arts
The four female cast members of The Club, playing dapper, chauvinistic, turn-of-the century men, had to be bound
and padded for their masculine roles.
Women effectively
ideologies in URTC
By JOAN MORYKIN
Collegian Arts Writer
It has everything but the guys. Yet men are not
necessary to Eve Merriam’s portrayal of a posh men's
club in the University Resident Theatre Company’s
production of The Club.
play review
The roles are portrayed by women, which is intended
to provide deeper meaning to the production. Dressed
as dapper, chauvinistic men, the actresses effectively
relate the attitudes and ideologies of men at the turn of
the century in a witty and humorous manner.
It is a fascinating production in that it’s not quite a
play, and not exactly a musical. It is more the equiva
lent of watching an hour of MTV videos, with each song
portraying a specific message in support of its theme.
The cast members manage to work well with the songs,
expressing lots of individual personality traits through
the music itself. The dance numbers are well done and
very entertaining.
The Club consists of .16 popular songs from the
period, interspersed with various limericks and one
liners delivered with the intention of receiving a few
groans from the audience.
It is not hard to laugh at the dreadful humor of the
period which abounds in what the URTC calls a
“musical diversion.”
“Do you believe in clubs for women?”
“Yes, if other methods of persuasion fail!”
AAAAAAARGH.
An “especially funny scene involves presentation of
the Club’s annual play, in which Susan Skosko as the
treasurer, Bertie, portrays a woman. As an actress
playing a man playing a man’s idea of a woman,
Skosko amusingly maneuvers the audience through
several layers of stereotypical sexist imagery.
However, the show is something deeper than a few
women in drag playing men cracking jokes. Stefani
Koorey, dramaturg for the play, notes that it produces
the same uneasiness as would the telling of a racial
joke by a member of the degraded race.
Music of CoC criticizes presidents, politics and preachers
By PAT GRANDJEAN
Collegian Arts Writer
Any hardcore band that calls itself
Corrosion of Conformity had better
be aware of its own potential for
manufacturing cliches. And in fact,
this Raleigh, N.C. quartet, which
played in Findlay Rec Room on Sat
urday night in a concert sponsored by
WEHR-FM, knows the pitfalls of be
ing assigned to a rock’n’roll category.
“We’re trying to get away from
being lumped into the heavy met
al/hardcore crossover crowd along
with that label comes a lot of sexism
and nationalism and a lot of really
dumb people that are hard to deal
with after awhile,” drummer Drew
Mullen says. .
But bassist Mike Dean feels that
the reason hardcore is linked with
sexism and fascism is due to the
media’s portrayal of the music.
“Since the media has built up those
aspects of it, a lot of people have
gotten into it and tried to live up to
that image,” he notes.
‘We’re anti
authoritarian, pretty
left-wing.’
—Drew Mullen, drummer
“We don’t want to be labeled in any
way,” Dean insists. “If we’re labeled,
we become associated with people
who we don’t necessarily agree with
and don’t want to be associated
with.”
“When people hear us, they’re not
able to say ‘Ah, another hardcore
band’ as much as ‘That’s a weird
group,’ ” Mullen says.
CoC’s repertoire of original songs is
designed to encourage listeners to
“It somehow becomes less about the joke or the
humor contained within, and more about the reasons
for it ever being thought up or spoken,” Koorey noted.
As the club members participate in an evening of
singing, dancing, playing pool and cards and smoking
cigars, there is also a biting satire that would make
any Mason, Elk or Lion’s club member cringe.
Director Jim Hoskins said he thought the musical
would be a major challenge for the students, and was
also ideal because it opened up a lot of women’s roles.
“It introduced them to many different disciplines
the major one is playing a man,” Hoskins said.
Nancy Hyer, who plays Bobby in The Club, said that
the most difficult thing about the role was trying to
portray a male from the turn of the century instead of
the stereotypical modern male.
“For the first week and a half of rehearsals we were
all walking around grabbing our crotches and being
‘real men,’ ” Hyer remarked.
Though the actresses looked like men due to appro
priate makeup and costuming, they were not attempt
ing to fool the audience at all.
