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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (March 17, 1993)
Wednesday, March 17,1993
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The color purple
Book focuses on women’s lost opportunities *
“When I Am An Old Woman I Shall
Edited by Sandra Martz
In honor of Women’s History
Month, I think all females should
consider wearing purple. Actually,
everyone should give serious thought
to wearing the color purple.
Just think of the color purple as a
representation of every thing you want
to do, but never seem to find the time
for. Consider all of the things you
would do if you didn’t feel the need to
be socially appropriate and respon
sible: Thai’s the color purple.
This wonderful and
enlightening book Is a
mourning for years
gone by, and a
reminder that life is
meant to be celebrated.
At least it is according to Jenny
Joseph in her poem, “Warning.” The
poem is written from the view of an
elderly woman who is reconsidering
her youth and the things she wishes
she had done. She has decided to
make up for it in her elder years.
“Warning” is not only the first
poem in an anthology entitled “When
I Am An Old Woman I Shall Wear
Purple” — it also is the very poem
from which the book derives its title.
“When I Am An Old Woman”
consists of poetry and prose primarily
about women from midlife to elder
years. However, this book can be
enjoyed by anyone at any age if it is
approached with careful thought and
Courtesy Of Papier-Mache Press
This wonderful and enlightening
book is a mourning for years gone by
and a reminder that life is meant to be
“When I Am An Old Woman”
consists of an enjoyable selection of
poems gathered from a variety of
writers that span the globe.
If you decide to indulge in this
collection of thoughts—which I defi
nitely recommend — do so thought
fully and with an open mind. If you do
this, you may learn a little bit more
about how to celebrate and enjoy life.
You might even begin wearing purple
on a regular basis.
— Elaine Clair
Where does an Irishman go on a holiday?
To a different bar!
$1 green beer; $2 big green beer
$4.50 corned beef and cabbage and Insh
$3.25 Irish stew and biscuits
35th annual St. Paddy's Day celebration
with Lost and Found
$1 domestic; $1.50 imports; $1.60 vodka
music by the Kovar Kerns band
106.3 the Blaze radio broadcasting live wi
music by Lie Awake
$1.25 for a pint of Irish stout all day
Irish food specials
Irish singer Chrus Fayre performing from
Traditional Irish pub -Harp and Guinness on
Bartender Alps on the shuffleboard table at
$.75 16 oz. Busch Lt. draws
$1.75 green toxic was$i; hourly Irish drink
performances by the barxfe|
10:30 p.m. and Stick at
$1J50 Georgs Killian's
special appearance by Geno _mSm/mm
Free 20 oz. thermal mugs for first 200
people after 8 p.m.-first beer for a penny
■Why's Sports Cals
$.75 green draws; $2.50 pitchers Kelley's
Irish punch $1.50
free corned beef and cabbage after 7 p.m.
Killian's Red pitcher specials
live DJ after 5 p.m. and prized from Killian's
Corned beef and cabbage 11:30 a.m.
Irish whiskey, hourly drink specials
6-8 p.m. corned beef and cabbage
$4.00 admission charge - penny drinks and
draws at back bar. Buses running to
campus and back
$1.25 Miller beer ^ *-♦1
St. Paddy's Day party lingerie style show at
8 p.m. with coverage fry 92.9 The Eagle
$.25 draws after 9 p.m.; $2.50 pitchers
$.99 shot specials
entertainment by Two Smooth (no cover)
-.'jsjf.' • -'- - y..
in Miller's ‘Crucible'
Arthur Miller’s “The Crucible”
is about one thing: the truth.
What is it? How do we go about
discovering it? And most of all,
what is it worth?
In human terms — in the terms
of human life — which is fragile,
and terribly temporary... what value
can the truth have to those of us
who must die?
Miller seems to think the truth is
terribly important. And his deep
dramatic sense and understanding
work this conviction out in human
“The Crucible,” (currently play
ing in the Temple Building’s
Howell Theatre) is an account of
the infamous Salem witch trials
and first appeared in a time of
terrific political pressures.
Enough has been said about the
• play’s inferential comment on
McCarthy’s America. And for a
while it must’ve stung like a slap
the face of the witch hunters of the
But we live in different times,
and if we relegate the play’s mean
ing to an era of our past it will
become far to easy to repeat that
witch hunters abound.
The production, while not as
powerful as Miller’s deft writing
allows, is nonetheless an impres
sivf vof work.
_ principals turn out mean
ingful and weighty work and there
are some delightful characteriza
tions here as well.
What matters more is that the
players seem to have a sure grasp
on the humanity of their characters.
No two dimensional caricatures
here: every terrible act is commit
ted by real people with inner lives
of their own.
Many of the roles are difficult to
play — and there are too many
solid performances to note them
all: Steven Shields, Patrick Tuttle
and Patrick Lambrecht make won
The set is serviceable and has
the intriguing added touch of enor
mous roof beams. They seem to
weigh a ton, and add this weight to
the stage, giving the action a kind
of cap, or lid. After a while the
weight and closeness of the set
become oppressive — in just the
Where the production suffers is
in the directing.
The director’s hand is present
everywhere and obvious—no flaw
if it is the hand of a genius.
But Ronald Wainscott seems to
be directing from a book, particu
larly in the opening scene.
Tableau, freeze, keep the actors
moving. Bing, bing, bing. The ac
tors spin across the available space
like tops, forming pretty pictures.
No relations!) ips or tensions are
possible under such conditions.
There is no time for it.
And there are far too many
people staring profoundly off into
the lights, looking for ... some
None of this is necessary, you
can trust Miller — float upon the
surface of his language: he won’t
let you down.
By the time the power of the
play takes over it’s got a life and a
logic of its own. The characters are
played across the chess board of
the stage by the play itself — at
least it should seem to be so.
But this is no mortal weakness,
and the play does carry the produc
tion beyond its limitations. At least
the director knew when to get out
of the way at the crucial moments.
In the scene where the witnesses
become possessed, the puppet
strings seems almost invisible.
For those who haven’t yet seen
“The Crucible” performed, this is
a perfect opportunity.
Remember, the innocent have
nothing to fear.
“The Crucible” plays Wednes
day through Saturday at 8 p.m.
— Mark Baldridge
features good food,
fast, friendly service
specialties, including burgers, sand
wiches, salads and omelets. Prices
range from about $4 to $ 12. The aver
age entree costs between $4 and $6.
On my lunch visit to Smilly’s, I
had a Reuben sandwich with
“smashed” potatoes ($4.75).
“Smashed” potatoes, a Smitty’s nov
elty, are crosscut,- french-fried pota
toes. My friend had a Cobb salad with
the tasty house dressing ($5.95). Our
total bill with the two lunches, two
sodas and tip came to about $16.
Smitty’s food and service were
both excellent. Our waiter was friendly
and made every effort to engage in
polite conversation. We went to
Smitty’s right in the middle of the
noon hour, which means it was very
busy. However, despite the rush, our
food was well-prepared and promptly
Smitty’s dining room isopen from
10 a.m. to 10 p.m. Sunday through
Thursday, and from 10a.m. to 11 p.m.
Friday and Saturday. The bar is open
from 10 a.m. to 1 a.m. seven days a
week. Takeout is also available.
— Elaine Clair
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