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6The Daily Tar Heel Monday, April
Poll shows education, income
affect belief in biblical accuracy
From staff reports
A recent poll conducted by
students at the UNC School of
Journalism shows that education
and income affect North Caroli
nians' belief in the accuracy of the
Almost 56 percent of those
polled said they believe the Bible
is the literal truth. Thirty-five
percent said it contains errors, and
one percent said it was just a book.
Twice as many people who had
not gone to college as college
educated said the Bible is accurate.
Seventy percent of those who had
not attended college said the Bible
is literally true, compared to 35
percent of the college-educated.
Income also seemed to be a
factor. As the household income
level decreased, the tendency to
believe the Bible as the literal truth
increased. Sixty-five percent of
those polled with yearly incomes
under $20,000 said they believe in
the Bible's accuracy, compared to
27 percent of those with incomes
The poll's 768 respondents
replied to the question: "Do you
think that everything in the Bible
is literally true, or that it contains
some human errors?"
Charity run pays off
Pi Kappa Alpha fraternity
excessive state regulation, endorsed
a private fund drive as part of the
bicentennial celebrations, called on
the new chancellor to recognize the
need for UNC to remain competitive
with other universities in faculty
salaries and benefits, requested that
the entire faculty be involved in long
range planning of programs and
facilities, and asked for more money
to maintain and upgrade University
Awards for outstanding teaching
were also handed out at the meeting.
Sociology assistant professor Peter
Be arm an, who was not at the meet
ing, English professors Charles Edge
and Trudier Harris, pharmacy asso-
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contributed $6,000 from a charity
run to the Chapel Hill-Carrboro
The fraternity members ran a
similar route to the one taken by
Hinton James, UNC's first stu
dent. The men ran 131 miles from
outside Wilmington to the Old
Well on April 8 and 9.
The fraternity plans to make the
fund-raiser an annual event.
Fulbright Grants awarded
Three UNC students have
received Fulbright Graduate
Norman Goda, a doctoral stu
dent in modern European history
from Washington, D.C., and
Daniel Rogers, a doctoral student
in modern European history from
Andalusia, Ala., will spend the
1988-89 academic year in
Catherine Ives, a doctoral stu
dent in microbiology from Alex
andria, Va., will spend the year in
The Fulbright grants were
created to increase mutual under
standing between the United
States and other countries.
from page 1
ciate professor Boka Hadzija, and
speech communication associate
professor Charles Conrad, each
received the Tanner award for excel
lence in teaching freshmen and
Pharmacy assistant professor
Steven Wyrick received the Saigo
award for outstanding teachin;; of
juniors and seniors.
John Sanders, director of the
Institute of Government, received the
Jefferson award for the teacher whose
work most closely approaches the
ideals of Thomas Jefferson.
In his last remarks to the council
as chairman, Kennedy offered
Gooder some advice on how to
handle the job.
"The administration would appre
ciate no surprises," Kennedy said.
"Maybe no big surprises, at least not
the first year. Maybe no big, unpleas
ant surprises, at least the first two
years. Build up your brownie points
and green stamps. An occasional little
surprise is good for the administra
tion. It keeps them alert.
"You can get away with saying
things that no chancellor, vice
chancellor or dean can say in public.
They may even put you up to
something they want said but can't
by appointment only
NAME GOES ON '
"Wasnt that fun?" was a question
I would least expect coming from my
English professor, who I saw on
opening night Saturday of PlayMak
ers Repertory Company's (PRC)
latest production, "The Beggar's
Opera." But after two hours of the
music, laughter and pretend drama
of John Gay's satire, everyone there
was having fun.
Fun was actually an understate
ment of the hilarity that went on
before, during and after the produc
tion, both on and off the stage. The
cast was extremely keyed up for the
play, which was an adaptation by
PRC director David Hammond with
musical score and arrangements by
Led by guest artists Simon Brook
ing, Leslie Hicks and Betsy Friday,
PRC put on an excellent production
of the "Opera." Brooking played the
dashing and swashbuckling Captain
MacHeath, complete with wide Irish
brogue, to the hilt. He leapt about
the stage, swung through the air, sang
his heart out and kissed all the ladies
(and those of the night) at least once.
Brooking was an excellent highway
man, typical of those of the day that
Gay wrote the play.
Hicks played one of MacHeath's
loves, Polly Peachum. With a name
like that, you get what you'd expect:
a dainty, lovely young lady dressed
in peach who fancies herself in love
with the handsome MacHeath. Hicks
was wonderful to the point that few
in the audience would have guessed
that only hours before she had had
absolutely no voice.
Friday portrayed the absurdly
pregnant (by MacHeath, who else)
Lucy Lockit, daughter of the jailer.
Her talent was evident just from
walking across the stage: she could
sing, dance, act and move about very
well, especially considering the phony
bulk attached to her front.
Other magnificent performances
were turned in by PRC's own David
Whalen, Susanna Rinehart and
Joseph Haj. Whalen, in his last PRC
run before heading to California,
portrayed Polly's father, with the
crooked wisdom that was necessary
uc msu wen uone and enjoyaoie.