“We were not trying to pretend that we were men, it
wasn’t like La Cage aux Folles. It was an illusion in a
sense, but we weren’t trying to say ‘we are not women,’
which is obvious when we open our mouths,” Hyer
explained.
The costumes, designed by Timothy R. McKelvey,
illustrated well the proper club member attire as well
as the proper servant garb, which included velvet
tailcoats.
“It’s such a posh club that I thought it appropriate to
have the little men dressed in livery,” McKelvey
explained. The servant attire is based on a style from
1795.
Somewhat symbolically, the cast also had to be
bound and padded to fit their parts as men re
strained for the role of a man and restrained in their
roles as women in society, a message the play tries to
extend.
Perhaps it is best summed up by Eve Merriam,
regarding her own work.
“I thought The Club would be a tiny little feminist
work that would never get beyond a small feminist
audience. But it’s still going on all over the world.”
The VRTC’s production of The Club will be presented
Dec. 9-12 at the Pavilion Theater. Curtain time is 8 p.m.
keep the proverbial open mind and
to trust no one but themselves.
“We’re trying to offer other opinions,
other ideas than (those held by) the
mainstream, average, stereotypical
Joe Schmoe driving a Volvo and
looking for a $35,000-a-year job and
not really caring about what else is
going on in the world,” Mullen ex
plains. “We’re anti-authoritarian,
pretty left-wing even though we’re
not as activistic as we like to think we
are.” '
Hot topics include the growing ugli
ness of U.S. foreign policy as con
trasted with the overwhelming rise of
the country’s nationalistic sentiment
in the last several years. This theme
is at the heart of the songs “History
Lesson,” about the wholesale slaugh
ter of American Indians, and “Officer
of the Flaw,” which Dean introduced
on Saturday with a plea to “stop the
war in Central America.”
“There’s this huge war going on;
there have been 100,000 civilians
killed in El Salvador in air raids since
1979, and you don’t hear anything
about in the press there’s a com
plete blackout,” he later charged.
Though onstage he recommended
we cure Reagan’s ills by “impeach
ing the mother-fucking lying scum,”
in conversation he confided his belief
that that solution “would be mild. I’d
like to abolish the presidential sys
tem. We have a democratic right to
revolution. We’ve been deprived of
our democratic rights it’s all a
scam.”
Mullen’s songs so far have con
cerned themselves with another form
of repression: religious fundamenta
lism. He describes “Holier” as being
about the secular manipulations
made by “muckraking preachers.
They're like, ‘if you don’t pay for your
sins now and help us buy this condo or
new gold-plated plumbing, then your
going to go to hell.’ ”
relate male
production
Corrosion of Conformity, a band that doesn’t like to be labeled as one style, was the first punk group to get signed to
Death Records, a subsidiary of Metalblade. The Raleigh, N.C.-based band played Saturday night in Findlay Rec Room.
“In their religion, fundamentalists
totally fit the bill as being false proph
ets, as being Satan, as being the
Beast,” Dean notes. “They’re the
ones trying to tell you that their will is
God’s will. They are the ones to
beware.”
“I appreciate Christianity, accept
it and recognize it as a wonderful
thing for some people, but it doesn’t
happen to be for me,” Mullen says. “I
realize all the goodness in a lot of
religions, but I don’t necessarily need
them.” He attributes his outlook, in
part, to his upbringing. “I had a
pretty stable childhood. My Mom is a
head-shrinker, and she and my Dad
were both hippies. They started a free
Cabo Frio plays positive jazz
By DAWN POMENTO
Collegian Arts Writer
For those who think that jazz is always mellow and laid:
back, the appearance of Cabo Frio at 8 p.m. on Wednes
day in SJchwab Auditorium is a chance to see. this music’s
livelier side.
Fans of the new Leave it to Beaver, broadcast on
Atlanta,Ga.-based television station WTBS, have already
heard the music of Cabo Frio. The five-man band audi
tioned to perform the upbeat remake of the popular
television show theme. It was chosen over other well
known bands such as the Yellowjackets and the Roches
ter, N.Y.-based Spyro Gyra.
