The gamecock. (Columbia, S.C.) 1908-2006, July 11, 1990, Page 5, Image 5
Trustus Theatre
By DENNIS SHEALY
Carolina Life Editor
Today, the budgets for movies and plays seem to
grow larger and larger as sets and special effects take
the place of good acting and good scripts.
Therefore, it is refreshing to see a well-written play
produced so that it relies more on the talents of its
actors rather than costuming, set and other eye
pleasers.
The Trustus production of Mass Appeal is simple in
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Director Jim Thigpen allows his two very talented
actors to perform on a stage uncluttered by unnecessary
props or extravagances.
This by no means should lead the reader to think
the stage is bare, rather it is minimalistic.
The stained glass window created by the Trustus
production crew is simple yet realistic and beautiful.
The stage otherwise only holds the appropriate furniture,
which allows the audience to visualize both
Father Tim Farley's office and the St. Francis Church
on the Trustus stage.
However, as said before, the stage is merely a place
for actors to act and that is precisely what Ron Hale
and Firdous Bamji do.
Ron Hale is convincing as the settled Father Farley
whose convictions have been worn away by drinking
and catering to his upper class parish.
Hale is both funny and sad as the priest who sees
all that he was and now is not a brash young seminarian.
Hale's raspy voice and round, drawn face leds
well to the character that become wearied by the realities
of the world.
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las 6Mass Appeal'
When he tells Mark, the young seminarian he has
taken under his wing, about how he refused to speak
to his mother for years and the guilt he now feels is
Hale's most touching scene. Hale's delivery of his last
monologue is quite humorous and dignified yet thoroughly
convinces an audience that he has reclaimed at
least most of the conviction and belief he once
possessed.
Bamji also gives a good performance, but one that
at times seems too subtle, like he is not Quite willine
to give up some emotion to either the audience or the
script.
His performance does convey the sort of naivete to
the politics of religion and idealism his character
symbolizes.
Throughout the first act the two actors lack that certain
chemistry that make a performance great. Their
individual talents make up for this, but there is a certain
sense that some sort of attraction is absent between
these two.
This changes in the second act, when the emotions
between the two grow and they find themselves fighting
on the same side.
Mass Appeal may not be without faults, but it is a
must see.
The play clocks in at a good two hours, but Thigpens
pacing and the wonderful acting makes the time
go by all too fast
Many rounds of applause go out to every one involved
with the production of this play, because it is
damn (Oops, sorry Father) good.
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