een's directorial decisions along technical lines are flawless. H.
atch's set is handsome, solid and superbly crafted; Tishman's
hting design is nothing short of fantastic.
BUT ENOUGH marveling at the production's strength. The
ference to "the old college try," makes it obvious the show did
t wholly work for this reviewer. j
The contrived couplet styling is too much to overcome, ancU| ||f
a f^u; or>nH nprfnrmances. the characterizations do little to j
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Ip the delivery.
Hope Nunnery is wonderful as Preacher, and is easily the j
ow's finest performer. Her characterization is right on target, as !
e strums her beat-up guitar and "preaches" by singing with
mflaMiAn coi/nrol orxiintru hallaHc
tai Jill 1LLUUJ1 OWWIUl VVUIllI J UMUMMV,.
Mert Hatfield is gruff and mellow as our narrator, Michael
jrgess offers some levity as Five Wits (the bartender), and
noebe Dillard is pleasing as Good Deeds.
The entire'cast is well-cast physically, and most are adequate,
s Death, Fithian would have been better off not speaking at all, ;
iwever. She cuts a beautiful figure, dressed as a glittery^
jnkytonk queen in black. But her voice is too sweet, and he
livery is weak. A friend suggested some fear might have been inrjected
by miking in a male voice for the pretty, tall actress'
"r-ii-ior rwtainiv this is thp tvnf? of innovative thinkine behind
luch of the production.
STAN ASHLEY begins with too much whining as Everyman,
lit improves somewhat as the show progresses. Still, we lose invest
in his character, and our imagination races ahead to what
le next character he meets will be like.
The final analysis! Perhaps a nod of approval for a creative and
iteresting effort. After all, even if your college team doesn't have
perfect season, it's easier to respect them when you know they're
iving it their best shot.
"Everyman" runs through Sunday, with performances at *
m av/>ont fr\r a 1 n m QnnHav matins Tirlfptc arp $4 fnr fhp
eneral public; $3 for USC facultystaff, senior citizens and
lilitary personnel; and $2 for students. For more information,
all the box office at 777-2551.
ve celebrates
trsary Sunday ir
singing group, will present its 10th anniversary conm
Sunday. This will be the group's last public permania
and Greece in May. Carolina Alive alumni
5 with the group during the concert, according to
mission for the performance, which begins at 6:30
lublic and $1 for students. W
ignificant
David Bowie's latest album is a far cry from the
musical heights of his early career.
i ne oacKing musicians piay rote iicks, especially wnatever boring
guitarist is fumbling behind the work of former Bowie
sidemen Mick Ronson, Earl Slick, Adrian Belew, Carlos Aloma^i
and Robert Fripp.
"Let's Dance" is simply Bowie's most shallow, insignificant
studio album of original material. Young Americans will probably
buy it, nevertheless.