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Show The arts and people behind the scenes Wednesday September o 9, 1987 ip 'House 11: Second Story" in need of reconstruction - HOUSE II: THE SECOND STORY RATED PG-1- 3; CONTAINS VIOLENCE. Playing at the Davis Drlve-i- n in Layton and al Lakeside Review staff House Bring on the hammer and the nails; House II: The Second Story is in dire need of some recon- II struction. The sequel to the much ma f"r iV ligned 1986 original House, has made its way to our neighbor- BRYON SAXTON an Ogden theater. z A ' 4' ' ' "" v i "'ufe rZ J V ?'? V ! ' 'y J ? . :'v. . 4 , V : - X a V' ? V d i$W - js ft. A S v v I: K hood, hoping to gain the same notoriety House shared by being equally as weird. However, the only place this sequel goes is to the bottom of this critics list of summer releases. House II: The Second Story is the tale of a young unmarried couple, played by Soul Man Arye Gross (Jesse) and screen newcomer Lar Park Lincoln, who move into a house the Adams family would be proud co-st- ar of. The couple, along with their friend Jonthan Stark (Charlie) of Fright Night fame, discover Jesses grandpa has been buried on the houses back lot for the past 100 years. Jesse and Charlie then decide to e stars do do what all the dig up body of their still spook-movi- alive-and-kicki- 175-year-o- ld n grandpa, played by character actor Royal Dano. Dano, who was selected as Walt Disneys model for their lifesize animatronic Abe Lincoln, is merely adequate behind the dead-ski- n make-u- p that hides his familar face from the audience throughout the film. However, Jesse and Charlie, well-know- Arye Gross stars as Jesse McLaughlin, a young artist thrust into a madcap misadventure in House II." New World Pictures photo Jesse, played by Arye Gross, receives a shocking surprise when he opens a coffin. dont realize they have not only dug up Gramps, but have unleashed a menacing looking rela- tive and rehashed one of Hollywoods oldest plots with some poor acting. Other stars attempting to bail out this ice thin plot include Cheers own John Ratzenberger as Bill, a looney electrician nearly identical to his famed television mailman character. But his cameo only leads to further disappointment in this film, that will have to rely on some good luck to prevent it from appearing on Turkey Theater. Even the pretty Devin Devas-queof Cant Buy Me Love, who plays a virgin in distress about to be sacrificed adds no assistance to the house that should never have been put on the mar- z, ket. and Chris Walas special effects do provide a measure of interest to this summer release as prehistoric dinosaur scenes are blended with those of typical house action. But the bottom line remains if House III ever reaches the market, this is one consumer who will remain in his one-roobunof the galow with a window-viem w However, not is all lost. k film editing Some trick-wor- mortar and brick of the building next door. 'Cats' result of creative process Lives of feline characters provide sole robert.regAn Lakeside Review staff SALT LAKE CITY Rarely does the final result of the creative process show the sweating, swearing or dead ends inherent in making something new. The acclaimed musical Cats, which opened last week at the Capitol Theatre in Salt Lake City, is the. result- - of. such- - a In order to flesh out the final product the imagination of composer Andrew Lloyd Webber was stretched like a taut rubber band. Where else in the history of the stage have animals been the sole theme? Using the poems from T. S. Elliots 1939 book Old Possums Book of Practical Cats, Webber introduces us to a smorgasbord of different cats living in a junk yard. We meet legions of Siamese, a handful of tabbies and the spectrum of colorful calicos. They are played by dancers in wild makeup and bizarre costumes on a purposefully ugly and thoroughly fascinating stage. Given in the opening lines, the basic plot line is a ticket into the Jellicle Ball, the annual assembly of cats ready to dance. We dont get to meet the actors, though, for to play Cats they must play cats. The actors stretch their talents so much when they change species its almost as if they are coming out of their skins. The enthusiasm of grown men and women at play in cats bodies projects so well we know they are having the time of their lives. The play, lasting nearly three hours, explores the wide variety s of of felines living as the our society. We meet them on their turf, a garbage heap of candy wrappers, tires, a bed frame and a tennis racket all scaled to cast-off- cat-siz- e. We are introduced to cats with names that need a second or third reading to hear and understand. Eventually, the names roll off your tongue the words with a sound the child in us acclaimed musical in knows and feels. ' We meet the gumbie cat The last scene in the first half is the grand ball, with its pulsating, driving and often coarse experimental music. Despite the musical drawbacks we see the two dozen actors in a visual treat of 10 full minutes of energetic, disciplined group dance. : theme (who obviously cant be visualized with stripes,) the Rum Turn Tugger and Mr. the magic cat whose story is told as he wears a light jacket. Mis-toffele- es, of the cats. In fact, Marshalls disheveled mane could well be her own hair and her moves, distinctly more human and rarely are in sharp contrast to those of the othcat-lik- e, er actors. bulb-encrust- ed -- We meet Old Deuteronomy, much like the tattered grey in every neighborhood, and Through these two characters any depth beyond surface entertainment is reached.