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Show The Tfiutuferbinf Tiicsday October 23, 1984 Page 9 Harvey hops on to SUSC stage, is held over but The theatre departments production of Harvey faces a few technical problems , Theatre review by Lanai Greenhalgh Elwood seeing anybody? asks the society lady. Veta Louise Simmons catches her breath, and, trying not to sound too obvious, utters Elwood sees somebody! That somebody is a white rabbit named Harvey, who is a constant companion to Elwood P. Dowd thoughout the theatre departments first production of the year, Harvey. Harvey, directed by Scott Phillips, takes place in the Midwest in 1944. It is a comedy about a man named Dowd (Rick VanNoy) and a friendly Pooka who threatens the social status of his sister Veta Qan Shelton) and niece Myrtle Mae Simmons (Cherly Ann Cluff), and the sanity of two psychiatrists (Michael Michie and Randall Hickman). The production is performed in studio, with the actors center stage and the audience in a horseshoe around them. Roger Bean, drama major and member of the theatre public relations staff, said about half of the productions this year will be performed in a round. Bean explained that this type of production is more intimidating for the actors, but if they pull it off, its ingenious, he said. Experience is apparent in the acting of Hickman, Shelton, and VanNoy, who are able to stand on their own and create personalities in the roles they are playing. I am certain these three are capable of thinking thoughts the characters they are portraying would think. The other characters rely on them, almost too much, to carry the lines and scenes. Is well-meani- Jan Shelton prepares to belt Philip Bushell (kneeling) with her purse as Randall S. Hickman looks on in the SUSC production of Harvey. I didnt get into the character of Dowd until way into the second act, but he ends up being a very lovable, understandable and real person. One outstanding line sums his character up very well. He says In this world, you must be oh so smart, or oh so pleasant. For years I was smart, I recommend pleasant. Although the plot develops slowly, the stage jumps when Elizabeth Leisek walks onto it with her booming voice and exciting mannerisms. Her part is small, her entrance is much needed. Line are slow in many places, play, lasting two hours and 40 minutes, could use a bit of chopping. I saw the production on opening night, and Im sure some of the lulls are due to the fact that the actors pick-up- and this s three-ac- t were not used to performing with laughs. The secondary plots include a love affair between Lyman Sanderson, M.D. (Michie) and Nurse Ruth Kelly (Heather DeSart), and an intern named Duane Wilson (Philip Bushell) who is madly infatuated with Myrtle Mae. The way these plots are executed add little to the production as a whole. All of these characters are superficial and seem to be just saying lines throughout the production. Throughout the play, the line between farce and comedy is crossed all to often. It seems as if the characters werent sure if the script was funny enough, so they added some physical, almost melodramatic confrontations making the play lose some of its true-to-liqualities. A few technical problems make it fe is still a delightful show hard to concentrate on what was happening on stage. The backstage crew is never quite on time with the telephone ring or the bell for an intern in the sanitarium. When the lights are supposed to be cut abruptly, they fade out. When the scenes open, the lights blare onto the stage. The scenery crew was nice, but they shouldnt be part of the show. Every set change takes close to two minutes, and the audience has nothing to do but watch it happen. Harvey picks up after intermission, with more humorous lines from Dowd, and a panic from most of the other characters that carries through to the end. The climax of the play came during the second act and left little chance for a dynamic ending. One highlight in the production is Vetas attempt to explain to Doctor Sanderson who Harvey is. Guffs hysteria was very professionally executed, as was her role throughout the play. The doctor begins to assume that it is Veta who is in need of help, not Elwood, creating a very interesting conflict. The costumes are, as usual, and are in keeping with the time period. The make-u- p and set crews should be complimented on their professionalism as well. Harvey is a story about human nature, and points out the need for understanding and tolerance, Phillips notes. It does this effectively in many places. If it doesnt leave people touched, it at least leaves them laughing, t Harvey will be performed tonight and tomorrow night beginning at 8 in the SUSC Auditorium. Ceramics instructor talented at the wheel by Kris Johnson Mark Talbert specializes in ceramics. His office with unique pieces of clay, all in different shapes and sizes. The shelves are stacked with a large collection of books on ceramics and the arts in general. Talbert started his art career as a painter. In 1974, he took a different fork in the road and developed a great interest in ceramics. He continued on to receive a Bachelor of Arts degree in Art Education at Fairmont State College, a Master of Arts in ceramics and sculpturing at Indiana State University, and a Master of Fine Arts in ceramics and sculpturing at Utah State University. He also served an apprenticeship at Robin Welch Pottery in Stradbook, England. Talbert is currently teaching ceramics on campus, heads sculpturing classes, and is involved with a program that deals in the carving of alabaster, a stone that is similar to marble, but is softer. Since 1950, there has been a tremendous growth in ceramics, Talbert said, such as it being taught as a class. There has also been an expansion in art galleries. is filled In the last 15 years ceramics has taken a swing from the funk of the 60s, to the fine craftsmanship of today, said Talbert. Talbert views ceramics as an art with a human aspect. Ceramics has one of the greatest potentials of any art form, he said. Ceramic clay education is probably one of the most human aspects of the art disciplines. Talbert compares working with clay like playing a musical instrument. Learning to handle clay is like learning to play an instrument, he said. You need to be disciplined. It teaches more than technique. It has a communication, it directs reflection of the culture, and the different trends. It expresses what the craftsman feels, thinks, knows, sees thus it expresses his total personality, he continued. The field of ceramics is a constant aesthetic experience creating a relationship between the physical properties of clay and the philosophies of the mind and emotions. Each result of 'his fusion is different. The blending of form, glaze, atmosphere, and surface quality create wide and unique varieties of aesthetic response, said Talbert. Mark Talbert says he views pottery as one of the most human art forms. Talbert is a new ceramics instructor at SUSC this year. |