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Show The DDQ(B. Park Record Thursday, October 1, 1987 Page B5 Lights, camera, action and a good bit of waiting t-i -n mm Y 1-LLi.Ll A r r N- . , vv. H . r , - i r v.k i la Father: Tommy Lee Jones It's no mystery Drood's By RON GEORG Record staff writer It is doubtful that when Charles Dickens was writing the "The Mystery of Edwin Drood" he envisioned envi-sioned a stage production like the one currently running at the City Rep 2nd Stage in the Salt Lake ZCMI Center. It is likely, however, that he would have thoroughly enjoyed it. Dickens died before he ever completed com-pleted "Edwin Drood" his untime ly death wasn a loss ior, Jiterary.. posterity, but' a gam tor Tlupert HBlmes, who created the lony-award-winning musical of the same name, capitalizing on its unfinished nature. The setting for the play is a slightly slight-ly bawdy theater house in London, The Music Hall Royale, 1892. The play opens with the Royale players, actually members and guests of the City Rep, circulating among the audience. au-dience. In the opening, the audience is introduced in-troduced to the "actors," each of whom is a Dickens' character in his own right. These are the cast of the Music Hall Royale, a cast which indulges in-dulges in drink, promiscuity, and egotism. After this racous introduction to the cast, the Royale's chairman and emcee introduces the plot. He explains ex-plains to the audience that Dicken's untimely death has left a void in the literary world, and that the Royale company will attempt to fill the void. To create an ending, the cast enlists the help of the audience. Various loose ends, including the identity of the murderer, are voted on by the audience. The murder vote is cast by secret ballot, but the other votes which are taken are taken by audience approval, in the form of clapping. During the voting, the cast is in its Music Hall Royale character, and each member is pulling for votes so that he may remain in the action. It is also a wonderful opportunity for the audience to express its appreciation apprecia-tion for favorite actors. Advice: "The Terrible Truth about Lawyers by PAT MONTGOMERY Record guest writer Mark H. MCormack, a.k.a. .the street-smart executive, has published publish-ed another popular approach to surviving sur-viving in the corporate world. The Terrible Truth About Lawyers (Morrow, (Mor-row, 1987) is McCormack's follow up to his 1984 bestseller, What They Don't Teach You at Harvard Business School. The author never attended Harvard, but he did graduate from Yale Law School. In his writings, McCormack speaks from the dual perspective of a successful suc-cessful businessman and a trained lawyer. What They Don't Teach You at Harvard Business School is subtitled, subtitl-ed, notes from street-smarter executive. ex-ecutive. After guest lecturing at Harvard, McCormack was astounded astound-ed by his students' "academic naivete" about the business world. He developed his book to dispense very down to earth advice on how to succeed in the real business world. Grandfather: That is a plot summary, and lest anyone remain confused, let me explain ex-plain more carefully. Each member of the cast plays two parts at the .same time. First, each actor in "Drood" plays a member of the Music Hall Royale. Each Royale performer, as introduced in-troduced in the beginning, is a strong character, almost a caricature of a Dicken's-era actor. Layered on top of that, each actor plays a part, as a Royale actor, in the Mystery of Edwin Drood, as presented by the Music Hall Royale, The result is a delightfully reflexive double-Drood. The cast of the play is extraordinary. extraor-dinary. Director Stephen P. Wertz, a Master's candidate at the U. of U., did a superb job of casting the performance. per-formance. In one of the many intriuging quirks of the play, the lead, Edwin Drood, is played by a woman, Jennifer Jen-nifer O'Haley. Bearing a striking resemblance to Julie Andrews, O'Haley's sculptured face lends itself well to the part of a woman playing a young man. Her character is intended to fall short of masculinity, since her Royale alter-ego, Miss Alice Nutting, Nut-ting, fully realizes that she is much too beautiful to ever successfully pull off the masquerade. In the part of Drood's mad uncle, John Jasper, Mearle Marsh must assume yet a third role, as his personality per-sonality is split by opium. He plays each part masterfully, from the egotistical Royale performer Mr. Clyde Paget, to the Jekyll-Hyde personality per-sonality of John Jasper. As Rosa Bud, the fair maiden to whom Drood is engaged, Patti M. Olsen is the perfect brooding womanchild. Her perpetual pout creates an air of innocence about her, but her rich, deep voice with all its range exposes her as a maturing woman. Providing spiritual