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.entertainment. Summer renei wia i i H 11 m H m By John Vaughan With a comedy, a contemporary drama and a children's show waiting backstage, USC raises the curtain on its 1983 summer rr?r\nrfriin or* ?-* f r\mnht 1 T r\ /?ot r nnt ^ jvawii U/III^IU ai LUU^UV;V,I . .i.7 . Theatre with an unusual musical. Set in an abandoned circus tent, "The Ifl Roar of the Greasepaint ... the Smell of the Crowd" combines some obvious morality Director Richard Jennings reportedly is j^HaSsSB^ stressing the play's showmanship, and the 9 theater department recommends the show ii 3 /\r* appropriate Beginning tor a The summer repertory concept places'four plays in "rolling repertory" ? meaning each is placed into a rotation where it receives several brief periods of performance across 1'?^ ?-v? *-\ c-1 r\ f t ?. 11 m n r* ['4 V 5: luu^i wi 111 v .1 u n 1111 v, I n This is professional theater, though most P|||| -*** of the faces in the repertory company will be ?lal familiar to local theatergoers. WHK The company is, in comparison to other |f|ifjg& similar programs, quite small. Ten actors " and five technical crew members are being paid as company members this year. THE CASTS are not limited to such numbers, however, as several USC students and some others have roles in shows. from 9 a.m. They're just not getting paid for it. 6:30 - 10:30 p Some company members jokingly claim that none of them is actually paid. When one SUCH A w considers the sheer man-hours required of -"an only be u theui and the wage they receive, though, it ihe theater. N may noi seem sucn-a joKe. mciuucu uic j. There are three rehearsals daily; sometimes ' he walk to Lc for 'hree different snows, sometimes not. Tb^pter dep iesuiuay unu Ai^i.uu), ' oicasepaiiil .a?. readied for opening night with rehearsals In addition ftrmin'o Vnnl/ theater yiuyp o i uoi\ II iuu iui By Allison Stein Styx brought unique approach to concert performing :o an enthusiastic crowd at Carolina Coliseum Sunday night, and it proved to be an extraordinary show. Thev call it "rock theater," and it was more rlian just a concert. The stage show, based on their recent "Kilroy Was Here" album, incorporated film and theater with live concert. The show opened with an 11-minute film establishing the characters and background story. Rock'n'roll has been banned by neht-wing evangelist Dr. Righteous and his Majority tor Music Morality, and rock star Robert Kilroy (group leader n^nnic HpVnnnnl hnc hppn tmr\ricr\n?>^ fr\r Uor* IVV1IIII ? v a wuiif./ mu v/\-v?? uupn,}Ull\.u Ivy I UV.1 *lUt U1V, U?I1 and murdering a MMM member. KILROY MAKF.S a daring escape dressed as a robot prison guard ("Mr. Roboto") and takes refuge in the Paradise Theater, now the Dr. Righteous Museum of Rock'n'Roll, where he encounters music underground leader Jonathan Chase (guitarist Tommy Shaw). Here the action moves from screen to stage as Kilroy explains to Jonathan what actually happened at their final concert. The group then takes the stage in a flashback to the concert. Except for the occassional references to Dr. Righteous's ban on rock'n'roll and the flashing neon "KII.ROY" hanging over the stage, one forgets the plot and is wrapped tip in pure Styx. The concert flashback was the longest segment of the show, D 1 fl MAUI S* I L I I I'M M l WM i ryiun 5 iibvv diuuiii 5Ui|jj j faBM ? - rj^J | . 1 J^p' j j J* Foursome improves overall with "Chomp" k"4- nrtf 4*1* nifnv f i iui y incaici u SOME CAST MEMBERS OF SUMMER REP'S FIRST PLAY Demonstrate antics in unusual musical opening tonight 12:15 p.m., 1:30 - 5 p.m. and features Moss Hart's popular cor ,m. Up the Sky," Lanford Wilson's claimed "Tallev's Folly" and "C ork schedule, the actors say, by children's playwright Brian \ ndertaken through a love for ''Greasepaint." written by o pay ? or the Si25 the full Anthony Newlev and Leslie Brie >aid a week ? is hardly worth in Britain in 1964 before runmnj mgstreet Theatre. rhs on Broadway. artrnent members say rhev nre joiiv ..it :v.u. on s ^oicnual. jjAblt i, i ?/i v,jv. to "Greasepaint," the lineup allegory aoout a little guy, C ' orovides settina for u and the group played many of their hits, including "Blue Collar Man (Long Nights)," "Renegade," "Miss America," "Babe" and several songs from "Paradise Theater" and "Kilroy Was Here"'. I'HE GROUP Kept the audience involved with both the music and the storv, inspiring cheers for Kilroy's rock'n'roll and jeers for Dr. Righteous' morality. Theatrics burst rack in at intermission, when the standard announcement was interrupted by a dark voice ordering "Stay right where you are \ ou're all under arrest for defying the ordinance canning rock nroil." Dr. Righteous (guitarist James Young) and cronies Col. Hyde (drummer John Panozo) and Lt. Vanish (bassist Chuck Panozzo) descended upon the stage to smg "Heavy Metal Poisioning" before the real intermission began. The group returned to the stage for Act II and played more of their hits, as well as rock classics "Twist and Shout" and "Great Balls O' Fire." Kilroy talked about reaching for your dreams, proclaiming, "If you've got the will, you will find the way," as an introduction to "Come Sail Away." r\ n ? - l x i . . ur. Kignieous ourst onto me scene, turning tne "concert" into a riot and ending the flashback. Kilroy and Jonathan resumed the stage, ending the show with a vow to revive rock'n'roll and a reprise of ''Don't Let It End." Most of