The group’s founders, guitarist Glen Cummings and
drummer Curtis Kendrick, originally intended the band
to have a guitar-oriented sound. Since its beginning in
1979, the band’s Sound has evolved into a jazz-fusion base,
and it’s added the talents of Joey Santora on keyboards,
George Sessum on bass and the newest member, Kenny
Blake on saxophone.
The group independently produced its first album in
1982 and sold it at shows. Just Having Fun, its second
album, was originally recorded privately and later re
released when Cabo Frio signed with the Zebra record
label.
Its latest album, Right on the Money, has enjoyed a long
airplay life, bassist Sessum said in a recent interview. It
has remained on the Billboard jazz charts for a long time,
reaching the number 11 position. The band members are
currently working on a new album.
Cabo Frio also has several other projects in the works,
including a possible video filming in Florida this Feb
ruary. Sessum said that the band has been open to more
opportunities because of their association with Zebra
Records, a subsidiary of MCA.
All five musicians write songs. The composer of each
song has the final say on how it is performed, but
ultimately, Sessum said, it is a group effort.
“The whole trick is to try to tie it all together and make
a group sound,” Sessum said. He added that the album
they are now working on comes closest to achieving the
group sound they desire.
'Watercolors' exhibit inspires student poets
By ANN SKOMRA
Collegian Arts Writer
The efforts of five aspiring poets
were recently spotlighted when the
Museum of Art, in conjunction with
the English department, awarded the
winners of the Museum Poetry Con
test. The top five selections were
chosen from 40 poems submitted to
the competition.
Open to all the undergraduate stu
dents currently enrolled in poetry
classes, the contest was based on the
museum’s Watercolors exhibit. The
students in Professor John Haag and
Professor Bruce Weigel’s poetry
classes .were asked to view the dis
play of paintings and then submit an
anonymous poem. The poems were
then critiqued by the professors and
10 prizes were awarded two grand
prizes and eight first place .prizes.
Lauren Young and Belinda Jane
Greenwood were the grand-prize win
ners for “Gladiolis” and “Child
hood’s Friend.” The poems, which
will be printed in the March/April
issue of the Museum Calendar of
Events, were based on the paintings
“Gladiolis” by Gilbert B. Rose and
“San Vigilio” by John Singer Sargent
(both works are from the museum’s
own collection).
Young said that “ ‘Gladiolis’ was
school here that I attended it didn’t
last long. But they’re pretty radical.”
Corrosion of Conformity assembled
in June 1982, as what Mullen calls a
“basement, really young, high
school, punk rock band.” He got to
know lead guitarist Woody Weather
man in school, and the two of them
began investigating alternative mu
sic and culture together. Around that
time, Dean moved to Raleigh from
Charlotte, N.C., and became the
band’s lead singer. Eventually, he
relinquished this role to Bob Mcll
wee.
“I was inspired by certain music I
had heard, as well as music I didn’t
appreciate the stuff that conveyed
Cabo Frio’s members claim a variety of music influ
ences from the jazz greats to legends in other genres
such as rhythm and blues, big band orchestras, soul and
even Top 40 music.
He described the band as energetic and positive. He
said that this is the only band that he has been in that his
mother has liked. She has traveled hundreds of miles to
hear Cabo Frio perform.
The musicians have been playing in clubs across the
country since April. Recently, they appeared in Pitts
burgh at Graffiti.
In their tour of the club circuit, they sometimes play
places that normally feature rock bands. But Sessum said
that because of the way they play “We sometimes go a
little crazy” they attract a wide audience, and many
find their music danceable.
Paul Haidet (junior-biochemistry), the director of
WPSU-FM’s radio show Jazz Spectrum, said that Cabo
Frio is well-known in the jazz community, and described
their music as soul-oriented jazz. He said that they
display the improvisational elements of jazz as well as the
strong rhythm and bass of soul music. Haidet also said
that the band is easy to listen to. The track “Working
Out,” from Right on the Money, is played on WPSU’s Jam
91.
When asked about what he would like to see in the
group’s future, Sessum said that he wants even more
exposure. He also wants to be able to make a consistent
living at performing. But he also said that he “didn’t go
into this business to become a millionaire.” He said that
the band would be happy to keep playing its music while
making a decent living at it.