Loreleis put on impressive, grown-up show
If you were exDectine sones alonp I . '
the lines of "How Much Is That
Doggie in the Window?" you got a
surprise Friday night at the Loreleis'
spring concert. As every member of
the 12-person group will tell you, the
Loreleis aren't a cutesy, little girl
group, and they don't do cutesy little
As if to make that perfectly clear,
the Loreleis continued their tradition
of dressing all in black for a perfor
mance Friday night, from De Tho
mas' classic black pants and top with
a single silver chain to Laurie Watel's
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Opera' makes for
for the role. Rinehart portrayed his
wife, Mrs. Peachum, with the idiotic
outrage of a mother whose child has
sneaked off to get married. Haj
played the jailer, Lockit, with the air
of a man who could be bribed very
easily. All three managed to portray
older characters very well, so much
that most people afterward didn't
even recognize them.
Kudos go out to Dede Corvinus,
who the audience probably thought
was acting a heavy limp in the
character of Madam Diana Trapes:
Corvinus wasnt acting. She had hurt
her leg last week and still managed
to even do the dancing parts of her
role by hopping a lot on her good
foot. The result was professional
enough that the audience didn't know
More kudos go out to Eben Young,
who played the whore Dolly Trull.
Young danced and sang as well as
the other well-decorated hussies, each
with colorful names such as Suky
Tawdry (played by Serena Ebhardt),
Betty Doxy (Lynn Passarella), Molly
Brazen (Lisa Benedict) and Jenny
Diver (Candice Milan).
The gentlemen in MacHeath's gang
certainly were a rowdy and ragtag
bunch, but they collectively had
strong voices. The playwright again
had fun naming the characters, with
Matt of the Mint (played by Matt
Ryan), Jemmy Twitcher (Joel
Reider), Watt Dreary (Matt Fitzsim
mons) and Ben Budge (Paul
Costuming the various sorts of
misfits and outcasts was no easy task,
but designer Marianne Custer did an
excellent job with the highwayman's
rags and whore's flamboyant dresses.
The still-new Paul Green Theatre
stage was well-adapted for the alley
ways, barrooms and prisons in which
the play took Dlace. Lanterns anH
curtains added to the locale's
funky black bag dress.
But their attire wasn't the only
thing that marked them as a serious
group; more importantly, their sound
was hardly Shirley Temple. Sarah
Shackelford was right: these altos do
sing in the basement, and this gave
the group a depth and fullness of
narmony mat lemale singing groups
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Simon Brooking and Betsy Friday
The play was adapted by Ham
mond somewhat. A few of the lesser
songs were deleted, and some of the
lines were adapted for more modern
audiences (even though a few more
"hussies" and "sluts" that were added
really were hardlv noticed in the mirkt
of the other foul language). He also
normally don't have.
The group opened the show with
their old standard "The Lorelei," a
flirtatious, jazzy number, featuring a
solo by Jean Morrison and telling the
story of the wayward trollop who is
presumably the group's namesake.
From there, they moved through
a variety of songs, from classical to
gospel to good old rock 'n' roll, with
lots of fun in between.
For instance, the evening's pro
gram included tunes like "Poisoning
Pigeons," a maliciously funny song
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VII Hiif I I
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perform in "The Beggar's Opera"
played with the phrasing at the end
of the play enough to keep the
audience aware of what was really
going on around them.
"The Beggar's Opera" is an excel
lent representation of the way life
really was in 1720's England. The
PRC presentation of this drama was
well done and enjoyable.
cringe at. The group also did a tribute
to a Lorelei alumnus with their song
"Phyllis," changing the lyrics of an
old tune about lambs and hillsides
to a more modern version about beer
drinking and partying.
But the performance was not
without its serious moments. Songs
such as the Elvis Costello ballad
"Almost Blue," "Want Not" (an
energetic number featuring an almost
electronic sound), "Mighty Love,"
and the group's favorite, the almost
Caribbean "Shut de Do'," went over
The best number of the evening was
a song new to the group's repertoire:
"Hazy Shade of Winter." Arranged
by musical director Laurie Watel, the
song was highlighted by a rocking
alto part that mimicked the guitar line
of the Bangles' version of the tune.
And when Morrison started shaking
her frizzy black hair in time to the
music . . . well, it was all over.
The only thing missing from the
show was a visual element. While the
group's black outfits struck a good
contrast against the white backdrop
of the stage at Hill Hall, a set even
a minimal one might have added
even more to the performance.
Opening for the Loreleis were the
all-male a capella group The Hulla
bahoos. The Hullabahoos (affection
ately introduced as "The Hug-a
Balloons") are the University of
Virginia's answer to the Clef Hangers
and have been together fnr lcc tVim
a year. Their harmonies were pain
fully off at times, and thpir
attitude was a little too stilted for the
music they chose. Only on their final
number, "Runaround Sue," did they
begin to loosen up, but by then it
was too late.
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