Monday, October 8, 1990
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Re-elect
Judge
W.T. (Tom) McDONALD, Jr.
85th District Court
Judge Tom McDonald knows justice delayed is justice denied. Civil and
Family law cases normally are set for trial within 6 weeks even though the
state guidelines allow up to 78 weeks.
Paid for by the Committee to Re-elect Judge W.T. (Tom) McDonald, Jr., Caroline McDonald,
Treasurer, Box 1085, Bryan, TX. 77806
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Photo by Sondra TV. Robbins
M, (Billy Thomas) and Thami (Oliver Tull) try to explain their be- continue to perform Athol Fugard’s play about apartheid in South Af-
liefs to each other in My Children! My Africa!” Aggie Players will rica through Saturday.
Players foster talent in ‘My Children!’
By RUDY CORDOVA JR.
The bell sounded the cry of freedom in the
Aggie Players’ powerful production that focuses
on apartheid.
“My Children! My Africa!” opens the Aggie
Players’ 46th main-stage season with a strong
message about politics, education, racism, love
and peace.
Athol Fugard, arguably the greatest play
wright in the 20th century, speaks the language
ol peace in this work of artistic merit. The Aggie
Players have taken this challenge and produced a
piece of theatrical value.
During opening weekend performances, Billy
Thomas, Oliver Tull and Jessica Lowe captivated
audiences with their talents. The actors had
spent hours perfecting the play’s language and
accents and the crowds ;
forts.
appreciated the extra ef-
Ihoinas turns in an excellent portrayal of Mr.
Mand I congratulate him. Mr. M is the hopeful,
authoritative school teacher who devotes his life
to the education of young, black South Africans.
These new minds, however, tarnish his hopes
and dreams of a free world.
Thami, a hopeful black student, is played by
Oliver lull. His challenge as an actor comes in
the scenes with Jessica Lowe who plays Isabel, the
white girl who joins forces with Thami in a litera
ture contest.
Tull is wonderful as the South African youth
who believes in the future of his land, even-
though his views are different from his teacher’s,
Mr.M.
Lowe does a great job with her role, though I
think it took her a while to get started. By the
time she comes into the second act, she is as pow
erful as the other actors. At times I think her
character was a bit too conservative but that
brings out the contrasts the playwright was aim
ing tor.
Fugard uses antithesis, or opposites, to make
his point clear. For instance, there are different
battles fought throughout the play: male vs. fe
male, black vs. white, young vs. old, the past vs.
the future, authority vs. freedom and even win
ning vs. losing.
These differences are evident in the direction
in which Dr. Roger Schultz carefully guided the
play. There are plenty of opportunities gained,
but at the same time, opportunities are lost.
The set and costumes designed by Jimmy
Humphries and Susan Kelly, respectively, serve
their purposes as theatrical designs.
The set is splattered with the obvious words at
issue. The subtleties are lost and taken out of the
realm of reality into the world of obsurity.
The costumes, on the other hand, are as subtle
as the set is obvious.
A critical balance is needed to match the wants
and needs of the playwright, director and the de
signers. The production lacks in these areas only,
but thankfully they donot hurt the show.
A carefully-tuned production could push the
play into a whole new dimension — a dimension
in which the Aggie Players could only prosper as
a well-known and respected theater program.
Despite the few technical differences, the Ag
gie Players should be commended for an excel
lent production which sets the stage for a spectac
ular international season.
This is a wonderful opportunity for the Uni
versity to educate itself about the realities of the
world.
My Children! My Africa! will finish its run this
week on Wednesday through Saturday at 8:00
p.m. in the Rudder Forum. Pickets for the gen
eral public are $6 and for students $5. For infor
mation or reservations call the Rudder Box Of
fice at 845-1234.
Dr. Love, Erogenous Zones
tickle audience s funny bone
By ROB NEWBERRY
Sometimes things get taken too se
riously. fhat’s when you need some
one to come around and make good
jokes about everything that’s suppos
edly important. Someone to make
you laugh.
