WM
By LEIGH-ELLEN CLARK
Co-Editor
Bevond Therapy is Christo
pher Durang’s satiric look at
courtship and psychoanalysis
in America today.
“This is a play about
relationships, a dreaded
word,” Peck Phillips, the stu
dent director, says. “It deals
with how the characters
choose to act and react.” Du
rang’s characters are exagger
ated studies of people we
know, people that we walk
around with every day, Phillips
says.
The play revolves around
Prudence and Bruce, both are
“into” therapy and look to their
respective therapists for advice
on commitment and
relationships. This is a comedy,
but the subject is real and ev
eryone should identify with it.
Prudence, in her late twen-
Jennifer Beny plays Charlotte, an eccentric psy
chiatrist in the Studio Production Beyond The
rapy. The play is directed by Peck Phillips, ju
nior, and through satire, explores relationships
and the “therapy” generation.
ties and looking for love is
guided by her “macho” thera
pist, Stewart. He has doubts
about his own masculinity and
tends to overdo every male trait
that he can think of to reassure
himself. His advice to Prudence
is to be more aggressive — ac
tually, he wants her.
Bruce, in his early thirties
and also looking for love, has a
whacky woman for his thera
pist. Charlotte, the therapist
with a tendency to follow her
impulses — however off the
wall they may be — can be a
sexual temptress one second
and then suddenly childlike.
Her advice to Bob is to place a
classified ad in the paper to
meet a nice girl. She doesn’t
know about Bob, Bruce’s lover
who isn’t too thrilled that he’s
looking to date a woman.
It’s confusing, but then
relationships usually are.
“The play is about trian
gles,” Phillips says. “Up until
the very last scene there are
only two people on the stage at
a time — but a third person is
always very present. When
Prudence and Bruce get to
gether, the third person that
you feel is Bob. Between Bob
and Bruce, it’s Prudence.”
During preparation for the
play, the Aggie Players were
taken through a lot of improvi
sation. In rehearsal, Phillips
asked the third “invisible”
character in a scene to be pre
sent. The actors could experi
ment with how they would in
terpret the scene if they were
talking to the third instead of
behind his back.
“We could explore the ten
sions that way,” Phillips says.
Before the play ends every
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character becomes a therapist
to the other characters.
“Finally they move beyond
talking and into action,” Phil
lips says. The last scene is ac
tion packed and the characters’
relationships resolve into logi
cal couples.
“The play maintains intelli
gence but still has a schmaltzy
ending — Durang wanted it
that way,” Phillips says.
“There’s nothing wrong with
that — it works.
“The characters are outra
geous, yet very human,” he
savs. “They just take the nor
mal impulses to an extreme.”
The play will be presented
by the Aggie Players in the
Rudder Forum, 8 p.m., on
March 5 and 6. Admission is $3
for the general public and $2
for students. Aggie Players sea
son subscribers are admitted
for $1.^
Series to give student
talent at student nrices
In an attempt to develop
student audiences at local
cultural events, MSG OPAS
has announced the J. Wayne
Stark Concert Series.
The major
tween these concerts
most MSC OPAS activities is
the price. Concerts in tht
senes
The first concert will be
presented Sunday, March 3
at 8 p.m. in 201 MSC. W
up of Uni'
students, wiil
and classical
Cantilena
ists will
second
Theater on
p.m.. A tn
play
music and
4 On April
Texas A&*M
Contest,
will perform
fbiecesofn
All Faith's <
.
of Texas
pop, jazz
tions.
Solo-
in the
Rudder
22 at 8f :
| the Soloists
anee Barone J
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