Sessum would like to see people in the “outside world”
have greater respect for musicians. He also wants to see
jazz become more accepted and reach more people. Many
people hear the word “jazz” and think “sedate,” but it
doesn’t have to be that way, Sessum said. Cabo Frio hopes
to change that way of thinking.
Cabo Frio’s appearance at the University is jointly
sponsored by the Jazz Club and WPSU. Tickets are $3 and
can be purchased in advance at Arboria Records, 1 51
S.AI/en St., or at the Jazz Club table in the basement of the
HUB. Any available tickets will also be sold at the door.
on fire” and “the most vibrant paint- the Friends of the Museum of Art,
ing in the entire exhibit.” Young and which entitles them to museum an-
Greenwood also submitted first place nouncements, tabloids, invitations to
poems. Young’s poem, “Five Studies receptions as well as the gala, and a
for a Water Swirl,” addresses the discount at the museum’s gift shop,
painting by Arthur G. Dove, whereas The awards were formally pre
“Musician’s Garden,” by Green- sen ted t 0 the seven students by San
wood, depicts Abraham Rattner’s ford shaman, the director of the
painting “Head of a Girl.” - Museum of Art. At the awards cere-
Other first place winners were Kim mony, each work was recited by its
Calviero, Julie Holmes, Matt Bee- author. Greenwood, who is deaf,
chold, Grace Chang and John Lancas- signed her poem while Calviero read
ter. Calviero 'wrote two award- the piece aloud,
winning poems: “Pontius Pilot’s Charles Garoian, education direc-
Day,” which is another poem based tor for the Museum of Art, said that
on the painting “Head of a Girl,” and w hile he hopes to make the contest an
“St. Thomas,” after an untitled paint- annual or biannual event, at the mo
ing by Charles Nicolas Sarka. Bee- ment no plans have been made for the
chold’s “Act II” was based on Spring semester. '
" KM Se u e, i ACt > U’v b J ° Garoian, who co-organized the
while Holmes s Endowed Bird was t with English instructor Eileen
rn PI L i Raymond, said that the English De
title, by Leonard Baskin. partment was very enthusiastic
about the idea. He felt the students
didn’t appreciate art until they had to
look at the paintings through “poetic
glasses.”
Chang and Lancaster also used the
name of the painting as the title for
their poems. Chang wrote “Baltic
Landscape” after viewing the paint
ing by Lyonel Feininger, while Lan
caster created “Aging Flower Child”
from the painting by David Levine.
The 10 poems were typeset and
mounted next to their respective
paintings. The winning students will
also receive a guest membership to
no values, the radio stuff that conveys
a complacency,” Dean recalls. “I am
still committed to living up to the
ideals hardcore held before it became
overrun by stupidity.”
Recognized, in Mullen’s words, as
“one of the first bands to make a step
from bridging the heavy metal/punk
thing together,” CoC was the first
punk band to get signed to the Death
Records label, a subsidiary of Met
alblade. Their first record, An Eye
for an Eye, was “really bad,” Mullen
says.“We shouldn’t have put it out,
but we spent a lot of money recording
it and decided to go ahead.” As a way
of sparing itself further embarrass
ment, the band removed the release,
The Daily Collegian
Monday, Dec. 8, 1986
Art is about human ideas and feel
ings, Garoian said. He believed that
the museum ought to be an arena
serving as an “interdisciplinary la
bra tory” where students from va
rious majors could come and apply
their studies to art.
from circulation after selling approx
imately 10,000 copies. A 1985 album,
Animosity, has fared better, having
sold close to 35,000 units to date.
An upcoming E.P., Technocracy,
will be the band’s last release on
Death Records, and both Dean and
Mullen report that CoC hopes to re
lease an album on SST Records in
March. “They’ve been booking (our
concerts) for the last year,” Mullen
enthuses.' They’re great people.
We’re not real fond of Death Records
we signed a really bad contract
with them.” He feels that getting off a
heavy metal label will give CoC a
chance to do more than preach to the
converted.
