Oregon daily emerald., October 21, 1988, Page 11, Image 10

-Entertainment.
Gourlmy photo
Bay Area musicians Ron Thompson & the Resistors play
the WOW Hall Saturday, Oct. 22 at 9:30 p.m.
Soviet violinist plays Hult
MUSIC
Friday, Oct, 21
Nine Days Wonder —
electric boogie-blues, 9:30
p.m., WOW Hall. Admis
sion is $3.50 at the door.
Saturday, Oct. 22
Saturday Market music:
11 a.m.. Just I.ike It Is — red
hot jazz; 1 p.m., Old Growth
_Calendar
Revival — songs of the
woods; 3 p.m., Inspirational
Sounds — gospel choir; 4
p.m., Mark Alan — solo
acoustic guitar.
Ron Thompson and the
Resistors — blues trio from
San Francisco, 9:30 p.m.,
WOW Hall. Tickets $6 ad
vance, $7 DOS at EMU Main
Desk, Record Garden, House
of Records, Balladeer Music
and the WOW Hall office.
Sunday, Oct. 23
John Solum — distin
guished flautist in a public
recital, 4 p.m., Room 198,
School of Music. Tickets
$2.50 at the door.
Vladimir Spikakov —
classical violinist from the
Soviet Union, 7 p.m., Hult
Center Silva Concert Hall.
Special tickets for University
students, faculty and staff
available for $9.25 and
$12.25 at the EMU Main
Desk and all other Hult Cen
ter outlets.
The Dinosaurs — former
members of Jefferson Air
Tum to Calendar, Page 12
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'Quiet End' makes realistic point
By David Bates
Emerald Contributor
In the eight years that Ameri
ca has had to deal with AIDS,
dramatists have taken the lead
among artists in showing that
there is more to the disease
than statistics, experimental
monkeys, and legal ramifica
tions.
Eugene theater-goers now
have the opportunity to see a
powerful rendition of one of
the less political of these plays
_Theater Review—
in Villard Hall’s Arena Theatre.
Under the direction of Univer
sity Theatre Professor Grant
McKernie. Robin Swados’ “A
Quiet End" delivers on not
only an artistic level, but it
makes an important statement
as well.
After a cynical consideration
of whether or not it is possible
to convey "stark realism” in
theatre, one may conclude that
"A Quiet End" comes about as
close as you can expect to gel
to showing the reality of AIDS
on stage.
The story takes place in a
dreary New York apartment
where three gay men with
AIDS are spending their final
days. As the play opens, it be
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comes clear that the characters
have accepted their fate, thus
eliminating an angry tone that
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from what the work is really
about: learning how to live and
love in the face of death.
And as the story progresses,
the characters do as well.
Through interactions with a
psychologist and each other,
Max (Andrew DeRycke), Billy
(Erik Ireland) and Tony discov
er a new maturity and wisdom
as their lives come to a quiet
end.
The power of “A Quiet
End,” lies not in its fireworks,
but in the glow that remains af
terward.
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