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Owner locks down Senate Park BY COREY GARRIOTT THE GAMECOCK A locksmith and Senate Park’s property owner changed the venue’s lock’s ypsterday and shut it down for at least one night, ac cording to former Minutemen bassist Mike Watt and the Specs bassist Scott Padgett. Both Watt and the Specs were scheduled to play a show at Senate Park last night. Watt had the gig moved to the New Brookland Tavern on short no tice. He played after three Carolina Homegrown opening acts that started at 10 p.m. As for Senate Park, “it’s closed now,” said Padgett. There were no eviction notices on the front doors at Senate and Park streets or at the side doors. The venue, operated hy Stellar Entertainment, might reopen soon. Calls to Ryan Goforth and Dave Britt of Stellar Entertainment were not re turned. Watt and Shawn Krauss, the Specs’ drummer, were at Senate Park when the owner and a lock smith showed up, Padgett said. Watt had just arrived from Charleston. “We rolled in, go to the pad, never played there—and there’s a locksmith there changing the lock,” Watt said. “And the owner comes — says he’s evicting these people.” Watt said he called his agent in New York City to get another spot. He said he rarely plays in the South and wanted to do a gig. Jonathan Dunagin, the book ing agent for the Tavern, quick ly improvised a show last night for the high-profile acts. Comments on this story?E-mail gamecockmixeditor@hotmail.com PHOTO BY COREY GARRIOTT/THE GAMECOCK The Specs’ Shawn Krauss and Scott Padgett hang a sign at Senate Park to redirect fans to the New Brookland Tavern. I Review CONTINUED FROM PAGE 8 a girl to Niagara, where she prayed to be transformed into a drop of water. Kapralov doesn’t have to ex press Tai’s thoughts in italics the way he does with those of the oth er characters. And he spends twice as much time developing Tai’s character through references to all the movies she’s starred in and the time she spent in a sani tarium trying to break her addic tion to morphine. Some of the book’s best scenes involve Tai staring off into space and reminiscing, plucking the eye balls out of the sockets of Satanists or skewering them with hot pok ers. Sure, some of it’s trashy, but it’s better than watching Yuri sur rounded by horse corpses and drowning himself in vodka. Captain Ahab wasn’t even on the radar screen in the first draft of Melville’s masterpiece. It looks to me like Nata Tai, the bisexual witch, like the one-legged sea cap I tain in “Moby Dick,” didn’t mate rialize in Kapralov’s plans until the third quarter of a second draft. Kapralov’s style could also use some work. Words like “quite,” “very,” “even” and “extremely” should be expunged from the English lan guage. They sap the power out of any sentence. But Kapralov obvi ously doesn’t consider these words so bad, even if they’re extremely irritating. His writing is littered with these useless prose decora tions, which get in the way of the story trying to unfold. Also, sentences such as, “Nearly 100 members of the organization had been shot in the past two days alone, as well as hundreds of inno cent people” belong in a textbook — or maybe a Tom Clancy novel. But you have to give Kapralov some credit. Tai will fascinate those readers who can wade through 100 pages of ultimate nothingness. If you order this one off Amazon, start on page 150 and indulge any urge to skip ahead. Comments on this story?E-mail gamecockmixeditor@hotmail.com I London.$379 andN0T Paris.$445 juSfc online Amsterdam..$486 Prague.$497 Fare is roundtrip from Columbia. Subject to change and availability. Tax not included. Restrictions and blackouts apply. (800) 297.8159 W^.. www.scacravel.com ISIC onune ** on t«€ PHone » on cnmpu/ »> on the /TfteeT . ‘Crucible’ CONTINUED FROM PAGE 8-* Parris is obviously just a terri er among gTeat danes; Schilb’s brilliant and refined portrayal of this character never lets you forget he is there. He plays it with a realism that makes one realize why the theater is so wonderful. Guest Director Eric Hoffmann, back after his hilari ous performance in last semester’s “You Can’t Take It With You,” has the entire pro duction running like a well-oiled machine. Kimi Maeda’s set de sign, which at first seems sim plistic, actually adds many lay ers to the production and was ob viously carefully developed. Though the reasoning behind the constantly slanted stage floor was not quite clear, it was cer tainly an original and interest ing choice. Combined with Gary Peoples’ light design, the stage setup completed a polished and sophisticated production that is a fitting end to a fantastic season. . “The Crucible” will always be remembered as one of the great ' American* plays, and rightly so — as long as quality productions like this one are around, no one will forget. Even if you hated your high school literature course, you owe it to yourself to go and enjoy this great produc tion. “The Crucible” continues at Longstreet Theatre through Sunday. Call 777-2551 for tickets and performance times. 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