THURSDAY, FEBRUARY 19, 1976
THE DEGREE
PAGE 7
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Amazing Grace
As a preview to the per
formance, one needed only
notice the fantastic set. The
construction crew should be
congratulated on such a fine
job. Every aspect of the set
conveyed authenticity ... a
crate of sodas on the floor
behind the counter, a neon sign
reading “GRACES” in the front
window, fading and peeling
wallpaper, accumulated dirt in
all the correct places, and a tile
floor faded from the years of
stamping feet. With such
meticulous consideration hav
ing been given even the
minutest details, one was quite
confident a superb perfor
mance was about to begin.
Jan Wilson and Susie Wil
liams opened the play, display
ing immediately that Richard
Kagey is a perfect casting
artist, as he has demonstrated
many times in the past with his
memorable productions. Jan
Wilson is Grace Hoyland. What
more need be said? She por
trayed all aspects of Grace
beautifully. And Susie so
innocently makes the character
of Elma Buckworth, even
though at instances we see
glimpses of awareness seeping
in.
Denise Juren, in her first
performance ever on stage,
showed the audience a specta
cular display of her new-found
talent in portraying Cherie, a
chanteuse. Her performance
skillfully emmulated the very
elements exuded by a young
lady from a small town in the
Ozarks. She is by no means
naive, but possesses a heart of
gold. This is the impression one
gets after hearing of her
dilemma with Bo Decker.
Bo, played by Ken Rogers, is
hot on the trail of Cherie. He
has been captivated by her
performance at the Blue Dra
gon. Being a bit naive about
certain matters, Bo cannot say
goodbye after his first taste of
the finer side of life. Ken
Rogers most aptly demonstrat
ed the moods of Bo Decker . . .
sadness, despair, passion, an
ger, joy and contentment. His
vacillating feelings are properly
compared to Beethoven’s Fifth
Symphony, fluctuating from
highs to lows, with transitional
movements. One can imagine
the difficulty involved playing
such a character.
Dr. Lyman, a former college
professor played by Clyde
Cash, possesses a very well
stocked vocabulary. (Changing
style for a moment) Clyde, your
voice is a natural. Your dialo
gue could not have been better,
with perfect enunciation and
Frampton Comes
Alive
Peter Frampton, since he left
Humble Pie four years ago on
his solo career, did not make
the studio his stage. He stays
on the road most of the time.
“Frampton’s Camel,” was his
second album in which the
stage is strongly felt. “Some
thing’s Happening” and
“Frampton” are two more
really good albums that have a
lot of his best songs like
“Money,” “Show Me the Way,”
“Waterfall” and “I Wanna go to
the Sun.” “Frampton” may be
one of his best albums yet. This
album was recorded at Clear-
well Castle near Waks, England
with Frampton playing all
guitar and keyboards. His new
est album called “Frampton
Comes Alive” is one of his most
full range, live albums yet. It
was recorded from a series of
Frampton concerts all around
the nation. All types of acoustic
and electric work appear on
this album.
By WES VANHOOK
such realistic gestures and ex
pressions.
Bo Decker’s sidekick, VLrg^
Blessing, a cool-headed fellow,
is hilariously immortalized up
on our memories by Michael
Sledge. Again, the voice has
been made a capital feature of
this character by Mick’s mas-'
tering of an exact type of
speech. A fine job!
David Knotts was superla
tive with his actions (expres
sions), especially in his Cas-
sanovic role. Steve Bryant
played the steady-going, public-
minded servant, Will Masters,
who keeps the peace in “Dodge
City.”
Bus Stop is undoubtedly one
of the best performances ever
staged here at Wesleyan.
Everyone was magnificent.
Richard Kagey, you’ve done it
again.
