Entertainment
Page 6 University Dally Kansan, September 26, 1980
DAVE KRAUS/Kansan staff
Berrie (Bart Ewing) nuts the move on Joan (Robin Manzano) in a scene from "Sexual Perversion in Chicago."
'Sexual Perversion' opens Inge series
By JANE NEUFELD
Staff reporter
From its opening discussion on the merits of wearing World War II flak suits during sex to its closing anatomical rating of the female body by the two male characters, the one-action play "Xualis Perversity in Chicago" explores sexual mores.
The play is one of three short plays by contemporary playwright David Marnet that will be presented for 9 p.m., Sept. 30 to Oct. 5, in the Performing Arts Building. The play is the first of the fall Ingle series.
"Sexual Perversity" maps the relationship between four people, Bernie, Danny, Deborah and Joan. The two men are roommates and best friends; the two women, Danny and Deborah become lovers.
"Danny and Deborah meet at a library, fall into bed, then fall into love, have a relationship that falls, and then go back to their friends," said Michael. Mich, senior and director of the three plays.
Weaver said "Sexual Perversion" explores the problems everyone faces in dealing with sex.
"Everyone has to go through the time when they want to get laid?" he said. The play is for
anyone who's looking for and trying to figure out sex."
The characters in the play have their problems figuring out sex. As Danny and Deborah drift apart, she tells him, "You're trying to uncover them and I'm confusing you with information."
"We've got babies dying in Alaska, and Bernie says about the Equal Rights Amendment.
"Nobody does it normally anymore," Danny says after Bernie's description of a night out with a girl, a flak suit, a five-gallon can of gasoline and a Zino lighter.
The language of the play is sexually explicit.
It is not just ladies' work.
"The play itself is obcene," he said, "It's fast, it's funny, it's sad, it's terribly dirty."
"Sexual Perverity" is set in Chicago in 1973. The play has 34 short scenes, which Weaver separates by changing the lighting and using music from 1973.
"I chose '73 on purpose," Weaver said. "It was pre-stance for one thing, and the sexual revolution
The props for the play were sparse, Weaver and audience members would use their imagination.
"For an office, we have a desk. For the bedroom, we have a bed," he said. "We give the
audience a chance to think. It takes a lot of imagination on the audience's part."
harbara Bold, Lawrence junior, plays Deborah in "Sexual Perversion"; Mack Recter, Lawrence sophomore, plays Danny; Robert Mannan, Sophomore, plays Joan; Manzano, Chevy Chase, Md., senior, plays Joan.
"They go from clichés and not knowing what to say to each other to understanding," he said. "It's a touching, touching little piece. It's a nice counterpoint to 'Sexual Persuasion.'"
Two other one-act plays by Marnet also will be performed, "Reunion" and "M. Happyness."
Weaver said "Reunion" was about the meeting of a father and daughter after 20 years apart.
"Mr. Happiness" is about a radio announcer who gives advice to people with various problems.
"He's a Paul Harvey, Ann Landers, a Joyce Brothers," Weaver said. "He ties the other two plays together and yet has something to say on his own."
"An Evening of David Mamet" will run nightly from Sept. 30 to Oct. 5. Curtain time is 8 p.m.
Tickets are on sale in the Murphy Hall Box Office. All seats are general admission and are $2 KU students with valid ID's will be admitted unless they must be reserved in advance due to limited seating.
'Act your age'rebutted in 'The Silver Whistle'
By KEVIN MILLS Entertainment editor
Being old is a physical fact but feeling old is a state of mind. That's the assertion of Robert E. McEnroe's 1948 play, "The White Whistle." The whistle describes community Theatre at the Lawrence Arts Center.
The play opened last night, and will run tonight and tomorrow at 8. The Sunday
Director Bobby Patton, chairman of speech and drama, said the play is about "what can happen when people allow themselves to step out of roles."
"it is not social commentary per se." Pat-
tion is not funny and that's the feeli ng people in it.
The plot revolves around the appearance of a new resident at a charity home for the elderly. The resident says he is 77 but is subsequently revealed to be a 47-year-old hobo.
