Tuesday, February 21, 1934
Page 10
Daily Ncbraskan
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By Kelly A. Ellcir.rccd
Paula Vogel's ,!,Vj, the University Theatre's cur
rent production, is the story, (that is, the "other
story") of Margaret More's brilliant and unique life.
Margaret was the daughter of Sir Thomas More, the
Review
famous martyr of the Catholic Church during the
reign of King Henry VIII.
Meg is not a history play, however. The audience is
spared of much of the historical action of 16th cen
tury Tudor England with its male dominated politi
cal hierarchies of Henry VIII and the Catholic
Church. These are seen as outside forces; the play
itself concentrates on how Meg deals with them as a
daughter, a wife, and a mother.
Margaret More Roper was an oddity in her era.
She was perhaps the only woman in her time that
was such a gifted scholar. The role demands many
layers of subtle, strong character choices. As Meg,
Kathy Gruber may have succeeded in bringing to life
the vital and growing woman that the script called
for, had she made more commitment. One could see
that she was making these choices, but somehow
they were lost in the space between the mind and
the audience's perception; she lacked the clarity
and energy necessary for the role.
On the other hand, Robert Jackson as the trea
cherous Cromwell, made subtle character choices
that cut right through his surface dialogue and
made me squirm in my seat. As Sir Thomas More,
Larry French continues his tradition of strong and
smooth delivery. However, there was a connection
lacking in the scenes between More and Meg, and
these were the scenes which should have been the
most powerful. '
Benjamin Miller as Meg's husband, William Roper,
was the surprise of the evening. His timing was
wonderful and I especially enjoyed the transition
scene which ends Act II when the once-stuttering
village idiot transforms himself into a literate and
effusive parliamentarian.
Perhaps the most touching scenes were between
Meg and her stepmother, Alice More, whose charac
ter was portrayed by the ever comic and capable
Susan Conover. Meg's struggle with her femmme
roles in life was poignantly made clear when juxta
posed with this gruff yet tender character. Conov
cr's portrayal was crackling with vitality and
warmth, and provided the funnier scenes in this
comedydrama .
The performance was almost technically penect.
The lighting by Phil Oglesby was very smooth, crcat-
ing needed contrasts between two person. scenes
and Meg's many monologues. I was especially im
pressed with the set, designed by Mary Ann J. Flem
ing. It really created the mood of a time long ago
with the dark red, green and'gold leaded glcss win
dows, and with the light of a single candle during the
blackouts. ' .
I would not say that Meg did not succeed; I c.lcn
felt the injustice that had been done to Margaret
More Roper and other potentially great women in
history. This is what the playwright intended, and if
a director and cast can make this kind of impres
sion,' they have fuelled their obligation to the
playwright, the audience and themselves, Meg con
tinues its run in the Studio Theatre every nkht this
week through Saturday. Tickets are available to
students at $3 and to the general public at $5 at the
Howell box office in the Temple Building.
Tom: ugly and unnecessary
Glenn: it 's an honest portrait
Excerpts from the cable television
program, At The Concession Stand.
Announcer: Yes, America,' it's that
time again. Time to put away the dog
and roll up the TV.
Tom: This week we're going to review
some really neat films. Let's start with
Hot Dog.
Glenn Siuva
GlenmHot Dog is the story of a cou
ple of crazy guys who decide the way to
get ahead in life is to open a hot dog
stand in Lincoln, Nebraska. Due to the
lack of film clips, Tom and I will act out
a scene from the movie.
Tom: "Gosh, George, I thought you
brought the mustard."
Glenn: "I thought you did."
Tom: "Oh no!"
Glenn: Ha Ha Ha.
Tom; Funny? You bet. I don't under
stand why they had all those skiing
scenes, though. .
Glenn: Well, it's like William Hurt
says, sometimes you just have to let art
pass through you1.
Tom: I can't really rate this film,
' since I didn't see it.
Glenn: You dummy! You weren't sup
posed to say that. -
Tom: Ha Ha Ha..
Glenn: Next film: Reckless.
Tom: Reckless is a remake of last
year's version with Richard Gere. It's
based on the Jerry Lee Lewis song.
Glenn: "You leave me, oohhh RECK
LESS!!!" Tom: He gets wasted at the end.
Audience member: You people are
phonies. We pay good money to see
your show, and then you sit and make
up stories about films you've never
seen.
Glenn: That's a pretty strong ac
cusation. ,
Another audience member: I'm leav
ing. Next time I'm gong to watch Siskel
and Ebert.
Tom: Yeah, well at least we're not as
obnoxious as Neal Gabler, even if we've
never seen a film in our lives. You've got
to give us that much credit.