guidance for the cast is the Reverend Mr. Crisparkle. In this part, Duane V. Stephens provides more comic relief than anything spiritual. This rou- Between the His basic premise is that top managers must develop street-smarts. street-smarts. This he defines as "the ability abili-ty to make active, positive use of your instincts, insights, and even gut feelings" when it comes to dealing with other people. In addition to hints on people-reading, people-reading, McCormack provides a variety of tips for running a successful suc-cessful company: keep your company com-pany private, stay flexible in organizational structure, and develop international markets. Personal Per-sonal dress style and time management manage-ment are also covered. In The Terrible Truth About Lawyers, the author intends to help lay people understand how lawyers think and how lawyer-like skills can be applied to the management of a business. His recommendation is to rely on outside legal services as lit Ben Johnson Ron Georg a hit tund character is quite similar in disposition to comedian John Candy, and he proved to be an audience favorite. Unfortunatly, there is not space here to sing the praises of the entire cast, but the performance was flawless. The theater is quite intimate, in-timate, and the actors use no microphones. In this personal atmosphere, at-mosphere, the cast had no difficulty in charming the audience. The show is scheduled to run through Nov. 21, but dates are varied. Each show starts at 7:30 p.m. at the City Rep Second Stage in the ZCMI center. Tickets are $6.50. For ticket information and specific dates, call the theater at 1-532-6000. Grease opens this month at Egyptian i J - - w 'A. : ';!'. T. . n Rafael Colon Castanera, director of "Grease' Covers tle as possibe. Once again, McCormack McCor-mack chastises academia for what it doesn't teach law students, namely people-oriented skills needed for interviewing, in-terviewing, counceling, negotiating, and drafting agreements. Some of the sobering terrible truths McCormack McCor-mack discusses: justice is only one factor in a lwasuit and often not a very compelling factor; the legal system usually doesn't work in th interests in-terests of a moral justice; being wronged doesn't mean the legal system will make things right. Lawyers are portrayed as villains. They perpetuate their profession by creating legal entanglements and unnecessary paperwork to ensure their employment. The number of lawyers in the U.S. has doubled in the last 20 years while overall population has grown only by twenty percent. The U.S. has fifteen times by RON GEORG Record staff writer Anyone who thinks the activity on a film set is inherently glamorous would have been sorely disappointed to observe the mundane routine going go-ing on at 2465 Doc Holliday Drive. Edgar Scherick AssociatesTaft Entertainment T.V. were filming an ABC Movie of the Week at the location loca-tion last week, and there wasn't much to see from the outside. Outside the house, actors, extras, techies, road crew, security, and some curious onlookers milled about, waiting. When they weren't waiting, they were standing absolutely ab-solutely quiet so as not to disturb the rolling cameras. Inside the house, it was chaotic. Electric cables ran every which way, connecting the lights and cameras which left little room for those operating them. All of this attention is focused on one room, where Dee Wallace Stone, known best as the mother in the movie E.T., sits at a table between takes. She is recognizable as the person per-son off the silver screen, but here she is diminished in stature by all the technical reality surrounding her. Outside, on the front porch, a couple cou-ple of men are relaxing in director's chairs. One is Tommy Lee Jones, who plays the lead in the movie. He takes a minute to smile for a picture, but he seems fairly tired from a days' work. The other man, whose name, Ben Johnson, is not as famous, is the most experienced actor on the set. Johnson, who was John Wayne's sidekick in a number of movies, says he has been in nearly three hundred pictures. While Johnson's name may not have the recognition of Stone or Jones, his face is instantly memorable. Most of his film credits are Westerns, a perfect casting for this one-time national roping champion cham-pion and current ranch owner. Ron Georg more lawyers per capita than Japan. However, if law schools t taught more courses on "alternative dispute rsolution"- mediation, arbitration, ar-bitration, and mini or private trials, corporate America might lessen its obsession with lawsuits. Executives also share in McCormack's McCor-mack's criticism. Inattention to detail, poor management decisions, and a tendency to readily refer even minor issues to legal counsel, costitutes, in McCormack's opinion, a shirking of