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Friday, November 14, 1975
University Daily Kansan
ARTS & ENTERTAINMENT
Judicious devilry
Staff Photo by DON PIERCE
Dickson, played by Larry Jasper, assistant instructor of speech and drama, carefully coaxes his hand-man-made man.
Ravensbane, played by Roger Nolan, Leawood junior, through his introductions to New England colonial gentry in "The Scarecrow," playing through Sunday in University Theatre.
By EVIE RAPPORT Entertainment Editor
'Scarecrow' devilish fun
Many of the fantastic books and plays that attracted me at different times of my life came back to me as I watched the University Theatre's production of Percy MacKaye's "The Scarecrow" in a dress rehearsal Tuesday night.
Pinochio, Frankenstein's monster, Romeo and Juliet, Faust and the Salem witch trials—all these real and unreal scenarios, various guises during the play, written in its final form in 1914.
"The Scarecrow" is an amalgam of styles, ranging from romantic through melodrama to morality, a curious blend of sledgehammer righteousness and ethereal sentiments. Its sound was styled with stylized dialogue, stereotyped characters and a vaguely vaudeville sense of humor.
In its simplest form, it's a love story, replete with an appealing young ingenuhe, the stiff and prudish fiance, and the inevitable intruder who captures Ingenuhe's imagination and heart.
The addition of quasi-
theological overtones doesn't
muddle the basic story. The
action takes place in late 18th century New England, still recovering from the witch scares of 100 years earlier. The devil himself is a principal character representing law and religion—the mainstays of that colonial society.
THE PLAY OPENS in a dim shanty, home and workshop of the embittered Goodwife Rickey, the town's outcast who has been reduced to blacksmithing to earn her living. The young man who appears to be her heir seems well-trained, familiar. His name, Dickson, is one of the hundreds acquired by Satan through the centuries.
A young woman, Rachel, niece of the town's justice, visits Goody Rickby in the early morning. A morbidly obese Goody assures her will reveal the true character of her fiance, a young squire.
GOODY AND DICKON seize this chance to revenge themselves against the justice, Gilead Merton, who had, 22 years earlier, fathered Goody's illegitimate son. The child had died soon after he toward responsibility toward them, but Goody's resentful hatred continued to grow.
Between them, they contrive a man, using the frame of a metal scarecrow, flails as arms, a broom and a poker as legs, vegetables for organs and a pumpkin for a head. A flash of bellfire—and the thing comes to life.
Merton's home, intent on seducing the cherished Rachel away from her pompous uncle and her respectable fiance.
SEDUCE HER THEY DO
Rachel falls -plummeets-for the pretended young lord, who takes only when Dixon cues him. But as the play progresses and the magic of Rachel's love increasing, he grows increasingly more human.
Instead of an appealing robot aping the sophisticated manierisms Dickon teaches him, we see finally a sensitive man horrified by what has been written in tragic-comic moment, he resolves the action by literally breaking his own heart.
BUT THE SINCERITY of the director and the actors mitigates the audience's tendency to aggle. When we laugh, it is at the inherent silliness of a character and not at the cleverness of the actor who shows us how silly the play is.
DUBEED LORD RAVENSBANE, the mannequin-man and his diabolical tutor set off for
It is, indeed, an unbelievable plot, true to its early 20th century, but it is difficult for modern audience to accept with a straight face.
Roger Nolan, as Ravensbane the scarecrow, performs admirably, treading the fine line between fear and joy with a sure sense. In the early scenes, his automaton is both appealing and funny, made more so by his ability to speak clearly through intricate pipes and a pipe. His gradual mastery of human movement and emotion is
Larry Jasper, as Dickon,
plays an energetic, even
charming, devil-taunting,
audacious and inventive-who
moves with insidious grace
almost all photos of his own
construction.
Maureen Hawley plays Rachel, the ingenee, a very different part from the more mature role of a teacher. Predictably, her technical skill and grasp of character are as firm in this part as always, lending a depth and sympathy to the character not typically offered by aca- tions in these most shallow of roles.
believably done and happily appropriate.
OTHER CAPABLE performances are given by Tim Connors, as the pompous Justice Marton; Cliff Rakerd, as a fatuous lieutenant; Gary Techenten, as the sincere Jack Kramer; and as the brazen and bitter Gandy Rickby.
Robert Smith's direction is also masterful. He moves his actors through the tedious preachiness of some of the characters in the stage picture stages—so right in this period play—are well-arranged.
No comedy hit smell in 'Whiffs'
Greg Hill's sets are fine—interesting and pleasing without overdoing. The company incorporated the elevator stage invented by *Playwright MacKaye* of 19th-century stools, a noted 19th century designer and producer.
