The gamecock. (Columbia, S.C.) 1908-2006, May 01, 1985, Page Page 10, Image 10
Page 10 ? May 1, 1985 E ntertainment THE GAMECOCK
Atlanta hosts pc
By Art Boerke
ATLANTA - Rockcrs, punks, preppies, new wave fanatics,
you name 'cm, they were all here to see what is arguably the
best rock 'n' roll group in the world.
Only a small number of bands draw their audiences from
across the spectrum of musical tastes. U2 is one of them. At
lasi mgnt s soid-out performance at the Omni, the crowd was
as varied as possible.
Back on the tour after a brief respite, the Red Rockers opened
the show. The New Orleans quartet set the mood with a
spirited set of tunes from their last two I.Ps.
/\nmems iikc i-rccaom Kow and mood Ironi a Stone
got the crowd's blood pumping, and frontman John Griffith
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WHEN Til FY set into "China," from the "Good as Gold"
L.P, the audience erupted. But from the moment they appearred
on stage, U2 had absolute control of every living being in
the hall. Armed with a guitar, lead vocalist Bono punched into
"11 O'clock Tick Tock "
Throughout the opening song and the monstrous "I Will
Follow," David " The Edge" Evans manipulated his Explorer
masterfully. Weaving an intricate audio tapestry. The Edge
was the second pole of the magnet on stage.
The Edge look the lead mike for "Seconds," at times alternating
lines with Bono, l or this one, the Explorer was shed
and replaced with an acoustic guitar. A warning about nuclear
war, the song was typical of the message in the band's
nprfnrmimo'
"Two Hearts Beat As One" saw Bono exciting the crowd
I
'Lost In America'
Movie constructs
By Patrick Jean^
For those who sacrificed tie -dyed * lirts, peace pipes and a
Volkswagen for three -piece suits, tofu and a Mercedes, your
movie is here.
"Lost in America" is a hilarious lampoon of the yuppie
lifestyle and an interesting insight into the sacrificed ideals of
baby-boomers.
Albert Brooks directs and stars as David Howard, an advertising
man in Los Angeles. After many years with his firm, he
is prepared for a promotion to senior vice president. He's also
closing the deal on a new Mercedes.
JULIK HA(iKRTY plays his wife, Julie, the personnel
director in a department store. She's not bored with her
lifestyle, just blandly accustomed to it. She doesn't think
iwerful U2 to enl
Only a small number of bands draw their audiences
from across the spectrum of music
tactoc 119 k nnp nf thpm At last niflht's
performance at The Omni, the crowd was
from the monitor deck. Fans tossed roses at his feet as he
sane.
SI.OWING THK pace, U2 dedicated the next tune to "a
special man." "Ml K" was the first of three tracks from the
"Unforgettable Fire" disc produced by Brian E-lno.
The biggest crowd response came during "Sunday Bloody
Sunday." On ii stage awash with red light. Bono dedicated the
song to the Americans who lost their lives in Vietnam.
A white Hay made its way to the stage during "lilectric
Co." Bono took the symbol of peace as lie sang, and it remained
there through the next song. "A Sort of
Homecoming."
Dedicating the next one to a good friend who died from a
heroin overdose, tlie hand slid into "Bad." Near the end,
(JSC's production
in portrayal of hur
By Maria Baens
Can a musical about the life of a spotted, castrated horse in
Moscow succeed?
Amazingly, the answer is yes. Mark Rovosky's musical
adaptation of Leo Tolstoy's short story "Strider" couldn't
have more inspired life than that seen by a sparse audience Friday
night at Longstreet Theatre.
The story, definitely not Tolstoy's best, could have fallen
apart in less capable hands, but it succeeds under Thomas
Cooke's skillful direction with an admirable troupe of actors.
"Strider,"a splendid finale to the USC theater season, continues
May 2-5.
THE PI.AY begins when the piebald Strider is brought to
the stables. His "majestic and repulsive" old age and
mutilated appearance cause him to he ridiculed by the other
horses. As Stridcr, Bernard Addison shines with a truly adept
portrayal. He is a searing mass of emotions from delight to
passion, innocence to disillusionment. He convincingly
neighs, grunts, prances and gallops without ever losing his
humanity.
Not surprisingly, this play features a pervasive cynicism
toward human nature. Strider has lived a hard life and is
sentenced to be put out of his misery. He reminisces over his
long, sad life in flashbacks, teaching us about human frailties
in an embittered way.
The play's first half hour, built on an oppressive sense of
forboding, drags. It takes time for the audience to fully accept
the actors, dressed in Russian peasant costumes, as horses.
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cy. Although the transformation takes time, it works and is a
magical moment worth waiting for.
The pace quickens when Strider recollects the happiest years
of his life, spent as Prince Serpuhovsky's chosen steed. Their
first meeting is immediately tender. The prince treats Strider
with kindness, but the horse longs for love. The prince remains
remote and has never loved anything or anyone.