By STEVE GABOON
this is your typical fillup a
blank space gimmick, but we
would like to seize the
chance for feeding our
egoes, so if you please tear
out this square and check
yes if you’re with us, no if
you’re not. Now if you’d like
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home and show your little
brother or mom, just jot
yes or no on a piece of paper
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Fleetwood Mac
Through the years, “Fleet
wood Mac” has had many new
members in and out of the
group. They started out in 1967
as a blues band. The members
were Mick Fleetwood, Jeremy
Spencer, John McVie, and
Peter Green. Before “Fleet
wood Mac” was started, Mick
Fleetwood was a member of
“John Mayall’s Bluesbreakers”
and “Shotgun Express.” John
Me Vie was the founder-mem-
ber of the “Bluesbreakers
Band.” In 1968 Danny Kirwin
joined the band from “Boiler-
house Blues Band.” Peter
Green left the band in 1969. The
next new member, a really
great singer and songwriter,
Christine Me Vie joined in the
summer of 1970 from Chicken
Shack. Six months later Jer
emy Spencer left. In the spring
of 1971, Bob Welch, guitar
player and singer-song^writer
joined the band. His contribu
tions to the band were really
great. One of his best songs to
me is called “Future Games”
found on the album of the same
title. Welch left the band about
one year ago, leaving “Fleet
wood Mac” on their own, after
three years of successful music
together. After he left, two new
members joined; guitarist Lind
say Buckingham, and vocalist
Stephanie Nicks. They soon
started working on their new
album called “Fleetwood Mac.”
This album has shown signs of
being their most successful
album since “Bare Trees.” A
new album is promised to be
released within the next few
weeks.
By WES VANHOOK
Woman Of Heart
Playing before a sold out
Cameron Indoor Stadium au
dience, Joni Mitchell and the L.
A. Express displayed Saturday
night a performance that will
long be remembered. The L. A.
Express, (with the absence of
Tom Scott), opened the concert
playing some of their more
familiar songs as well as a few
new ones that will be released
soon on their forthcoming
album. They gave a “fantasma-
gorical” performance, especial
ly with solos by John Guerin on
drums and Vicyor Feldman on
electric piano and bongos. After
a short break, the L. A.
Express returned on stage with
the presence of Joni Mitchell.
Wearing a three piece tailored
suit with an English-styled hat,
Joni opened with “Love or
Money”, electrifying the au
dience. She continued to sing
songs from all of her previous
albums, with special emphasis
on her latest album. Hissing of
Summer Lawns. Some songs
that stood out were “Rainy
Night House,” “Big Yellow
Taxi,” for which she wore a cab
drivers hat, and on the piano,
“Real Good For Free”. Al
though she made no mention of
an album Joni did sing two new
songs, “Kaiobe” and “Don
Juan’s Wreckless Doctor.” Clo
sing with the song “Twisted,”
the audience let her know that
she is and always will be one of
the great performers in the
entertainment world. Even
though she did not sing such
classics as “Blue” or “Wood-
stock”, Joni Mitchell gave an
intense and extensive concert
that demonstrated why she has
such a large following today.
By KEN ROGERS
Bob Dylan: “Desire
Following the releases of
“Plant Waves” and “Blood on
the Tracks,” Bob Dylan has
come out with what is probably
his best album to date. On
“Desire,” Dylan displays the
best singing voice he has re
vealed on records, retaining the
old intimacy and individuality,
but adding a new-found inten
sity. Lacking the usual batch of
personal, political songs, Dylan
has for the first time used a
co-lyricist, Jacques Levy. The
song that really stands out on
the album is “Hurricane,” an
insistent protest song defend
ing Rubin Carter. With this
song, Dylan has drawn nation
wide attention to the impri
soned boxer who was falsely
tried in 1967. On the song
“Joey,” Dylan also tries to
defend slain mobster Joey
Gallo, as well as make a hero
out of him. “Sara” is a song
dealing with Sara Lowndes,
who married Dylan in 1965.
Other standouts on the album
include the lyrics of “Isis” and
the backup singing of Emmy
Lou Harris on “One More Cup
of Coffee” and “Oh, Sister."
And the violin playing of
Scarlet Kivera adds a unique
and “gypsy” touch to the
album. The Bob Dylan of today
may not be the awesome fig^ure
he once was, but maybe he is
something more real and a true
performer.
By KEN ROGERS
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