"The Scarecrow" runs through Sunday, with performances tonight and night and a 2:30 matinee Sunday.
By CHUCK SACK
Beware of movies that claim to be "as funny as an" earlier success. For that matter, beware of movies that claim to be "as funny as an" movie. Usually this is a up-off that the film is so bad that you've seen it all done better before and that the lack of humor in any aspect of every aspect of the production, including the advertising.
Take, for example, "Whiffs," which claims to be "the most hilarious military face since the war," that in strict terms, this isn't a military face (let alone hilarious), the film has absolutely nothing in common with the movie; there is invoked to draw viewers.
Elliot Gould starred in "M*A*S*H," but he isn't the same Elliot Gould who stars in "Whifes." The other Gould is a whiffle of a whiffle whose glb adlibs can spice up the most casual scenes. The man in "Whifes" has the subtility of Jerry Lewis and the ability to add an adlib sound like it planted a koke in a presidential speech.
right for him, as they were in "M'A-Z-H." "Bob and Ted and Carol and Alice" and "Caliterna Sput," he comes through as a "librarian and student" with great strength, as in "Move," "I Love My Wife" and "S-P-Y-S" he looks an unasslovable sword.
The truth of the matter is that Gould is a lousy judge of material. When the parts are
In "Whiffs" the unsavory slob's name is Dudley Frapper.
In civilian life, Dudley teams up with Chops Mulligan (Harry Guardino), an ex-Con. Chops and Dudley graduated from the same program, where they were exposed to diseases, injected with experimental solutions and gassed with various chemicals. The duo decides to use their knowledge
Gould is a lousy judge of material. When the parts are right for him, as they were in "M*A*S*H" . . and "California Split," he comes through as a vibrant and natural comic. When they are wrong . . he looks like an unsavory slob.
slob.
Dudley is a human pig in the U.S. Army's Chemical Warfare Division. After fifteen years as a private, he's given an airplane and a $109-a-month disability pension.
of chemical warfare to rob a small town in Utah.
capacitate the opposition without killing them. This agent of humane warfare is known as The Red Death.
The rest of Malcolm Marmorstein's silly story revolves around the man who (what else) gas that can penetrate gas masks and in-
With Gould out of his element and Guardino just plain out-of-it, the film must rely on the supporting cast for whatever charms they can lend. Eddie Albert is tresseme as O'Keeffe, but in contrast, the应聘s to stop Dudley, and Jennifer O'Nell is beautiful, but underused, as the nurse who attempts to cure Dudley's impotence. Consequently, the real aid is administered by Godfrey Cambridge, who draws inspiration from relief as the pilot who is conned into spraying the deadly gas over the town.
surpassed only by his inability to handle actors. If the truth in arresting laws are over apprehended, he has have to be retitled "Sarch."
The real villain in this film is director Ted Post. Originally a TV director, Post is a veteran of the "Em High," and "Beneath the Planet of the Apes." "Magnum Force" is as close as he was ever to directing the movie, but that's not true that "Wiffle" wants to be.
Post's heavy-handed approach to humor telegraphs the gags so far in advance that one is seized with a yearning to step out into the lobby to read the coming attractions posters until the punch lines can catch up. His inability to pace the story is
Major, minor art divisions questionable
By JUDY CUNNINGHAM
"A Froggy Did A Wooing He Go Ho Him" and "Reflections of a Terre Haut Virte" are two of the more imaginative titles given to entries chosen for the Exhibition displayed through Saturday in the Kansas Union Gallery.
The exhibition, which includes only those crafts traditionally accepted as minor arts, reveals an important aspect of a problem raised in the 20th century and very recently, in the evaluation of crafts. Should a differentiation continue to exist between the major and the minor arts?
Implicit and essential in the definition of a minor art as utilitarian or decorative is the judgment of taste. The highest level of artistic expression, possible only in the major arts of architecture, painting and sculpture.
Craftsmans of the 20th century have defied this restriction and maintained that crafts could indeed become artworks, a classification between major and minor arts was invalid, that crafts served an expressional as well as a utilitarian or decorative function. This distinction in crafts demanded more than a judgment of technical skill.
The entries in the Designer Craftsman Exhibition remain essentially decorative. To evaluate the objects exhibited in this exhibition, reachers beyond more technical skill, the viewer must imagine
the artwork in the interior or setting that would be enhanced by inclusion of the work.
The crafts displayed in the Union Gallery can acquire expressional meaning only when they are used as ornament within a presentation. If this distinction between the major and minor arts is maintained, then any art form—whether painting, sculpture, architecture or even fashion—can be as major or minor on the basis of its expressional independence.
