The Battalion. (College Station, Tex.) 1893-current, June 29, 1977, Image 7

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Talented ‘Prospect"
takes over Britain’s
best loved theater
United Press International
LONDON — One bright new
promise on the London stage is the
Prospect Theater Company’s cur
rent demonstration that there’s life
in the Old Vic yet.
Prospect, probably Britain’s best
little-known company, has taken
over the country’s best-loved thea
ter for an initial season of five plays.
The hope is that the arrangement
will become permanent.
For all of its 14 years, Prospect
has been a touring company, con
stantly on the move in this country
and abroad.
Yet it has consistently snared half
a dozen of Britain’s finest actors for
productions excelled only by the
massively subsidized giants, the Na
tional Theater and the Royal
Shakespeare Company.
The time has come, however, ac
cording to company chief Toby
Robertson, for Prospect to settle
down and find a London base. Be
sides the advantages of a fixed
headquarters, it needs exposure to
American and other tourists who
buy an increasing bulk of London
theater seats.
Which brings us to the Old Vic.
London’s most famous theater has
been like a cast-off courtesan since
the National Theater company de
camped to its grandiose palace
nearby. There have been temporary
occupants, but the old girl has found
no new relationship which satisfied
both parties.
Now Prospect has moved in with
a trio of riveting productions: an
admirable “St. Joan” with Eileen
Atkins as the Maid, Derek Jacobi as
a well-spoken and princely “Ham
let,” and a fascinating exercise in
total theater drawn from the Iliad of
Homer.
In July Prospect goes touring
again — to the Eastern Mediterra
nean, through Britain and to the
Edinburgh Festival. It comes back
to the Old Vic in November.
This is the pattern Robertson and
his company hope to follow from
now on — the Old Vic as a base,
touring in between. The first Pros
pect season at the Vic shows what a
valuable addition to London’s thea
ter this system could be.
Its three productions were cun
ningly chosen, apparently inspired
by a bombastic quote from George
Bernard Shaw:
“With the single exception of
Homer, there is no eminent writer I
can despise so entirely as I despise
Shakespeare.”
So Prospect presents all three au
thors — Shaw, Homer and Shakes
peare — one after the other. In
some ways Homer fares best.
His ancient epic of the fall of
Troy, adapted by poet Christopher
Logus and retitled “War Music,” is
a stunning theatrical experience,
rather like a ballet with words.”
American dancer William
Louther drilled the whole company
in dance and choreographed the
performance’s every movement.
Gary Kettel, a virtuoso drummer,
thunders out Donald Fraser’s as
tringent music from a platform sus
pended above the action.
Timothy West is a narrator in
casual modern dress, contrasting
with savage loincloths on the war-
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THE BATTALION Page 7
WEDNESDAY, JUNE 29, 1977
riors’ painted bodies, topped by ter
rifying masks.
West, television’s “Edward VII”
and a Prospect veteran, appears
again in “Hamlet” and almost steals
the play. His Claudius is tight-
lipped with fury in a protracted
power struggle wiih Hamlet.
Jacobi, another company veteran
now a television “name” here for his
title-role performance in “I,
Claudius,” is handicapped by a few
questionable director’s touches. But
his is a fine Hamlet, noble and an
guished in equal measure and with a
quicksilver intelligence overriding
all.
Eileen Atkins gained much praise
for her down-to-earth, north coun
try “St. Joan.” Her presence dem
onstrates the Prospect company’s
strength in fine actors, more proof
of which is to come.
For Edinburgh’s Festival and
London in November, the company
will be joined by Dorothy Tutin and
Alec McCowen in Shakespeare’s
“Antony and Cleopatra.” It will be
paired with John Dryden’s little-
known version of the same story,
“All for Love,” with Barbara Jefford
and John Turner.
Psychiatrist
says workers
should relax
United Press Internationa]
WASHINGTON — If you find it
hard to balance your work with rest
and relaxation, you may wind up
with symptoms of what a psychia
trist calls the “overwork syndrome. ”
The signs vary but commonly in
clude fatigue, irritability, sleep dis
turbances, concentration difficul
ties, memory lapses, episodes of
confusion, gastrointestinal problems
or neuromuscular complaints.
Dr. John M. Rhoads of the Duke
University Medical Center said the
symptoms of overwork may mimic
heart attack or even brain disorders.
The problems can lead to alcoholism
or drug dependency.
Rhoads discussed the syndrome
in the Journal of the American Med
ical Association and said most
people who have open-ended jobs
without specific work hours are able
to pace themselves even if they
work long hours.
People who become ill are those
who ignore the body’s signals for
rest, recuperation and recreation.
“Cursed with a compulsive need
to work, they deny the existence of
fatigue and push themselves beyond
reason,” Rhoads said.
Rhoads said the people most
likely to fall victim to overwork syn
drome are those in executive posi
tions with no set work times and self
employers such as lawyers, doctors,
accountants, clergymen and occa
sionally housewives.
Those who work too much do not
complain about it, Rhoads said. In
stead they go to the doctor comp
laining about one of the overwork
symptoms.
In severe cases, Rhoads said it
may be necessary to hospitalize the
patient and give him specialized
treatment. In mild cases, all that
may be required are a vacation and
advice on the need to balance work
with rest and recreation.
Rhoads said little research has
been done on the problems of
overwork, but from 10 cases he de
scribed, he said it appeared the pa
tients were attempting to solve their
life problems by working exces
sively in a compulsive manner.
“Fear of failure to live up to ideals
and goals played a prominent part in
all cases,” Rhoads said. “In a few
cases, a continuing need to com
pete, originally with a childhood ri
val, became a way of life. ”
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