friday, march 7, 1980
daily nebraskan
page 9
'Same Time Next Year' humorous, but shallow
By Debra L. Miller
Same Time. Next Year, which opened at the Lincoln
Community Playhouse Friday, February 29, is a sentimen.
tal play that appeals to the romantic and the nostalgic in
the hearts of the viewers.
Written in 1975 by Bernard Slade, the play was a long,
running hit on Broadway, and was recently adapted for
the screen with Alan Alda and Ellen Burstyn in the lead
ing roles.
CGUl3I"J
The script's popularity (and many of its failings) is
linked to the novelty of the premise. The characters,
George and Doris, both fairly happily married to their res
pective spouses, meet and fall in love at an out-of-the-way
inn in California. Unable to break the relationship, but
equally unwilling to give up their comfortably married
family lives, they resolve to go on meeting for one week
end "same time, next year.
This device enables the playwright to telescope 25
years of his characters lives into 6 scenes at five-year
intervals. By so doing, he is able to follow the pair
through many of the "passages' and difficult periods of
adult life.
The audience is not bothered too much by the portray,
al of the essentially illicit relationship. Doris and George
are both decent, likable people sincerely devoted to their
families. But the premise seems too much the ultimate
cop-out. It is, in the end, only the playwright gimmick
or device to isolate two people at different stages of their .
lives.
In effect, the same situationlrepeats itself, with only
the ages changed. "Outside" events are discussed, opin
ions exchanged to reveal the characters growth or lack
thereof.
In his effort to reflect the cultural trends of the 50s,
60s and 70s, Slade often reduces his characters to stereo,
types, personifications of an era. For example, Doris
change from a naive, demure Eisenhower-era matron to
outrageously 44cool Berkeley -style hippie may be
comically amusing, but is hardly credible in terms of
the character.
Perhaps the only way to make this play really work
lies in the portrayal of George and Doris. Only if the
actors supply thfs depth and believability that the script
lacks can the audience really come to care about and be
touched by the events and people onstage. n '
Although Playhouse veteran Lee Schoonover gives a
sterling performance as George, Joyce Ebmeiers Doris "
Still life
Photo by Mitch Hrdltcka
These paintings, done by William Wiedner, are part
of the Graduate Art Exhibition collection being dis
played in the Union Lobby. Wiedners paintings are en
titled "Still Life and "Self Portrait.
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never emerges out of the stereotypes and cliches as a
real person.
Schoonover has many fine comedic moments, and
still manages to convey the vulnerability of a decent
man confused by advancing age and time. Unfortunate
ly, Ebmeier plays largely on one level of antic comedy,
only intermittently revealing the searching woman with,
in. Largely due to these flaws, the loving relationship
between the two only occasionally rings true.
Director Scott Lank seems to have directed the play
with the major emphasis on comedic effect. Without
establishing the depth and believability of both charac
ters, and the reality of their relationship, the play is a
funny but shallow comedy of situations and one-liners.
The set by Laurel Shoemaker is suitably picturesque
and versatile. Costumes by Kay Ahrens and sound by
Cathy Madden -Metz aid in conveying the advancing years.
This is perhaps a play that is lent poignance and believ
ability by the recognition that comes with age. The largely
middle-aged audience at the performance last Saturday
night thoroughly enjoyed the play, enough to give it a
standing ovation. If popularity of a play is proof of
quality, then the additional performances scheduled for
March 21, 22, and 23 are certainly points in its favor.
But 'for this viewer, although this production of Same
Time, Next Year pulled all the right strings for comedy,
sentiment, pathos and nostalgia, it remained a superficial
and therefore unsatisfying piece of theater .
"
The Clash . . .
Continued from Page 8 .
They play around with their new rhy thms and backing
horn section extensively, sometimes taking a harmless and
simple little melody on "Jimmy Jazz, "Spanish Bombs,
and "Wrong 'Em Boyo and manipulating it to create a
vague musical curiosity. The same formula works more
effectively on "Koka Kola, and "Lost In The Super
market. 1 '
Sneaks home
When The Clash sneaks back to its home turf, they
settle in more comfortably ; The title track is a brooding
account of England's state-of-the-art depressing condition,
punctuated by occasional blasts frpm Mick Jones guitar.
'The Guns of Brixton takes it a step further to relay a
call to arms among British youth.
Strangely enough, the most blatantly Untenable song on
Landon Calling is credited nowhere on the album, and te
nor even listed on the label. It is a harmonica-accented
rhythm and blues based piece that will probably give The
Clash their first noticeable airplay, but if giving the song
no acknowledgement on the album is a clue to the nature
of the bands intentions, its anybody's guess as to what
they are.
Those who never liked The Clash, will not be swayed
by the band's relative softening. And hard-line Clash tans
may wince at the cute harmonies and slick studio pro
duction, on London Calling So with all its musical and
social savvy, The Clash has chosen to become a curious
enigma, and gives its anxious following 18 new songs from
England (or the divided camps to digest as they will.
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