Newspapers / University of North Carolina … / Feb. 21, 1985, edition 1 / Page 8
Part of University of North Carolina at Asheville Student Newspaper / About this page
This page has errors
The date, title, or page description is wrong
This page has harmful content
This page contains sensitive or offensive material
8/Thursday, February 21,1985/THE BLUE BANNER Review 'Agnes of God' previewed last night By Penny Kramp and Chris Streppa "Nuns don’t have child ren," says Mother Miriam Ruth in Theatre UNGA*s production of Agnes of God, but this drama soon cuts through many re ligious norths • The play draws you in from the start and does not let you go until its emotional climax. Last night*s preview of Arnold Wengrow's latest production is a cohesive combination of strong act ing and directing, and in genious stage setting. The play is intense. It is about three women forced to confront their hidden feelings and re evaluate their own "real ities ." The play tells the true story of a young nun (Tan ya Thomas) accused of strangling her newborn in fant. The story unfolds through a series of inter views Dr. Martha Liv ingstone (Sarah Manley), the court-appointed psy chiatrist who must uncover the mystery of the baly*s conception and death to determine Sister Agnes' sanity. In the process, the hard, chain-smoking pro fessional comes face-to- face with her own empty life. Each scene also gives us new insight into the nightmare of Agnes* life, as an abused child and a frightened, hysterical adult. Mother Miriam Ruth (Jan et Oliver) is the stem, devout, but worldly-wise Mother Superior. She des perately tries to shield Agnes from the outside world and the consequences of her actions. She maintains that the young nun is an innocent child of God. At one point. Mother Miriam Ruth even suggests that Agnes' pregnancy is a miracle, another immaculate con ception. Oliver brings Mother Miriam Ruth to life with the most powerful perform ance of the cast. This woman does not pretend to be a saint; she is the mother of grown daughters, a woman who misses her two packs of Lucky Strikes a day and is not above the occasional curse. Oliver slips effortlessly into the role. While Thomas' hysterics sometimes verge on shrill whining, her interpreta tion of a young woman dragged through the emo tional pain of hypnosis is spine-tingling. Sarah Manley got off to a slow start in her role as Martha Livingstone; it was difficult to hear or un derstand her at the very beginning. But she ramp on strong in the second act, giving a moving perform ance as the chain-smoking, ex-^tholic psychiatrist. Paul Sweeney, associate professor of drama, and his crew outdid them selves. Stained glass windows light up under the actors* feet, wiiile an 18- foot figure of Jesus shad ows the stage from above. The drama shines a harsh spotlight on human rela tionships and religion. It * s an intensely emo- ( continued on page 12 EMOl'iOHS ESDFT as Dr. Martha Ltviogstooe (Sarah Manley) restrains Sister Apies (Tanya Thonas) fm attaddpg Mother ttLrlaai Ruth (Janet Oliver) in "Agnes of God# Staff photo by Sylvia Hawkins 'The Killing Fields': a brutal reality him. He began to franti- flict, you are hopelessly own country. Next follow 1976 Journalist of the cally aimb out of the lost in the first few min- the horrifying events that Year Award, he says, "This tele. Tte man had stumbled utes. Pran nist face to gain his country was not concerned into a mass grave. Bones I must confess, I was freedom. with the people of Cam- blended w^h the roots and confused at first, but Sam Waterston as Schan- except as abstract ^rts of bodies WBre visi- then it ceased to be im- berg and Haing S. Ngor as tools of policy. I tried ble in the water. portant. The struggle por- Pran are very believable. bring it all home to Thousands of bodies lay trayed on screen became jq fa*t, I bad to keep re— public what was hap— there, partially covered focus and it held my minding n^rself I was with mud. They were the interest despite the con- watching a movie and not a movie also fulfilled victims of mass execu- fusion. newsreel. this objective, bringing tions^—people dragged out Sydney Schanberg, a If you are the least bit horrors of war to the of bed before dawn, blind- journalist for The Hev queasy, think twice before screen so the viewer can folded, roped together and tok Tiaes, is assigned to going to see this film, "see the insanity $7 bil- shot. cover Cambodia. His guide The camera dwells on lion worth of bombing can The man's eyes widened ^ Journalist, bl^ bodies and horribly bring about.” in horror but be had to go Oitb Pran, from Cambodia. ^ , The final scene in Hk The t«o become as close tte ^ra also ^ ^ i By Anna Wilson Cambodia, 197 5: The prisoner, thin and dressed In rags, ran for his life. Bursting out of the woods. on. He had to get to the - “ kuuluk meios is poi- Thai border and to free- as brothers during Schan- the anguish and suf- background, dom. here'B stay in Cambodia. Bering of a people who Lennon's song This scene is part of fil^iting esca- can t understand what is -imagine" playing. The the movie Ife KUlli« I®**®. Schanberg arranges going on and don’t realize cambodian refugee children Helds, recently nominated Pran's family to go to what is happening to their fields the man found himself in for seven Acadeny Awards U.S. country. ^ American and Cam- an open field, ankle deep including one for "Best Pran decides to stay One scene that will bodian journalists hug. Picture." with his friend, risking haunt me forever shows a transcending the race re- The movie brings the life to do so. Even- Cambodian girl about strictions man has placed Southeast Asian conflict tually all foreign cor- four-years-old holding her on himself, prisoner began to gingerly viewer in respondents have to leave hands over her ears. Movies such as The RtU- pick his way across a mud graphic detail. Audience the country and Schanberg squeezing her eyes shut, tug Fields make this war, bank. Suddenly he fell ®e°^rs witness a movie wants to take Pran with and crying, to block out and all wars, unforgetta- hip-deep into a mud hole. based on a true story of him- the noise and sight of ble because they don't brutality in the Cambodian 'The government refuses bombs dropping. She was glorify battle. Instead, The man looked around— warfare; but unless you to let Pran go and he be- left all alone. they show, real faiman human skeletons surrounded know all about the con- comes a prisoner in his As Schanberg accepts the suffering. in mud. Bleached roots of trees gleamed in the sun. The
University of North Carolina at Asheville Student Newspaper
Standardized title groups preceding, succeeding, and alternate titles together.
Feb. 21, 1985, edition 1
8
Click "Submit" to request a review of this page. NCDHC staff will check .
0 / 75