Despite the fact that they’re suc
cessful enough to begin to break even
financially, Dean and Mullen do won
der about the future effectiveness of.
their music in cultivating an audi
ence. “I think a lot of people who have
never been exposed to really intense
music are just gonna brush it off as a
lot of garbage,” Mullen says. “That’s
fine. But I like music to go at the
throat, be right there. (I like it) really
mean and heavy, so you can’t brush it
off.”
“The whole stigma of hardcore
makes people not want to listen to
us,” Dean agrees. “What we’re doing
has only a certain amount of accessi
bility.” He thinks the band is just
beginning to stimulate some listen
er's awareness of current affairs;
“People often live in their own little
reality,” he adds. “We’re not the
most eloquent people in the world
as words go, it’s a very difficult thing
to communicate with large amounts
of people. I could sit here and advo
cate anarchy and revolution all I
want to, but the fact is average people
aren’t responsive enough. The best
thing is to live by example then you
can influence peoples’ values that
way.”
Annual tradition unites 300
voices in 'Gloria' concert
By BETH BRESTENSKY
Collegian Arts Writer
Long ago, in a manger in Bethle
hem, angels sang “Glory to God in
the Highest” to proclaim the birth
of Christ. At 8 p.m. Friday, 300
voices will fill Eisenhower Audito
rium with songs of “Gloria” as the
School of Music presents its an
nual Christmas concert.
“Christmas choral concerts
have been an important tradition
at Penn State for many decades,”
said Douglas Miller, associate pro
fessor of music and director of the
Chamber and Concert Choirs. He
said that this year’s program is
different because it features the
University Choir, supported by the
five other choral ensembles in the
School of Music.
Although this is the third time
all the ensembles have come to
gether to perform the other
occasions being the Penn State
Campaign event and the Pit
t/Penn State pregame Miller
said that this concert will best
exemplify the singers! musicality.
Miller explained that all the pieces
in the concert will focus on “Glo
ria,” one of the five parts of the
ordinary Mass.
Concert-goers will be greeted in
the lobby of Eisenhower by the
Concert Choir singing familiar
strains of Christmas carols. To
open the concert, the Concert
Choir will continue a popular tra
dition from the past of singing a
Gregorian Chant from the balco
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The Chamber Singers, also sing
ing from the balcony, will sing a
“Gloria” by Guillaume Dufay, a
medieval Franco-Flemish com
poser and singer.
The concert will move to the
stage as the University Choir per
forms two works, directed by Jay
Risser and accompanied by the
the Penn State Philharmonic. This
group will perform a 20th-century
“Gloria” by Francis Poulenc, a
French composer and pianist. Ed
dye Pierce Young, a part-time
instructor in the School of Music,
will be the featured soloist.
The choir’s second piece, rep
resenting the classical period, is a
“Gloria” from Ludwig van Bee
thoven’s Mass in C. A featured
quartet in the piece will include:
soprano Suzanne Roy, associate
professor of music; bass baritone
Hugh Givens, instructor of music;
mezzo-soprano Jan Wilson (grad
uate-voice) ; and tenor Max Birtcil
(senior-general arts and sci
ences).
As Risser said, the concluding
“Gloria” by John Rutter, a 20th
century, composer, should “bring
the house down,” as six University
vopal ensembles will participate.
In addition to the three mentioned,
the Glee Club, Women’s Chorus
and Singing Lions will take part in
the piece, which is brilliantly
scored for full choir, timpani and
brass.
“It’s a challenge to get 300 peo
ple to do the same thing at the
same time, but when you do it’s
wonderful,” Risser said.
Silverman sparkles in "Brighton Beach'
By DEBBIE GOLINI
Collegian Arts Writer
Neil Simon has done it again. One of
America’s foremost play and screen
writers has brought to film a witty,
amusing and engrossing story based
on his Broadway play, Brighton
Beach Memoirs. A free sneak pre
view of the Universal release, pre
sented by the Student Union Board
last Wednesday night in Eisenhower
Auditorium, gave State College mov
ie-goers an early holiday present
before the movie opens nationally on
Dec. 25.
movie review
T w Eugene Jerome, a 15-year-old Brooklyn adolescent played by Jonathan Silver
man, looks for clues about the female anatomy in a rather unusual way. The
youth is the focus of Neil Simon’s new, semi-autobiographical movie Brighton
Beach Memoirs.
