AGE 6
THE DAILY NEBRASKA
FRIDAY, SEPTEMBER 26, 1969
Crescendoes of hilarity to highlight 'A Flea in Her Ear'
When you see a play billed
as a "farce" you begin to
conjure up images of Laurel
and Hardy moving a piano,
or Soupy Sales with the
custard pie decorating his
face or perhaps Charlie
Chaplin proposing marriage
to a. 300-pound chick that
smokes Double Masters
Pa.itella's. Right?
'If you expect that kind of
Uiree-ring circus when you
attend "A Flea in Her Ear"
by Georges Feydeau at the
Howell Theater, you'll be
pleasantly surprised. Though
the slapstick element will be
there, there is a precision to
farce lacking from the broad,
low humor of the vaudeville
house. Feydeau's turn of the
century comedy is alive with
improbable situations and
confusing complications.
"The audience shouldn't
expect to learn by our com
edy," states director, Dallas
Williams, rather the show "is
a coup of entertainment, a
fast-paced, physical play that
comes on like a tornado."
In most dramas or com
edies there are not over fifty
entrances and exits. "Flea in
Her Ear" has over 200; so
the possibilities of mistaken
1 d e n t i 1 1 s s u rprise
discoveries and bedroom
high jinks is endless.
The characters are larger
than life and certainly do not
react like normal humans.
"They do not use their
wills or intelligence to reason
out a solution," explained
Williams. This avoids focus
on the characters and the
crescendo of confusion be
comes the center of hilarity.
The crescendo in "Flea"
concerns an elderly
gentleman whose wife at
tempts to entrap him into
proving his infidelity.
Believing the rendezvous was
a friend and so the story goes
on. Suffice to say, there is
a mad Spaniard flourishing a
pistol and the hotel's porter
looks just like the gentleman;
Georges Feydeau was a
French author whose farces
have placed him just behind
Moliere as the second-ranking
French comedy writer.
Those who expect a faded
carbon copy of Moliere will
find that Feydeau's farce
outpaces the slower more
intellectual satire of his
predecessor.
When you assesse the act
ing In this production, ig
nore character anal
Instead, the most essential
features to look for are clean,
comic timing, physical im
pact and air ego that allows
the actor to be a part of an
ensemble rather than a scene
stealer. The quality of the
directing is best evidenced
by the pace of the play and
the precision of the physical
movement.
"Flea in Her Ear" is the
beginning of another season
at Howell Memorial Theatre.
Student season tickets are $6.
The bill of fare includes "The
Rose and the Ring" by
Thacheray, Shakespeare's
"A Midsummer Night's
Dream" and "The Recruiting
Officer" by George
Hoffman suits 'Midnight Cowboy1 role
by Tom Lonnquist
Nebraskan Reviewer
"Midnight Cowboy," a mo
vie based on the novel by
James Herlihy, is the story
of two young men Joe Buck
(John Voight) and "Ratzo"
Rizzo (Dustin Hoffman).
Buck leaves his native
Texas for Manhatten with
dreams of the new life as
the savior of every sex-
starvea, well-to-do woman in
New York, while Rizzo
dreams of abandoning his
past life for a fresh start in
the balmy breezes of Flor
ida. Both eventually meet and
develop a friendship unique
first time meaningful to
either.
Director John Schlesinger
does an admirable job using
flashbacks revealing Buck's
past life as it influences his
present, while special cam
era effects prdouce the
dreamlike future intentions
of both the main characters.
In "Midnight Cowboy,"
Hoffman sheds his identity
as the Graduate and estab
lishes himself as an outstand
ing character suited for a
variety of roles. Voight does
a magnificent job in his char
acterization. He is a fresh,
young star from whom the
public can expect great
things to come.
If the viewer goes to "Mid
night Cowboy" expecting to
see Hoffman in the Graduate
role, he will be sorely dis
appointed. The only thing
that is similar to Hoffman's
first movie besides the actor
is an occasional song sung
by Simon and Garfunkle.
Midnight Cowboy can be
best-described as a deep,
disturbing movie if the view
er looks carefully for the
symbolism and imagery in
volved. One cannot compre
hend the film entirely in one
sitting.
Ticket lines form early,
and movie - goers question
whether they will be admit
ted on the night they choose
to attend.
"Citizen Kane," an excel
lent film from the Forties,
kicks off the Nebraska Un
ion's weekend film series.
Showings are at 7 and 9 p.m.
on the downtown campus,
Fridoy and Saturday, and at
the same times on Sunday
at the East Campus Union.
Admission is 50 cents.
T i c k e t s for the Foreign
Film Society showings are
on sale until October 10 in
the North Lobby of the Un
ion. For truly fine entertain
ment, see "Midnight Cow
boy," "Citizen Caine" and
buy your Foreign Film tick
ets now.
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The man responsible for
this season's theater and th
existence of NU's summer
repertory theater is Dallas
Williams. Williams appears
to be a man who could play
Willie Lomax or Walter Mitty
equally well. He seems to
relish the words that he
"discovers" in the midst of
conversation.
According to the prominent
director, it is unfortunate
that we are surrounded by
amateur theater. "The
American theater is very
young and has thrived on this
amateurism," he says, "but
professional theater, like the
Guthrie Theater in Min
neapolis, is on the upswing."
Several factors, however,
bode well for the theater. The
first is the addition of new
means of production. A re
cent play at Howell employed
a motion picture as n
background to action, slides
were used in another and
mime and stylized dance
played an important part in
Williams' own production ol
"Royal Hunt of the Sun" last
year.
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