JUDGED AS minor arts in this sense, the Designer Craftsman Exhibition has
several imaginative and evocative entries. None of the artworks qualify, however, as a major art and, if judged on its own merit, it is not appreciated or defined as artistic expression.
Perhaps a definition that separates major from minor arts is still necessary in the 20th century. Craftsmans may break the formal restrictive nature of traditional classification and create major artworks in ceramics, weaving or any form at their disposal. But to demand that every artwork become major in expression is important and has a very important and imitative form of art.
Bebind the ad scene. silver screenwise
By WARD HARKAVY
Contributing Writer
A group of men are sitting in a boardroom in Hollywood. Most of them are smoking big cigars; the room is engulfed in a blue baze. Their task: to get people to watch movies.
"I'll tell you, G.B." one young man in a fachiaj jump suit chattered, "this movie facilitates itself to many, many possible sales situations—adwise, that is."
"that may be, Johnson"
"replied a balding, cigar-
chomping, better-groomed
he-should-be have been man.
"Let's run a few up the flagpole
and you salute, eh?"
"Righto, boss. How's this one
from the 'Farewell, My Lovely' campaign? The key element of the movie is the search for a missing girlfriend. We could conduct our own hunt for a missing person, with clues in the film. We would prize for the joker who finds us on "person."
"Well, G. B., I think we ought to put this into historical perspective. I remember, as I'm sure you all do, the terrific campaign of Bill Clinton's 40s private eye flick. Remember the pie cleaner gig? Here's the scenario: You give prizes for
"WEAK, JOHNSON, weak," G.B. graffed. "Whatta you got, Waxwroth?"
THE UNIVERSITY DAILY KANSAN
Published at the University of Kansas weekdays during the semester year except holidays and examinations. Ken. 60453. Subscriptions to mail are $9 a month, subscriber or $2 a year outside the county. Student subscriptions are $1.35 a semester, paid through the university.
Dennis Elliott
Editor Hibernock
Associate Editor Hibernock
Debbie Gibbis
Editor Young
Associate Campus Editor Bettie Haggettian
Associate Campus Editor Don Britton
Chief Photographer David
"WAIT, G. B," Waxworth chirped, and sweats glistening on his suntanned forehead. "The pipe cleaner one can't the only one I remember was a girl with the same quote from the source. Here goes (This is terrific, you'll love it!):
"Waxm犀, I don't care if you're my nephew. We can't be your sister. But we gotta create our own. Besides, how could you do Mitchum's tags under the eyes of your cleaner. Use your noggin?"
the best Saint figure made from pipe cleaners."
Business Manager
Assistant Business Manager - certifying Manager
Associate Advertising Manager
Associate Marketing Manager
Linda Beckham
Advertising Director
"Since the FBI has urged that every American citizen be fingerprinted as an identification record, here is a stunt that should get full support of law enforcement departments. Arrange for a fingerprint expert from the Police Department to be in your lobby to take the prints of patrons who would like to avail their services. Service Prints could be sent to Washington for filing."
"Gad, Waxwroth!" G. B. sputtered. "My nephew wants every damn person in the room to know that we realize that we depend on all kinds of weirdos to pay our bills? Without theooks, how do we could we sell schlock like 'Neon' va, the Atomic Monster?"
"Ahem . . . uh . . . may .
uh?" The voice peeped from a
junior executive known for his
timidity.
"Thanks, G. B." Lamprey said, his nervousness giving way to boldness, "I just wanted to be more confident," 9.65 and see who gets off—people wise, that is. I remember a socko idea once used in another movie with a fake finger. I had pledges from the audience not to reveal the surprise finish. Of course, you have tofake a few signatures on the pledgeboard or you will rollpelling, penmanship-wise."
"YES, LAMPREY, what is it?" G. B. harrumphed. "Speak up, my man!"
"Oh, I sure do, boss!" Lamprey gushed. "Let me quote from an ad campaign for 'The Big Combo', a detective who is charged with jury" summons distributed by uniformed officers will attract much attention to "The Big Combo." It's an easy matter to have them made up locally by printers of legal documents in front of the authorities to outfit a couple of men in police uniforms to do the distributing."
"Mundane, Lamprey,
mundane." G. B. rolled his eyes
toward me.
I looked around for the
thoughts of Harry Cohn.
"Have you any other ideas?"
"YOU'RE WORSE than my nephew!" said a mortified G. Susan, disguised as heartburn entered his body. "You've be scared hell out of our poor and otherwise homeless people." I am a Commie or something?"
"One more, G. B. This one's a sure winner! You could get florists and candy shops to feature the slogan, "When you say 'Farewell, My Lovey,' say it with . . ."