executive duty. McCormack's style is chatty and anecdotal. His advice and insights are based on his own company's experiences. ex-periences. He is the founder and CEO of International Management Group, a sports and entertainment marketing firm. His clients have included in-cluded Arnold Palmer, Bjorn Borg, and Michael Jackson. There are some gems of useful information to be drawn from his stories of managing manag-ing famous people. These practical hints could be applied to either personal per-sonal or business affairs. Both books are available at the library. These three actors are the leads of the movie, "Eminent Domain." The plot is fairly simple. A rancher's land is threatened by the government, govern-ment, which wants to expand a missile range onto his property. The rancher, Jones, is also a veteran, and he doesn't feel the country he fought for has a right to take his land. With the support of his wife, Stone, and his father, Johnson, the rancher sets about to defend his land. The crew is nearing completion of filming in Park City. For those who watch the movie, much of the scenery will not be recognizable; the shots are mostly interior. Some exterior ex-terior shots, however, were taken at the Richard's ranch on Payday Drive, and a few were taken at Adolph's. In the next week, the film crew will move up to Bald Mountain to film a fight sequence, complete with stuntmen. The crew also needs to film a Vietnam flashback scene, but it is not likely that they will find terrain ter-rain lush enough in Utah. - I i I'! i i 1 Lounging about between takes In the early seventies, the play, "Grease," created a nostalgia for the fifties that would inspire the return of Wayfarer sunglasses, the popularity of Sha-na-na, and make a hero of "theFonz." This month, the Egyptian Theatre will kick off its '88-'89 "Landmark Season" with the now-classic play about life and love at Rydell High School. The lead parts, Danny and Sandy, are hopelessly mismatched young lovers. They are played by Midvale actor John Durrant and Parkite Ruth Ann Fitzgerald. Patty and Riz-zo, Riz-zo, two young ladies who befriend Sandy, will by played by Lori Clark-Erickson Clark-Erickson and Marsha Miller, respectively. Other locals who will perform include in-clude Chris Erickson, who will be remembered for his charming rendition rendi-tion of Parley Lemar in "This is the Place, Take Three," and Tricia McDonald, who will play Cha-Cha . "Grease" was a bit trivialized in the late seventies by the movie production's pro-duction's car chases and PG antics, not to mention John Travo'ta's sing Openings at The Kimball Art Center will 1 open two new exhibitions with a reception honoring both artists Oct. 4, from 3 p.m. to 5 p.m. In the upper gallery, Kimball will feature the oil paintings of Richard Murray. Murray, a native Utahn, is turning tur-ning to his home state more frequently fre-quently for his subjects. After extensive ex-tensive travel on three continents, con-tinents, Murray had developed a varied style, drawing his landscapes land-scapes from his various travels. Murray says that he hopes to live in Southern Utah somedaythe some-daythe perfect surroundings for this artist who is so intrigued by rock and water. He describes his work as evolving into a more : if: Ron Georg Extras, waiting Ron Georg ing. On the stage, however, the musical is a delightful look at this bouffant-haired, piston-worshipping decade. The musical is energetic and fast-paced, fast-paced, a cadence to which director Rafael Colon Castanera seems accustomed. ac-customed. Castanera played the part of the high-strung stage director direc-tor in "This is the Place, Take Three." Tickets for Grease go on sale Oct. 5. The play runs from Oct. 23 through Nov. 28, Thursdays through Sundays. Showtime is at 8 p.m. Adult tickets are $7, students and seniors are $6, and children under 12 are $5. Special rates are available for ten or more. For information on discounts, call 649-9371. Tickets are available at Smith'sTix, the Kimball Arts Center, and at the Adventure Center. Reservations can be made by calling the Adventure Center at 649-1217. Tickets will also be on sale at the Egyptian box office one hour prior to show time. Kimball impressionistic form that acheives a subtle treatment of his subject matter. In the lower gallery, Shirley McKay will be displaying her "mind landscape" watercolors. Her combination of remembrances, remem-brances, sunsets, and quiet places is peacefully inviting. Shirley is president-elect of the Utah Watercolor Society, a board member of the Ching Hai Oriental Orien-tal Painting Society, and production produc-tion supervisor for Utah Holiday Magazine. Both exhibits will run through Nov. 3 at Kimball. The Art Center's hours are 10 a.m. to 6 p.m. Monday through Saturday, and noon to 6 p.m. on Sundays. |