the show was full of energy, and the sound was good, although some of the older material dragged. Each perasses last; it's better to c By Marc Fink ryion, irom musically leruie Atnens, ua., display new talent on their second album, "Chomp." The minimalist dance band has improved so much that "Chomp" towers above their last album "Gyrate," released in November 1980 and renders it superfluous. "We were still pretty green on our instruments and in the studio when we made "Gyrate," says Curtis Growe, drum I mer. "Lnomp" is a drastic jump, but it's also a logical progression. It's not a predictable record, but people will recognize it as us." The quartet featuring Crowe, Michael Lachowski on bass, Randall Bewley on guitar, and singer Vanessa Briscoe, performs dance music without using synthesizers or saxophones, instruments common to most dance-oriented bands such as Thompson Twins, Spandau Ballet, Duran Duran and Human League. Despite such sparse instrumentation, the technical knowhow of Chris Stamey and Gene Holder of the dB's, adds depth to the sound, not to mention a slew of over-dubbed effects. For further reference on Stamey, check out his solo album "It's A Wonderful Life," which, like "Chomp," was recorded at Mitch Easter's acclaimed Drive-in Studio, in believe-iltor-else Winston-Salem, N.C. ' > " "Chomp" features 12 original songs, four previously available on singles, for often performed live by Pylon and ipens season Stephenson) who is failing,at the game of life because he is playing by the decadent rules of With a chorus of urchins led by The Kid (Claudia Anderson) providing backup, Cocky and Sir sing their way through the twists of the game and all tares well at the P"We're going to start a new game. Cocky announces. "With new rales and new hopes and fears and a whole new feeling of good J The show contains 18 nui>val numbers. !">vo of them attained some popularity in the !%0s: "On a Wonderful Day ! ike Todav" and ''Who Can I Turn to When Nobody "GREASEPAINT" will ..m through and 28. "Crossroad*.'"*ai j\e children's production, will plav July 20-23 and July Season tickets are available, and ailow the buyer to see three of the four plays. These tickets cost $10.50 tor 'he general public; 57.50 for USC facultvstaff, senior citizens nedv "Light and military personnel: and $5.50 for crtticallv ac- students. Crossroads,11 Individual tickets tor "Greasepaint" will Vav. cost $4.50, $3.50 and $2.50 in each category. Englishmen Tickers for "I it>hr l,'n the Skv" and usse. opened Tallev's Follv" are $4. $3 and S2 in each i seven mon- category. "Crossroads" ticket prices are structured d:i :'e<vmly. !"?: ' i,;o?c nt-'>rrr?anon and 11 \ , ?. ail ' I .c tc. CO.*. Oi..Cc ti. ocKv (Avon "77-2551. top-notch concert former had a personality and stage presence all his own. DeYoung had a mellow, detached air about him in the beginning, but as the show went on, he succumbed to the sound. Young was in constant motion and always smiling, and Shaw nati a wonucrtui connection vvitn tne audience. THERE VVAS a definite contrast of style in the sound and presentation of tneir old and new material. The older songs were linhfpri in rivlc snH vp?llr?\v/c cr?fr ull_r?\/*?r nlnu/ off ante The material from the "Kilroy" album was lighted in stark blues and whites, with smokey haze, backlighting and a more electronic sound. The theatrical segments at the beginning and end had characteristic yellow stage lighting. The Kilrov <;torv incnirpH hv rpcpni o^r>iicatir?nc l-?\/ religious leaders that Styx albums contained "backward masked" satanic messages. The group has denied the accusations and consider kilroy shows a legitimate statement about extremism. They make the statement most clearly in the song "High Time": It's not the music (hat's in question It V met //i/i f .. -./no. ir,c jrccaum uj expression The message was loud and clear to the audience, who, at the end of the concert, were on their feet screaming for more rock'n'roll and definitely did not want to let it end. jyrate than stagnate r r ? ? luur 01 wnicn are new. Side one starts with three hot tunes: "K," which gains texture throughout and features a memorable guitar hook, "YoYo," which is the closest thing to funk on the album and is about being held on a string, and "Beep," the band's last single with great interplay between guitar, bass and drums. "Italian Movie Theme," an instrumental, is the least track on this side. Following it are the haunting "Crazy" and angry "M-Train," paired on an early single, the former including standout guitar, the latter with bouncing bass. The material on side two doesn't fare as well as side one, as only two cuts, "Gyrate" and "No Clocks," rank with the tunes from the first side. The other songs have their moments; the lyrics and drum patterns on "Rentilec" thp u acc fir?o<?rina , ? ".v v/uLiu ????e> on "Altitude," the tempo on "Spider," and the overall sound on "Buzz," aren't bad, just less satisfying than the other songs. Unfortunatley "Chomp" does not include a lyric sheet as "Gyrate" did, but that is the only complaint this reviewer can make after comparing Pylon's growth and increased dexterity. Vanpcca Rricpno ? ??*' anv^uiu uc geiung some notice as her singing expresses a wide range of moods which do more for the lyrics than the words themselves. Pylon is an enjoyable dance band avoiding the cliches of adolescent sentimentality, and on "Chomp" they show it's better to gyrate than stagnate.