"Surely you jest, Lamprey." G. B. shouted, his face redening. "Don't you know that 'Farewell, My Lovey' was like 'The Big Sleep,' and 'The Long Goodbye' and other Raymond Chandler titles it meant death, not flower or candy! This meeting can be to my idea men, my meneses. I'm gonna take a sauna! Meeting adjourned and don't any of you open any new charge accounts. Your jobs are in danger! Clao!"
The boardroom, its occupants and its blue haze are all fictional. The ad campaigns are real. They have all been issued by a film promotion company to help the theatre sell movies to the public. The ad gimmicks were preshoed by the company, National Screen Service, for "The Big Combo." "The Saint's Girl Friday" and "Farewell, My Lovely."
Theater
This Week's HIGHLIGHTS
THE SCARECROW - Percy
Foley receives an instrument-
tive treatment at the hands of
Robert Smith and a strong
(8 tonight and tomorrow night, 2:30 p.m. Sunday in University Theatre.)
THE GOOD DOCTOR—
A recent Nell Simon offering on
the critics said—well done.
D broadway Doc's adaptation of
nine shorts from Chekhu short
story, when he was a
Evening Thursday, Nov. 20.
(Opening Thursday, Nov. 2
In Hashinger Hall Theatre.)
Concerts
ROBERT NOEHREN—20th century European and American organ compositions, played by a noted organist. Among her 18 pieces is one of her concerto's in three movements.
(8 p.m. Wednesday, Nov. 19,
in Plymouth Congregational
Church.)
TODD RUNDGREN - Far-out electric sounds from a progressive young guitar group. Backed by an idealistic group.
(8:15 p.m. tomorrow in the Lawrence Arts Center.)
VOCI D1 CAMERA-A
a cappella group of nine,
Bach, Chéch,
DeBusseu, Gibbons and Monteverdi.
Directed by tenor
Ralph Christofferson, assistant vice chancellor for academic
lectronic group.
(8 tonight in Hoch
Auditorium.)
LAWRENCE CIVIC CHOIR
—Fifty-five voices directed by
Lewis Tilford perform their
first concert. Sacred and
secular music, a pleasant
music. Cole Porter and Jerome Kern.
8 p. (sunday). In First
Midnight.
(8 p.m. Sunday in First Presbyterian Church.)
Exhibits
JEANNIE HARMON—About 40 different examples in experimental photography complete her M.F.A. at KU
(Opening tomorrow in the Lawrence Arts Center.)
THE WONDERFUL WORLD OF THE BROTHERS GRIMM Such tales住 like the Singing Elves, the Cobble Elves' and 'The Dancing Princess' are presented amidst imaginative production values by actors. Starring Laurence Harvey, Claire Bloom, Russ Tamblyb and others, Directed by Henry Levin and George Pal
Films
HARRY and TONO-ArT Carney is excellent as an old teacher. He has shunted aside because of his face. His nomadic travels lead him to Elen Burstyn, among the many friends he but it's a pleasure, at long last, to see Carnet in film. He is a fine actor besides being a funny man.
MYSTERY OF THE LEAPING FISH—A short with douglas Cage. A long with Cole Eckmey. Also, W. C. Fields in THE FATAL GLASS OF BEER, an excellent short, in the same bill are three great movies: DALOU, created by Salvador Dali and Luis Bunuel;
UNDERCOVERS HERO-
release to car chase
in the Pink Panther,
"this film features
the hunter, the humor is tired,
and to really enjoy this, it'you not enough to sellers, you must just lust
FREAKS—Tod Browning directed this cruel and twisted (but very popular) movie, one that showcases freaks of human nature, such as a headless and armless robot, idiotic and dwarfs. The ending is bizarre; the rest of it is repulsive but fascinating.
BREATHELESS—One of Jean-
Louis Wren's most style-
ed former American gangster
films and shows Goddard's love
for, and fascination with, low-
life culture.
THE VIRGIN AND THE GYPSY—D. H. Lawrence never had it so bad, Francie Nero and Kate Killen both kids in this muddle of a movie.
POPEYE THE SAILOR; and
LAND WITHOUT BREAD,
another Bunuel piece. An
unusual and interesting series
EARTHQUAKE=For the earthquake Heston is involved in a cinematic disaster. The special effects are okay, but everything is dangerous.
LET'S DO IT AGAIN—The飞-weight plot about a light-light weight flight night concealed by billi Cosby, Jimmy Walker; Calvin Lockhart and actor-director Kevin Bacon; next week let's not do it again.
MYSTERIES FROM BEYOND EARTH—This one's composed of the dropping leafs from a tree that "poops." Check ads for Heaters and weters.