Brighton Beach Memoirs takes place
in the Brighton Beach section of De
pression-era Brooklyn, where the Je- are more tj lan enough to keep
rome family is trying to contend with f| le viewer’s attention,
seven people, all with their own prob- Each family member is rich in
lems, living and arguing under the character, and together the ensemble
same roof. This extended Jewish . g re f rcs hi n g and thoroughly enjoya
family includes father-of-the-house- to watch. To appreciate the hu
hold Jack Jerome, his wife Kate, mor anc j uniqueness of this Simon
their two sons Stanley and Eugene, f p rot j U ction, one must have some in-
Kate’s widowed sister Blanche and s jght into the Jeromes,
her two daughters, Nora and Laurie. Eugene, played by Jonathan Silver-
Throughout the play Eugene, who ma n, is the youngest of Kate and
is 15 years old, provides commentary Jack’s two sons. He must constantly
to the audience about* his relatives run to Greenblatt’s, the local grocer,
and his assessments of the various to pick up one item at a time for his
situations they get themselves into, mother. Besides running errands,
Eugene wishes to be either a profes- Eugene spends his timejilaying base
sional baseball player or an author, ball, eating ice cream and dreaming
so he keeps a diary of what is going on about naked girls. He’s trying to grow
in his life and that of his family. up in an environment where some of
The plot of this movie simply fo- his elders behave like children. Eu
cuses on people and how they act. gene, who appears in almost every
There’s not much action or adventure scene, is central to the movie, since
going on, but the witty and snappy he provides constant commentary,
remarks that fly in the Jerome house- As Eugene, Silverman simply spar-
jobs. His family looks to him for daily
advice and guidance. He’s a loving
yet strong father, who everyone re
spects and fears a little. Wearing a
tired, overworked expression, Dishy
is picture-perfect in his role. His
scenes with his sons show compassion
and understanding.
The Jerome’s other son, Stanley
(Brian Drillinger) is an 18-year-old,
pseudo-father figure to his younger
brother. Stanley works at a hat shop
and gets himself into trouble by stick
ing up for his principles. He’s a good
example for his brother, because he
always manages to do the right thing,
even when his character falters. Dril
linger gives a fine performance as a
young man trying to find his own
identity.
Eugene’s Aunt Blanche (Judith
Ivey), a widow occasionally seen in
the company of her Irish neighbor,
Mr. Murphy, is a timid woman who
kies and makes the movie. His subtle can’t make decisions for herself or
sense of humor and his masterful her daughters. Still mourning her
portrayal of an adolescent youngster husband after three years, she
obsessed with the opposite sex is a doesn’t start to become her own per
delight to watch. son until she and Kate argue one day.
„ „ , .. .. . . , ~ Aunt Blanche’s two daughters Nora
Eugene s mother Kate is played by /T . ... „ , . , nll^„
Blythe Danner. Kate Is Eugene's S a dMere« a" nighS
strong-willed firm authority figure. is a rather comely 16 . yea
She s a convex person who tries to oW y who wants toaudiU on for a Broad
do things for everyone else, but al 1 while her 9-year-old sister
ways manages to pick on her young- J P m . <a Altering heart” and
nrrftatloHmf C |hintfc H’US is Waited On hand and foot.
ng things about her Irish AUhough lhese two g j r ] s g j ve their
neighbors across the street. Mom added hearlac hes, their love for
Danner is totally believable as a eac h other shines.
Jewish mother who only wants the To miss Brighton Beach Memoirs
best for her family. She delivers her wou , d mean missing the mosl enter _
lines with such a determined express- . taining movie to be released in quite a
ion that one squirms in one s seat, while The script we ll-w r itten, the
thankful not to be the object of her characterizations superb, and the
tlrades - acting first rate. Brighton Beach
Much more mild-mannered is Jack would make a lovely present to give
Jerome (Bob Dishy), who works two someone this holiday season.
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The Daily Collegian Monday, Dec. 8, 1986 —21