AS THE PRINCE, J m Manning slips into the role with
graceful ease. His sensitive transformation from regal, steadfast
youth to disillusioned, desolate drunk is wholeheartedly
real. He shakes with the drunken, pathetic recollection of his
past glory, his piebald and his French mistress Mathieu.
hilarious lampoon of
David's promotion will bring any exciting change.
David isn't promoted after all; instead, his boss wants him
to handle a l ord account in New York. He walks out in an
outburst that's among the film's funniest scenes. He screams
down the hallway, "Don't let this man take you to lunch.
Don't let him tell you about the future. It's a bald-headed
man Irnm Vnrl 1'
David then persuades Julie to quit. He wants to make up for
lost years, telling Julie, "Remember when we said, 'Let's find
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David cashes in his savings and hits the open road in search
of his soul. He bases his idea on the journey of Captain
America, Peter Fonda's character in "Easy Rider." When
"Horn To He Wild" is played as David's Winnebago heads
down a Los Angeles freeway, the effect is hilarious.
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Bono inserted bits of The Rolling Stones' "Ruby Tuesday"
and "Sympathy for the Devil."
THE EDGE was left alone with piano for "October," the
title track from their second l.P. The crowd grew silent as he
played, savoring every note.
The silence ended in a big way as he and the band's recmerKent
vocalist reached the final note and then started
"New Year's Day." Everyone was making some kind of
noise.
Amid the furor, U2 broke into the final song of their set.
"Pride" solicited cheers from the crowd. The Edge's craftmanship
and Bono's anthemic cries brought the energy point
m ils nnev. The four Irishmen dedicated the sontz to the Rev.
Dr. Martin Luther King Jr.. Stephen Biko, Gandhi and
Nelson Mandclla.
IJ2 returned to thunderous applause with Bono carrying his
guitar once again. This time, someone from the audience came
onstage to play it. The band plus "guest" performed a heartwarming
version of Bob Dylan's "Knocking on Heaven's
Door." At the song's close. Bono put his arm around his new
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THK IN F.VN "ABI.K masterpiece "Gloria" was next, and
the crowd went wild again. The temperature in the building
was high, but the level ol excitement was higher. The band
again left the deck, and butane lighters came out by the
thousands. ^
l or their last encore. 1)2 performed "l ourty." Most of the
lighters remained lit as they played.
of 'Strider' excels
rianity's frailties *
When the old Strider nuzzles his former master's shoulder
and the prince fails to recognize him, the sense of loss is heavy
indeed.
The other cast members certainly give their best. As the
stablegroom, Reid Davis evokes a tenderness often compromised
by a sense of duty. As Vazka, David Golan is as
bclicvably crucl as his general, played by Gary Heilsburg. As
the prince's servant Fcofan, Arthur Mortoin is delightfully
energetic and fun-loving.
As the flirt Mathieu, Wendy Wolff verges on burlesque and ^
then drops it like a hat to sing a rousing, bcautful rendition of
the song "Live Long Enough."
AS THE mare Viazapurika, Strider's only love, Natalie
Picow is sensual and delicate. As Darling, the stable's prize
thoroughbred, Howard Kingkade carries the only true comic
role with fervor. Handsome and dashing, Darling performs on
can, sputters ai me prince s rejection and knows his primary
function is to reproduce; he reasons, "We're animals." It's an
endearing performance.
Not everyone in the cast can sing, and not all the songs are
memorable or worth performing, but Sid Haton's nimble and
timely piano adds color to the play.
The costumes are elaborate, and the prince's grand black
coal and Mathieu's ghastly red tutu are real eyecatchcrs.
Thomas Sehraeder's scenery design is imaginative and
resourceful.
The story itself isn't inspiring. In Strider's eyes, no love exists
among humans. Any hint of it is easily surpassed by such
human frailties as disloyalty, cruelty and purposelessness. The
mood can be stifling, as the theme is repeated over and over.
THE HORSES, particularly Strider, are victims of the
same frailties. Darling is as light hearted and remote as the
youthful prince, and Via/purika is as flirtatious and disloyal
as Mathieu. Strider wants to break free of any form of owner
ship, yet at one point he wants to claim Viazpurika as his own. a
Despite the dreary message, the audience finds pleasure in ^
this engaging ensemble. When the voices wane and the horses
disappear, only the actors are left onstage, and they beam in
the loud and long applause they richly deserve from their
fpllrtiv humane
the yuppie lifestyle
m
l.IKh CAPTAIN AMhKICA. though. David finds life on
ihe road isn't what he expected. There are no Indians, junkies,
or hicks in a truck, but there is Las Vegas. Julie goes wild,
gambling away nearly all the money they had planned to live
on for the rest of their lives.
The couple's adventures then follow Murphy's Law, as
tvci yuiiii^ kc-in worse ui me wursi ume. uaviu eventually
resorts to work as a school crossing guard, suffering the indignity
of being harassed by children on bicycles.
Brooks is perfect as David. L ike Bill Murray, he delivers a
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some talented simplicity as Julie; she has improved since her
"Airplane!" days.
"l ost in America" is a fun, accurate sendup of empty ^
young urban lifestyles, lost dreams and midlife crises. This ^
cross between "The Big Chill" and "Easy Rider" delivers.