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Oregon daily
emerald
The Oregon Daily Emerald i* published Monday through Friday
except during exam week and vacations, by the Oregon Daily
Emerald Publishing Co . at the University ot Oregon Eugene
OR 97403
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I
theater review
fireworks fizzle in Wilson’s ‘Fifth of July’
By Jonathan Siegle
OtttM Em«raM
Lantord Wilson's "Fifth of Ju
ly” is a tough play to stage It
requires disciplined directing
and tight ensemble acting
University Theater s produc
tion lacks both
The blame belongs to the
director Quite simply. Prof
Faber DeChaine’s directing is
dreadful
The young cast is unable to
puli oft being over-30 members
of the revolutionary ’60s
generation There is no unity
The cast is unable to work
together as a group
Further, it seems DeChaine
does not know how to discipline
actors For example, Dana
Black, who gave a careful,
journeyman performance in
"Look Homeward Angel," is
here a frantic dervish He
gestures unnaturally and
amateurishly, shifts his feet
nervously, and is often
somewhat disoriented
This is not bad acting Black
has proved he can act This is
bad directing
It may be true, perhaps, that
DeChaine is being faithful to the
spirit of a university theater in
using shows to develop young
actors. In so doing the show
might suffer But it is such
actors who need the most
careful direction, and that
careful direction simply wasn't
evident It was sloppy
"Fifth of July ” brings together
members and friends of the
Talley family to a small Missouri
town to finally dispose of the
ashes of dead Uncle Walt,
which Aunt Sally has been
carrying around for a year in a
candy box
They're an odd mixture Ken
Talley, the more or less central
figure, is a homosexual teacher,
a former Berkeley radical who
went to Vietnam and lost his
legs Jed, a gentle botanist who
works as a gardener, is Ken's
lover
There's sister June, a bitter
woman, and her wild, spoiled,
self-centered daughter Shirley
And Aunt Sally, of course, a
slightly dotty old woman
Old friends John and Gwen
are there too He's a hometown
boy who traveled to Berkeley
with Ken in the '60s Gwen's a
superneurotic rich-bitch who
also joined in the radical fun
And there's Wes, a goofball
hippie friend of Gwen's with no
other connection to the group
As actors, the cast must work
in harmony to pull it off They
don't They talk at each other
They recite their lines without
conviction or understanding
And the flat blocking takes away
fi
stage depth and any other pos
sibility of their relating to one
another
Yet among this disharmony
are some striking
performances
Karen Saddington as Aunt
Sally is delightful She plays the
elderly widow with subtlety and
restraint Her posture and
gestures are correct and
proper She’s the only one of
the cast with an accent, but she
can't hang on to it Dropping it
altogether wouldn't hurt a bit
Chris Bollweg is quite sensi
tive as the gentle botanist
gardener Jed He too knows
how to use a stage, and like
Saddington, knows what to do
when he's not talking
John Leistner has some fine
moments as oh-wow Wes, as
does Mary Phifer in the role of
rich-bitch Gwen But Wes really
has no part to play, and Phifer,
after delivering a nice line,
returns to posturing
As a whole, however, the cast
seem unfamiliar with their sur
roundings, uncomfortable and
out of place
They don't know who they
are, what they're doing there,
and why they must say what
they say And they either
scream their lines to the rafters,
or mumble them into their chins.
This lack of understanding is
bad directing
It’s too bad really. There was
some obvious talent on stage,
talent that was misused,
discarded, or wasted
"Fifth of July” continues its
run today through Saturday
Over in the Arena Theater is the
revue "Oh What a Lovely War."
See it instead; it's quite good
“Fifth of July," however, is just
plain awful.
—... .. .ll
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