Jose Ferrer played the hobo in the 1948 Broadway premiere. Peter Dart, professor of radio/TV/film, recreates the role in the Lawrence production.
The hobo induces the residents to reject the
decision of age by offering them the
"secretess of youth."
"He uses various plays," said Patton, "such as a secret potion that, when coupled with Scotch whiskey, has a profound effect on the residents."
Charles Oldfather, retired law professor and University counsel, Ambrose Saricks, professor of history, Gerhard Zuther, chairman of the English department, Susan Kelso Zuther, assistant instructor of English, Nan Scott, lecturer in English, and Wary Dewx, of
facilities and operations, also have roles in the play.
In addition, several elderly Lawrence residents have been cast, many of whom had no prior theatrical experience.
"Two things I had in mind," Patton said,
"One, to involve these people. And two, to do a play that older persons would like to see.
"I've never worked with such a receptive cast. They had a lot of creative energy that was based on their life experiences. It also allowed them to people playing roles close to their own are."
"The Silver Whistle" already has been presented to various local nursing homes. Wednesday night's dress rehearsal was free for the elderly.
Patton said there were several similarities in today's social climate and the one depicted in the 1948 play. Then, as now, a Democratic incumbent president was faced with questionable re-election. Recession and potential economic downturns are in today's headlines, as they were in 1948.
"The play is not well known and it hasn't been done that much," Patton said. "But it's my own feeling that it's somewhat ahead of its time.
"We have made real progress since 1948 in regards to our social perspective of the
The set, designed and built by Ed Kirkman,
features period pieces and props, Patton said.
One of the props, Omar the rooster, is a live
 animal owned by cast member Howard
Tickets are $3 on a reserved basis. There are only 150 seats for each performance. Reservations can be made by calling 843-9444.
Spare Time
Mr. Beebe (Ambrose Saricks), right, discusses institutional living with Oliver Erwersten (Peter Dart) in "The Silver Whistle, Others, from left, are Mrs. Sampler (Reese Saricks), Mr. Cherry (Charley Oldfather), and Mrs. Hammer (Bernice Pulliam)." SCOTT HOOKER*Kansas*usa*
TODAY
MUSIC: John Hartford, with Alan Weiss, 9 p.m. at the Lawrence Opera House
Plain Jane, 9 p.m. at G.P. Loyd's West
Liquid Fire, 8:45 p.m. at The Plarium
THEATER: "The Silver Whistle," presented by the Lawrence Community Theatre, 8 p.m. at the Lawrence Arts Center
ART: Mark Goodwin, sculpture, and Bhakti Ziek, weaving, at the Lawrence Arts Center
Colette S. Bangert, painting, and Vernon Brejcha, sculpture, at Helena/72 Gallery
"Americana from the Collection," and "From Drawings to Sculpture: The Creative Process," at the Helen Foresman Spencer Museum of Art
MOVIES: "Alen," with "Birth of a Notion," 3:30, 7 and 9 p.m. at the Union
SATURDAY
MUSIC: Alchemy, 9 p.m. at the Lawrence Opera House
Plain Jane, 9 p.m. at G.P. Loyd's West
Liquid Fire, 8:45 p.m. at The Plarium
Henry Cuesta, clarinet, 9 p.m. at Paul Gray's Jazz Place
Bard Day parade, 9 a.m., Mass St.