- . Unlike the classical musical form of Camelot or The King and I, in Cats there is no character development. As viewers we are introduced to the cats, hear their short story, turn the page, as it were, and move on. The salvation in terms of relating cat experience to human experience comes when Old Deuteronomy, played by Richard Nickol, tells the cast that reaching out and accepting Grizabella, played by Donna Lee Marshall, will bring them happiness. Ironically Grizabella, in the most tattered and ugly costume, is called The Glamour Cat. And the character is the most human The personification of Grizabel-l- a points to the obvious message from Webber that acceptance of the rejected among us will bring happiness to the many and serenity to the few. The impact of Webbers mes- sage was apparently felt because, as the audience was leaving Salt !.; 9 Lakes Capitol Theater, the only thing overheard, other than where to go for food, were a few bars from the haunting Memory, Grizabellas song, stunningly -- ' .a, m , y : - , tr 4, - :r performed by Marshall. $, c That single song was the bright spot in a long stretch of mostly forgettable music. The music was marked with heavy rhythm (that helped the dance soar) and some rather naspieces. ty synthetically-generate- d Several positive notes, though, were sections where the feline feelings were amazingly and wonderfully evoked. Webber used that particular musical form before in the Judas Actors assume roles as variety of cats in Cats." Iscariot soliloquy in his 1971 op- the music needed the lightness of Jesus Christ Superstar" the dance. Even though some of the parts and in the jail scene from 1972s Joseph and the Amazing Techni- to Cats do not necessarily color Dreamcoat. work, as often happens when In both of those situations the known boundaries are stretched, heaviness of the music seemed there is no knocking the imaginaappropriate to the overall mes- tion and effort of Andrew Lloyd sage. In Cats the heaviness of Webber. eretta Saloon Keeper's Daughter' likely to bring on boos LYNDIA GRAHAM Lakeside Review correspondent UnLAYTON Boo, hiss, hand her, you cur, .such are the sounds expected to be heard from the audience when the Layton Arts Choral Ensemble (LACE) presents the Saloon Keepers Daughter next week. musical melodraThe ma is guaranteed to delight the entire family as they cheer on the hero, Rusty Witts, played by Hal Shearer, and the heroine, played by Rhonda Hansen. Of course, hissing and booing will be the order of the day for the despicable villain, Mannly Rasch, played by Dennis Wright, and his Seedy Schlepper, played by Kathy Olsen. The production is by the Layton Arts Council and produced by special arrangement with Samuel French, Inc. It will be presented in the Little Theatre ' at Layton High. Other characters in the Saloon Keepers Daughter include Red White, played by Dr. Joel Passey; Blackie White, played by Dr. Jeff Fokens; Preacher Kindly, played by Don Jones; Charity Kindly, Nina Doxey; Cinnamon Hickey, Kathy Skidmore; Molly Bolt, Kay McCormick; Sally Forth, Faye Croxford; and Grimey Geezer, played by Randy Thackeray. Helen Farnsworth will accom fun-fill- ed co-ho- rt pany the melodrama and keep the audience musically in tune with every move of the hero, heroine, villains, saloon girls, and other cast members. Beverly Olsen is directing the melodrama, assisted by Charlen Nelson, Faye Croxford, La Rae Thackeray, and Karma Astle, as choreographers. Kathy Skidmore is the producer and musical director. Tickets for The Saloon Keepers Daughter are available from the Layton Parks and Recreation from any Department, LACE member, or at the door. Seating is limited so advance purchase of tickets is advised. Tickets are $3 for adults and $2 for children. A special gala performance to benefit the Layton Arts Council will be held the opening night, Sept. 17. Sparkling cider will be provided. Tickets for the gala performance will be $25 per couple or $15 single and are tax deductible. The proceeds will go towards the purchase of a sound system for the Layton Concerts In the Park se- : .v .... - 5 546-858- 5, ries. The melodrama will be present21. All ed Sept. 17, 18, performances for the two act production will begin at 7:30 p.m. Performance time is about 110 minutes. J N - s 19,-an- Villains Mannly Rasch, played by Dennis Wright has his clutches on both Sally Forth (left), played by Faye Croxford, and Seedy Schlepper, played by Kathy Olsen, in melodrama opening next week in Layton. |