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Phillips’ directorial debut is a hilarious
Jeff Danish and Jennifer Berry rehearse a scene in “Beyond Therapy.”
Sextet of scholars to perform here
MSC Opera and Performing
Arts (MSC OPAS) will present
the King’s Singers on March 19,
8 p.m. in Rudder Auditorium.
This sextet of scholars was
formed on a lark in 1968 in the
famous King’s College choir at
Cambridge University. They
decided to cut a record of
lighter fare for themselves and
friends which led to a career in
madrigal singing. One en
gagement led to another and
by 1972 they were full-time
crooners of everything from
Motets to Motown.
But Motown is a long way
from their beginnings as boy
sopranos in cathedral or school
choirs. They have a diverse rep
ertoire and the King’s Singers
bring an inimitable combina
tion of musical and personal
qualities to the stage.
“We offer something for ev
eryone,” says baritone Tony
Holt. Without musical accom
paniment, the King’s Singers
slip effortlessly from graceful,
sometimes bawdy, English
madrigals to the purity of Re
naissance liturgical chants.
Although their performance
has a tendency towards the
lighter side, it never slips in ac
curacy.
“They aren’t so much six
singers as a single instrument,”
Newsweek reported. “They
breathe together, enunciate to
gether, even seemingly think
together. Perhaps their greatest
feat is making it look so easy.”
Tickets are available at MSC
Box Office and at all Ticketron
outlets including Dillards at
Post Oak Mall A
By LEIGH-ELLEN CLARK
Co-Editor
“Bevond Therapy” was a
hysterical look at human idi-
osyncracies that plague what
should be a normal
relationship. With a terrific use
of laughter the actors made it
clear that “normal” isn’t.
Christopher Durang’s satiric
look at courtship and psycho
analysis was performed here
March 5 &> 6 by the Aggie Play
ers and directed by Peck Phil
lips, a junior theater arts ma
jor.
The play revolves around
Prudence, portrayed by Judy
Alvarez, and Bruce, portrayed
by Jeff Danish, who are both
“into” therapy. They look to
their respective therapists for
advice on commitment and
relationships. Hers wants to
get her back into bed and his
wants to convince the world
it’s okay to be crazy.
The play has potential to be
confusing as eveiyone begins to
want just about eveiyone else
— except the ones that are sup
posed to. But it all seems pretty
logical, as crackpots go, and
works nicely.
Alvarez mustered up the
temper to scream loud enough
to shake Rudder Forum when
necessary — a regular dynamo.
Her sarcasm was believable
and convincingly cutting. But
her insecurities were also evi
dent as she couldn’t gracefully
accept a compliment.
Danish, playing Bruce, had
plenty of compliments to toss
her way. A favorite was his ref
erence to her breasts early in
the play.
“I’m very fond of your
breasts,” Bruce says. “They are
the first thing I notice in a wo
man.”
Not knowing whether to be
offended, complimented or
embarrassed Alvarez sets the
mood of the character
success
relationship for the rest of the
play. He wants her to many
him but she is too unsure of his
sanity — perfection is a prior
ity in her ideal of a man.
Jennifer Berry plays Char
lotte Wallace, Bruce’s inde
scribably outrageous psychia
trist. The lady is a nut — but
oh, so adorable. The character
is impulsive — a child one
minute and a vixen the next.
It’s easy to assume that Beny
must also be impulsive, consid
ering the ease she had making
the character so real. Dressed
in unusual garb for a profes
sional-type and surrounded by
stuffed animals she conducted
sessions at her office/play-pen
in a free-for-all fashion. Her
philosophy for Bruce and Bob,
his male lover played by Shyam
Shah, was to run with their
emotions. Ciy, scream, throw
things, or shoot people —
whatever. Expressing emotion
was the best way to under
stand it.
The final scene is a circus of
craziness. For the first time all
the characters are gathered on
the stage at once and finally
they start to fall together into
logical duos.
Charlotte leaves with Stew
art, Prudence’s macho thera
pist who is unsure of his own
masculinity and tends to
overdo eveiy male trait there is.
Bob leaves with the waiter.
He’s a non-descript guy who
toodles on and toodles off with
Bob on his arm. All’s well that
ends well, as Bob says. And
lastly, the lights go down on
Bruce and Prudence staring
into each other’s eyes singing,
“Someone to Watch Over Me.”
Peck Phillips said, “The play
maintains intelligence but still
has a schmaltzy ending.”
That’s true. It reminds us that
no one is perfect and compro-
mise is the key to a
relationship. \