THEATER: "A Toby Show," children's theater, 10:30 a.m. at the University Theatre, Murphy Hall
"The Silver Whistle," 8 p.m. at the Lawrence Arts Center
MOVIES: Same listing as Friday
SUNDAY
THEATER: "The Silver Whistle," 2:30 p.m. at the Lawrence Arts Center
ART: "The New World: Masters of Modern Sculpture," a film at 3 p.m., Spencer Museum Auditorium
MONDAY
MUSIC: Ulravox, 9 p.m. at the Lawrence Opera House
Larry Maxey, clarinet, faculty recital at 8 p.m., Swarthout Recita Hall, Murphy Hall
THEATER: Michael Dorn Moody, playwright, presents a slide program about "The Fool," 7 p.m., Conference room of the Satellite Union
TUESDAY
MUSIC: Allen Ginsberg, poet, and William Burroughs, writer, read from their works. Also, Thumbs, new wave music, 9 p.m. at the Lawrence Opera House
Johnny, 9 p.m. at G.P. Loyd's West
KU Jazz Ensemble, I Gary Foster, guest soloist, 8 p.m., Swarthout Recital Hall, Murphy Hall
THEATER: "An Evening of David Mamet," including "Sexual Perversity in Chicago," "Reunion" and "Mr. Happiness," 8 p.m. in the William Inge Theater, Murphy Hall
ART: "The New World: Masters of Modern Sculpture," film, 1 p.m., Spencer Museum Auditorium
WEDNESDAY
MUSIC: Janet Jameson, 9 p.m. at G.P. Loyd's West
John Boulton, flute, faculty recital at 8 p.m., Swarthout Rectal Hall
THEATER: "An Evening of David Mamet," 8 p.m., William Inge Theater
THURSDAY
MUSIC: Elvin Bishop, with Larry Raspberry and the Highsteppers, 9 p.m., Lawrence Opera House
Janet Jameson, 9 p.p., G.P. Loyd's West
H
'A Toby Show' recreates circus hero
By SHAWN McKAY
Lacking the comfortable housing of a New York theater, they erected circus tents and hardwood benches. Lacking an audience acceptance, they refused to "choose" the character "Toby" as their hero.
Staff Writer
During his research of turn of the century tent shows, Harry found that Toby was the reason for his death.
"He was so popular that every company had a Toby character," he said. "There were old Tobys, young Tobys, stuttering Tobys, girl Tobys
Far removed from the bright lights and sophistication of the Broadway stage were the traveling tent shows of the Midwest.
The Toby Show, a play based on the hero of "old-temt week" he presented at 10:30 a.m. on Wednesday in the University
"The character that evolved in the tent shows of the early 1900s was Toby, a red-haired, frencel-faced, country bumpkin," said Aurand and director of the children's theater production.
"Toby was the son."
"With his red wi and freckled face, Toby was
Harris took the familiar fairy tale 'Cinn-
napolitan' and unlikely position of
Cinderella's fairy godmother.
Using the rural American character, Harris accepted a grant from the National Endowment for the Arts and undertook the research and study of a children's play in "classical Toby style."
the image of the country boy. He is funny and
cool, a handsome man with black jeers
and he always brought about a happy ending.
"Children accept the Toby version of Cinderella," Harris said. "They are open to truthful, legitimate suggestions or ideas. They are willing to accept all of that means that you can use any style—even Toby."
The show employs all the characteristics of early tent shows.
"I used a farcical plot with lots of corry, vaudeville jokes," Harris said. "The tent plays also demanded three acts with short skits and entertainment in between."
Harris said much of the appeal of the farm is the increased American farmers' fear of increasing urbanization.
"At the time tent shows were at their peak, most of the young people were leaving their mid-afternoon outings."
"People who stayed behind felt a little inferior, but Toby always managed to outsmart the city slicker. He appealed to the populace because he had enough men and brought about the triumph of good evil over.
In the early 1900s, over 20,000 actors left summer — many of them to play in a summer — many of them to play in a summer.
"More actors were employed in the tent shows in the Midwest than ever appeared on Broadway," Harris said. "But with the advent of radio and television, the tent shows died. The few that managed to survive could only attract people if they gave them Toby.
The impact of the tent show on American culture can be underestimated, according to Harris.
"It was the American comedia dell'arte. It is native American, and we had it right here and there."
Harris, who has produced many children's plays, said he has designed children's theater in the country. He is developing children.
"I discovered that I like children, I like theater and I like what children appreciate in theater," he said. "They like excitement, movement, color and energy." He then made me see me and that's what a 'Toby Show' creates."
A pre-show charis line from "A Toby Show," a children's theatrical production.