Oregon daily emerald. (Eugene, Or.) 1920-2012, March 05, 1993, Page 8, Image 7

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RECORD CARDEN
RAISIN
Continued from Page 5
Waller l-e« is consumed by his desire lo have fi
nancial security for his family and worn down by
society's racial injustices
David Little|ohn. who plavs the role of Walter
Lee. gives a compelling performance of this
anguished and frustrated man.
Walter Lee's Intellectual younger sister.
Beneatha. is played by University student Frelime
Beil. The two siblings affectionately bandy insults
back and forth, providing some much- needed
comic relief
Beneatha is the most rebellious in the family
and is constantly defending the non-traditional
choices she is making. She is leased for wanting to
become a doctor and the family doesn't seem to
relate to her interest in African culture.
The cast of A Raisin in thr Sun does an
admirable job at presenting a highly complicated
The Martin Luther King Jr Theater Group
donates a quarter of their ticket sales to local
social service organirations. Their budget is very
slim According to lacksonFahnbullen. A Raisin
in Itw Sun was produced on a budget of $500
The group credits Jim Roberts, the producer of
the Actors Cabaret of Eugene, for a providing
them with a place to rehearse and adapting a set
for their use.
The Martin Luther King Jr Theater Group had
found a niche by filling a void
•They hardly have anything ethnic in Eugene. I
appreciate their commitment to black history -
after black history month." said Cessa Heard
Johnson, a University employee who purchased
seven tickets for A Raisin in the Sun
It is a play that tugs at your heart and in one
breath will take you from laughter to tears.
The last two performances will lie March 7 and
H at The Downtown Cabaret Annex. Tickets
areSfi in advance. Call 683-4368 for reservations.
LEGENDS
Continued Irom Page 5
Legends from Camp is not
(ilxint multu ulturahsm so much
as it is what multiculturalism is
all about: a recognition of Amer
ica's sublime opportunity to tie
enriched by a diverse legacy of
experience.
A long-time advocate for a
multicultural curriculum in the
schools, lnada serves on the
Commission on Racism and
Bias in Education and has edit
ed two major Asian-American
anthologies. He is a professor at
SOSC and served as a judge in
last summer's Lane Literary
Competition.
lnada is the author of Before
the War, .1 volume of poetry.
lnada comes to Lugene to
read and sign Legends from
Camp at Hungry Head Hooks
March 5 at 7 p in. An open mike
will follow.
T- BONE
Continued from Page 7
"somethin's cornin'." but the audience doesn t
have a clue. And. later, the ft that splits the
pair of roadies in scene 15 doesn't hove the dra
matic effect it should because we re still unclear
as to why and how our heroes are bonded. Klein's
coupling c omes off as one of those underwritten,
arbitrary marriages of opposites currently infect
ing tile post-modern stage
"I hear o lot of thunder but don't fend a drop."
Weasel sav* in the first scene of the first act, and
this is indicative of the play's promise to deliver
what McKernie tugs us "serious social issues
Lots of heavy subjects are mentioned — racism,
religion, nuclear waste and shady politics — but
none are dramatized in-depth We re treated,
instead, to a parade of stereotypes — the crooked
cop, the ugly. Southern anti-belle, the shady car
salesman —?whb trivialize these matters of mod
ern importance in a slapstick, unfunny manner
The play has the shy fingers to touc h important
topic s but not the balls to explore
Hut even these mega-faults might be worth
overlooking had / Hone .V lVeo.se/ lieen produced
under a different direc tor. The nc tors are cattle
prodded by Mi Kernie into delivering their lines
in identical, loud and choppy bursts of rapid-fire
speech — the same bursting of lines McKernie
recently spewed so unsuccessfully as the sterile
psychiatrist in the University's Eqtius production.
Words fly fast and the audience is puzzled —
and worse — disengaged from the action. The
cast's forced speedy-line delivery makes one
think methamphetamine addiction is a prereq
uisite for the University's Theater Arts program.
Set and lighting do not salvage this production.
Craig Willis' stage design is too grungv. even for
this play. The set isn't decorated, it's littered
Selected hits of refuse — red scrap metal, dead
gray tires, black and white signs — soil and
squander the stage. This isn't minimalism, it's
trushism
And Steve Ransom's bright lighting can't tame
this wild set Blocks of blank white fry the stage
(and tan the actor's, no doubt.) Everything's harsh
ly lit and all-too-well seen: Imagine shining a 500
watt floodlight into your garbage disposal.
Pretentiousness is theater's original sin. In T
Bone N lYrnst'l, it is unforgivable There's nothing
worse than low-comedy parading around as if it
were high art It's like a blind-date with a blond
drag-queen — fun for a while— but when it
comes to parts of ultra-importance, one truly
aches for the real thing
TIM I.M.U. Cultural I
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7YEARBITCHJ
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WEDNESDAY APRIL ©
©PM E.M.U. BALLROOM
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