Page 4
THE CLACKAMAS PRINT
FEATURE
June 3, 1992
Review
CCC production of 'Love's Labor's Lost' skillful, entertaining
by Robert A. Hibberd
Co-Editor*In-Chief
The Clackamas Community
College Communications and
Theatre Arts Department is pre
senting William Shakespeare’s
play entitled "Love’s Labor's Lost"
in die McLoughlin Hall Theatre.
The synopsis of the play is
as Director Diane Olson writes:
The King of Navarre (Shane
Fraley) and his followers vow to
devote the next three years to a
life of study and contemplation.
"Love's Labor's Lost"
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Performance ?chfiduig
June 5 at 8 p.m. .
Jü he 6 at 8 p.m.
June 7 at 2:30 pjn.
. McLoughlin Hall Theatre
One of the rules of this “Little
Academe” is the strict avoidance
of women. This rule is immedi
ately violated by the arrival of
The Princess of France (Diana C.
Brainerd) and her attendants
(Jennifer R. Kirkpatrick and Kerry
V. McQuaid) on a diplomatic
mission.
At their first meeting, the
King, Berowne (Ian Kennedy) and
Longaville (David Amundson) are
immediately smitten by these
French girls and begin to woo
them secretly. With the help of
the village swain, Costard (John
Abbott), the braggart Armado
(Eddie Murphy), the school marm,
Holofemes (Diele Shoebridge) and
the local mother superior
(Christina Vlassis), the young
men’s missives go astray and
expose the youths’ secrets to each
other.
To win the ladies over, the
three men propose a pageant which
the ladies, being forewarned, vow
to disrupt The young men, frus
trated, return and learn the true
labors of love, and a pageant in
honor oi the Princess is performed.
The sudden arrival of a messen
ger (Herther Kahut) from the King
of France’s court brings a halt to
the merriment. The death of the
ly wood and remind ourselves of
the universal appeal of
Shakespeare,” said Olson.
Each actor was asked "Which
1940’s movie actor or actress are
"By producing 'Love's Labor's Lost' as a
black and white comedy, we hope to re
call those films from the golden age of
Hollywood and remind ourselves of the
universal appeal of Shakespeare. "
-Diane Olson
Princess’s father requires her to
return to France for one year.
Although seemingly tradi
tional, a bizarre twist exists with
the cast presenting the play in
1940’s movie style. The entire
cast dresses in 1940’s attire and
the play is interrupted periodi
cally with an abrupt “Cut!” from
Chayla-Dion, who plays Moth,
Armodo’s page.
“By producing Love’s La
bor’s Lost’ as a black and white
comedy, we hope to recall those
films from the golden age of Hol-
you basing your characterization
on?"
“Jean Arthur,” said Brainerd
of her characterization. “Shehad
a lot of spunk and went after what
she wanted despite what others
thought”
“I am basing my character
on Jean Harlow because she was
so promiscuous and she had a
way about her that really attracted
the men,” said Danielle Davis
about her role as Jacquenetta.
Kennedy
mentioned
“Berowne is sort of half Groucho
Marx, half Clark Gable. He is a
smooth talker, like Gable, and
has the same wit and humor as
Groucho.”
“I based Maria on Joan Fon
taine,” said McQuaid. “Maria’s
sister killed herself because of
love. I think Joan Fontaine had
the quality of reserved sadness
which Maria also has.
Abbott bases his characteri
zation on a cartoon character.
“My characterization is based on
the most respected, most provoca
tive, most controversial actor in
the Forties: Bugs Bunny.”
This presentation of "Love’s
Labor’s Lost" was skillful in its
merging of 1940’ s comedy to that
of Shakespeare, providing an
entertaining play and evening for
all.
The play was performed
beautifully with powerful perform-
ances handed in by all cast
members. Kennedy and Abbott
did superb and came out appear
ing strong among an already strong
cast.
Review
'Psycho Beach Party' cast presents
enjoyable take-off of 'surf-and-sex' films
by Jean Tamerius
Contributing Writer
T awzv k* «r»/4 c « rica 01
above a sand dune. “Look at
that” drools the binocular-be
spectacled YO-YO to his buddy
Provoloney. Shades of the past
envelope us as the “Psycho Beach
Party” begins.
“Gidget meets Psycho meets
the Three Faces of Eve meets
Mommy Dearest” is how the
promotion material describes this
avant garde, hilarious take-off of
ing from the Beach Boys’ “Cali
fornia Girls” to “Where theBoy s
Ajsa’2.t>v C oo ni e Frances. A-tone
point, the cast comes into the
aisles and “twists” with willing
members of the audience.
Debra-Ann Lund is superb
as Chicklet (a small chick). She
changes character from a 15-year-
old surfer groupie to a whip-wield-
ing woman, switching parts as
quickly and effortlessly as flip
ping a switch.
The supporting cast is equally
... if you are a liberal-minded person
who just wants some laughs, Charles
Busch's play "Psycho Beach Party" is a
must-see.
these and many more of the ado
lescent “surf-and-sex” films of
the early 60s.
The recorded music is as
nostalgic for many of us as it is
contemporary for others, rang-
adept at spoofing the past. Kam
Sisco as “beach bunny” Marvel
Ann, and Brian Haliski as
“Mommy Dearest” Mrs. Forrest,
were wonderful at playing the
roles of females, and Liz Russell
was incomparable as the great
Kanaka-the surfing Kahuna..
Chicklet’s best friend, Berdine,
played by Christine Calfas, played
a mean cello to punctuate her
“Dear Diary” entries. The come
dic expertise of Sylvia Sewell as
the runaway movie star Bettina
Barnes regaled us with her “dumb
blond” routine. . She minced
around the stage and spoke in a
squeaky baby voice reminiscent
of the “blond bombshells” of yes
teryear.
Some of the language and
content of this rendition may not
be to everyone’s liking, but if
you are a liberal-minded person
who just wants some laughs,
Charles Busch’s play “Psycho
Beach Party” is a must-see. The
play opened on May 1 at the
Theater Paris at 6 SW Third in
Portland. It will run through June
13, with a special Rose Festival
Performance on June 3, to “bring
a sailor for half-price.” Tickets
are $12 for adults and $10 for
seniors and students.
"Psycho Beach Party," a humorous take-off of "surf-and-
sex" films of the 60s, is playing at the Theater Paris in
Portland.