Audience member: I suppose you're
right.
Nick Danger: "Far out, Catherwood.
Just roil a few bombers and leave them
on the sidetable."
Tom: You know, if there's one thing I
cant stand,; it's those idiotic Burger
King commercials. -.
Glenn: Yeah, I know, what you mean.
. Every time I see those things, I feel like.
. Toia: Which brings us to the subject
of this week's movies: Star 80 and
Silkwood.
Glenn: I said I don't want to talk
about those movies. I'd rather talk
about something meaty like Hot Dog.
Tom: Star 80 is simply an UGLY film.
Also, I didn't think the ending of Silk
wood seriously detracted from the film,
but was merely anti-climatic. So there.
Ill talk about anything I want to.
Glenn: Now there you go again.
Okay, x 2 11 play it your way for now.
These movies were two of the best
1933 had to offer. Both were well
directed, and had very talented casts.
StarSOw&s ugly, but sometimes things
are ugly, so you have to be ugly to pres
ent an honest portrait of it. If you can't
take a little ugliness then don't go see
ugly movies. I can't help it if some peo
ple lack intestinal fortitude. As for
Silkwood I thought the ending was
excellent. It's not often you see such a
tastefully done death sequence.
Tom: Ha! The joke's on you! I forced
you to talk about the movies I wanted
to. First of all, I don't think Star 80 was
one of the best films the year had to
offer, although I do agree that Silk
woodyvas. StarSOis ugly, not necessar
ily bad, but not necessarily good. Just
because a film is ugly doesn't make it
art. Actually, if Star SO could be consi
dered one of the best films of the year,
it would be purely by default.
Glenn: I never said that ugliness
made something artistic. I just think
the real reason people dump on this
film is because it's never light and
upbeat. People want some sort of com
ic relief, and Bob Fosse refuses to allow'
the audience such an indulgence. It
wasn't a pretty story. Why should he
try to make it appear that way?
Tom: Yes, but it's not a great filnC
Why do you persist in this fanciful
notion, like some Frenchman?
Glenn: I'm not saying it was a great
film. I'm saying it was photographed
well, directed well and acted well. If
you can handle a depressing movie, I'd
recommend it. If you can't, stay home
' and watch Three 's Company, or some
thing else that's more on your intellec
tual level.
Tom: You're the one who sits around
watching television all day. I didn't
consider it a depressing movie, just
ugly. I didn't consider the acting over
whelming. And it was well directed to
the extent that Fosse shows he, can
produce two hours of ugliness. I don't
consider this a film worth spending
$3.50 on. I don't recommend it. This
film was unnecessary. The best per
formance is by the fellow who plays
. Dorothy Stratten's husband, and he
Glenn: I refuse to talk cbcut this
anymore. . , ".. , W ; '.
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'Eichird Ctcltxrr.an will bs crr-- 3thth2 Lincoln Cyn
tra. Fcr ccrrIcte detail, zzz Arc --.J Tern.
Television
The Cafeteria is based on a story
by Pulitzer Prize winning author Isaac
Bashevis Singer. The story centers a
round two holocaust victims living in
New York City It is being shown as
part of the American Playh-oziss series
and airs at 9 p.m. on Channel 12.
Radio'"..
Fly By Night (7:30 p.m., KZUM
89.5 and 99.3 FM) features the best in
black music. The program, which is
hosted by Steve Woods, airs 7:30 p.m.
weekly.
At the Sheldon
Fires Were Started, a 1934 British
documentary directed by Humphrey
Jennings," will be showing in the Film
Theatre at 3:30, 7 and 9 p.m. Admis-'
sion is by donation.:
: New exhibits being unveiled in the
Art G cilery include photographs from
the Permanent Collection, photo
graphy by Michael Geiger and craft art
by Walter Nottingham. The three dis
plays will be shown through April 1.
Award-winning clarinetist Rich
ard Stoltzmanwill appear tonight with
the Lincoln Symphony Orchestra Stoltz
man, who has collected a Grammy and
is nominated for another one this year,
will be featured in two compositions'
Copeland's "Concerto for Clarinet"
and Stamitz's "Concerto No. 1 0 for Cla
rinet and Orchestra" Other pieces to
be featured in tonight's performance
include Haydn's "Symphony No. 31"
and Hindemitch's "Noblissima Vis
ione." Robert Emile is the conductor
for the program, which is scheduled to
get underway at 8 .p.m. in O'Donneil
Auditorium ' on the campus. cf Neb-'
raska Wesbysn University, 50th Street
and HuntLngton Avenue.