Dr. Love and the Erogenous
Zones returned to the stage Thurs-
Mi//e they prefer to
make fun of sex, Dr.
Love and crew took
every opportunity to
deface sacred
subjects with a bit of
humor.
day night at the Flying Tomato witn
the intention of doing just that,
^hile they prefer to make fun of
sex. Dr. Love and crew took every
?Pportunity to deface sacred sub
jects with a bit of humor.
The band kicked off a little after 9
"dth the upstairs section of the 1 o-
mat o almost packed. They opened
jvith their own self-titled song, ‘‘Dr.
T°ve and the Erogenous Zones,” be-
‘We launching into a three-hour set
humorous originals and hand-
picked cover songs, often performed
w >th a new set of lyrics.
The group performed its own
(jnes like “Drink ’Til We Die” and
Tnflatable Woman” by request and
'he borderline-perverse “The
•hrust” (guess what it’s about).
It also threw in stuff like Julie
Brown’s “I’m a Blonde,” and Spinal
Tap’s “Big Bottom.” Dr. Love also
improvised lyrics for the Smithe-
reen’s "Girl Like You” with subtle
changes like, “I’ll do anything...just
to get away from a girl like you.”
The group’s sound is quite a mix.
Guitarist Guido and bassist Hans
Wulfgang Amadeus Von Axe of
Ulhm enjoy jumping into a song
with a sound reminiscent of thrash
metal — quick guitar with lots of dis
tortion. But then keyboards and the
drum machine come in, and the re
sult sounds almost like a pop song,
almost like a mess.
Despite the audience enthusiasm
and the band’s sense of humor, the
show had some stallers. Sound board
problems delayed the gig at first,
and Vinnie Vomit’s drum machine
had a tough time coming through.
When Nurse Chastity stepped to the
microphone to do the Go-Go’s “We
Got the Beat,” all I could think was
“Where are you hiding itf’
Dr. Love’s vocals could have used
a bit more clarity on all of the num
bers, except those where he outright
forgot the words. I enjoy the im
promptu laughs when a singer for
gets the words, but this almost
seemed planned.
But Dr. Love and the Erogenous
Zones worked around these prob
lems as much as possible to provide
some really good comic-rock. VV hen
laughs are what you need, this band
is worth seeing.
)
By DON ATKINSON JR.
Sometimes movie critics act like
they have a personal vendetta
against a film. Take “Opportu
nity Knocks,” starring Dana Gar
vey and Robert Loggia as an ex
ample.
When it was released at the
movie theaters almost six months
ago, the critics attacked it as being
unfunny and materialistic. Gar
vey, they said, lacked depth and
was completely boring.
Now “Opportunity Knocks”
has been released as a videocas
sette and the critics are at it again.
Well, take it from me: “Oppor
tunity Knocks” is a funny movie.
Garvey, star of NBC’s “Satur
day Night Live,” plays Eddie Far
rell, a con-man with a wide range
of voices and personas who
makes his living staging fake car
accidents.
=i Video
spotlight
Through a series of coin
cidences, Farrell ends up in pos
session of a fancy house and
plenty of wealthy connections. At
first, he works to con as much
money as he can from Milt (Log
gia), the owner of a corporation
that produces bathroom hand-
dryers.
Unfortunately, complications
arise in the form of Milt’s daugh
ter (Julia Campbell) who Farrell
quickly falls in love with. Racked
with guilt, he works out a scheme
to set things right again.
Although nothing more than
light entertainment, “Opportu
nity Knocks” is a well-made film.
Director Donal Petrie (“Mystic
Pizza”) gives his cast enough
breathing room to establish their
characters while the script, writ
ten by Mitchel Katlin and Nat
Bernstein, keeps the story going.
Video Courtesy of 2-Day Video.
Oaden
w* |j|
REPUBLICAN
FOR STATE REPRESENTATIVE
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