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By Jim Roberts
Professor of English
In 411 B.C., the Greek
playwright Aristophanes
dressed up a man in woman's
clothes in his play, Lysistrata,
and he also filled his play with
numerous innuendos and word
plays about sexual customs and
mores.
These same techniques are
apparently still a way to
guarantee the success of a play
since they form the basis of
Joe Orton's What the Butler
Saw which opened at the
Howell Theater last Friday as
the second of this year's
offering from the repertory
theater.
The play, hovering
dangerously close to
melodrama, treats many of our
modern sexual hangups in a
farcical manner. The title refers
to the type of peep show in
penny arcades where one can
be titillated for the price of a
small coin.
What he saw
Thus, we never see the
"Butler" in the title, but only
what he saw an intrigue
involving a doctor
(psychiatrist) who hopes to
seduce a beautiful young
applicant for a secretarial
r m
Nebraska Union
ill
X III
r
necoru sending Liorary
The Lending
not be open
second semester session
j flours - Tues, Wed,
k Hours - Friday
Al'J'KAKIM; July 9di- July 1 1th
with an
in the
fjfr 'it
I 1-
Go
Comedy-Dance
Pantomime
to 12:30 a.m.
In Penthouse Lounge
I Cocktail Hours
Draws 2.V
Restaurant open
7 a.m. to 3 a.m. Mon-Sat
8 a.m. to 8 p.m. Sunday
Serving Breakfast,
Coopers Restaurant
:2 120 u(r
ira
position when suddenly his
wife (a part time lesbian, a part
time seducer of young males
and a full time nymphoniac)
arrives unexpectedly with a
virile young male whom she
has just seduced and who
ultimately turns out to be her
son and the brother to the
young girl applying for the job
and thus son and daughter to
the doctor.
Between the opening and
the final revelation, the
audience is bombarded with a
series of farcical events which
taxes one's credibility.
Sexual vagaries
During the course of the
play, we, as the "butlers" in
the audience, have a peek at all
sorts of sexual vagaries and
desires.
We have the virile young
male bellhop undressed down
to his "swim shorts?" and later
dressed as a female secretary
while the female dresses as the
bellhop and the socialite wife
cavorts about the stage in her
slip.
A policeman, dazed by an
overdose of tranquilizers,
stumbles on and off stage in his
underwear. A demure young
lady, a victim of inane
circumstances, is bound in a
All records checked out from
The Record Lending Library must j
be checked in by . . . j
Friday, July 13, 1973 I
Library will
during the
I
I
Tliurs 11:00-2:30 j
1:30-2:30 !
entirely new show
Backstage Lounge
- Go Girls!
from tt:30 p.m.
From 5 p.m. to 7 p.m.
Har Drinks Vi priee
Lunch, Dinner!
432-7661:
straight jacket, while an official
investigation is being
undertaken by a sexually
repressed official.
The chief flaw of the play
seems to lie with the play
itself. There is too much for
the audience to absorb in such
a relatively short time. The
plot, while being sustained, was
more involved than necessary
and presented almost too many
ludicrous situations.
K
The weakness in the play,
however, was glossed over by
the superior direction and the
outstanding acting
performances. Timing is often
the essence of good comedy,
and director William Morgan is
a master of good timing. The
comedy was further enhanced
by a cast which responded well
to each other and conveyed a
sense of the insane happenings
on the stage.
There is a little madness in
all of our lives, and What the
Butler Saw shows us some of
that contemporary madness
found in modern society.
As with most comedies, how
much you will be amused will
depend upon your own mood,
but you can be assured that
you will not be bored by this
performance-something is
happening every moment and
what you see will be what the
butler saw.
Art galley displays
200 photographs
by Edward Weston
A collection of 200
photographs by Edward
Weston (1886-1958), loaned
by the Friends of Photography,
are on display in the Sheldon
Art Gallery, University of
Nebraska - Lincoln, through
July 23.
Weston began photographing
in Chicago when he was 16.
Throughout his life he made
his living through commercial
portraiture. In 1937, at the age
of 51, he became the first
photographer to ever receive a
Guggenheim grant.
His years of experience as a
photographer gave him some
definite ideas about his work.
In 1939 he wrote in an issue of
"Camera Craft": "The
photographer's power lies in
his ability to re-create his
subject in terms of its basic
reality, and present this
re-creation in such a form that
the spectator feels that he is
seeing not just a symbol for the
object, but the thing itself
revealed for the first time."
"The photograph," he said,
"contains no lines but is made
up of tiny particles. The
extreme fineness of these
particles yive a special tension
to the image, and when that
tension is destroyed-by the
intrusion of handwork, by
enlarging too much, retouching
or printing on a rough
surface-the integrity of the
photograph is destroyed." He
called his method of not
tampering with the photograph
"the direct approach to
photography."
tuesday, july 10, 1973
page 6
summer nebraskan
