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Show -- & "George Harrison" George Harrison Dark Horse oprecords Harrison: master of unity By Randall Edwards Chronicle staff writer Ah, yes, George Harrison! Wasn't he the - - ; PMT's Afternoon Players in "Tales from Two Trunks," an improvisational play being presented in repertory at the Babcock Theatre for the next three weeks. Other plays are "East of the Sun, West of the Moon" and "The Princess and the Swineherd." Talents span bluegrass, ballet Players turn to repertory The Afternoon Players at Pioneer at Pioneer Memorial Theatre daily (except July 24th) at 2 pm. "The Princess and the Swineherd," adapted by Adix from a story by Hans Memorial Theatre will present three different shows on alternating days for the next three weeks. "This year's Afternoon Players are probably the most experienced group we've ever had," said Vern Adix, supervising director for the company. "I'm very proud of their ability. They are a little older and more skilled in theatre." The cumulative experiences of the company are quite impressive. Their talents range from technical theatre to musical theatre, from bluegrass to ballet. This professionalism will be very helpful now that the shows will be presented in repertory. "Repertory simply means that the company has a variety of shows that they can perform well at any given moment," Adix said. "They rotate these shows so that a ' different one plays every day." The Afternoon Players have three very different and totally delightful plays that will alternate for the final three weeks of the season, "The Princess and the Swineherd," "East of the Sun, West of the Moon" and "Tales from Two Trunks." They play in the Babcock Theatre, downstairs ed ' Christian Andersen, depicts a very beautiful but spoiled and selfish princess who, through the wit and wisdom of a king and a swineherd learns a very important lesson. It is directed by Phil Martin. "Tales from Two Trunks" consists of bits and pieces of both familiar and unfamiliar stories. They are acted out, in freestyle, by actors donned in costumes and assuming props that come from the two big trunks on stage. "Everything we need to perform this play comes out of the trunks," said Greg Volk, director of the improvisational play. "The costumes, props and even the story line comes straight from the trunks." Melody Johnson directs the third play, "East of the Sun, West of the Moon." All three directors also perform in the company. Other cast members include Cindy Post, Chuck Dawson, Ellas Rose DeLong, Craig Shelton, Sharon Newman, Greg Floor, Bill Barber and Ambra Allgood. University of Utah Summer People rrrr )l II tBQ2S5S9tID(fil? ff (BaEB(?EffoCTnOl 11 I o quiet Beatle who played guitar with John, Paul and Ringo? Yes, he is... and back when the Beatles took the world by storm, one could hardly call Harrison a proficient guitar virtuoso. He filled in the leads, sang backgrounds and generally stayed out of the spotlight. While the rest of the Beatles were out comparing their popularity to that of deity, or getting into the "hippie" drug scene, Harrison seemed above it all, getting interested first in far eastern religion, finally becoming a bit of a mystic recluse, avoiding the press and trying to retire from the world. When the Beatles broke up nearly 10 years ago and went their separate musical ways, it was Harrison who seemed unchanged by it all. While McCartney formed Wings (a band that rocked with an enthusiasm the Beatles had long left behind in the studio), Lennon and Yoko Ono generally went weird and Ringo put out a series of the most nondescript albums ever produced, Harrison's music remained the same. George Harrison, then, isn't really what you could call a surprising album. Harrison still isn't a guitar virtuoso, nor even a particulary strong singer. His real strength lies in his songwriting. Harrison is much more a tunesmith than a rocker, and though his earlier solo albums were sometimes subdued musically to the point of boredom, the songs on George Harrison are strong both musically and in their performance, an almost organic extension of the entire Harrison persona. And though it is doubtful that individually the songs will become standards in their own right, the album as a whole evokes a feeling of timelessness . . . resembling more the ballads of the '30s and '40s than the synthesized and letter-perfesounds of the 70s. ct x: i. ' Ut&g a 11, 1979 . - sv George Harrison's latest album, "George Harrison," is no surprise it's the epitome of timeless unity. While it is hard to separate any particular song from the others because of this unity on the album, a couple do stand out. "Blow Away" (the radio hit), "Not Guilty" and "Love Comes to Everyone" stand out as exceptionally pleasant, but and this is the last time I'll bore you with it the album really must be taken as a whole. It is not surprising how well Harrison has done with this, his latest album. In this era in which the only current musical choices seem to be disco, superhard synthesized rock and guys whining in high voices to the accompaniment of violins, George Harrison is a refreshing, relaxing product from a man who, though he may not hold the spotlight, is clearly a master of his craft. . Avro. AFTERNOON 4 m ON THE U of PARK IN MERRILL ENGINEERING U OR GOLF AUSTIN HALL COURSE LOW-LO- LOT W STUDENTFACULTY RATES ON SUMMER PASSES Club Rentals, Equipment Available The Summer Chronicle, Wednesday, July ' $ fs & Lessons 1'agc Five |