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'Yellow Submarine'
Yellow Submarine, starring Sergeant Peppsr's Lonely
Heart's Club Band Ringa, George, Paul and Jchn in an
animated frolic, is slated for 11:15 p,m. Sunday .'in -the
Caroiina Theater. All-time classics include "Yellow
Submarine," "Halpr "All You Need Is Love," "When I'm Sixty
Four," and "A Little Hzlp from My Friends." Co-sponsored by
the Daily Tar Heel, tickets are $1.50.
Laid Cack Grsg AUman (Capricorn)
From the same corporate brain who
drained every last living guitar lick and
breath from the Allman Brothers
phenomenon, here is one of those good ole
Allman boys out on his own with a good oie
album for all us good ole folks.
This album is out on the market because
the record company knows there is a ready
place for it in the homes and hearts of a large
segment of the record buying public (Boy. do
they know it. The last A. Brothers album w as
number one on the charts for God knows
how long.)
But. it also goes to show you that Gregg
Aliman is just a ""mellow laid back dude" (a
nifty record industry phrase batted around
among the "we just play our instruments; we
Radio
"CBS Radio Theater Mystery" begins
nightly at 1 1:07 p.m. with the sound of a
creaking door and the voice of E.G.
Marshall, the permanent host, telling an
eerie tale ranging from the macabre to the
occult.
The early I950's saw the death of most
network radio series. Television was the
culprit.
But CBS has revived its new radio series in
prime time, bringing the chills and thrills of
the old-time programs to listeners in the
!970's.
CBS Radio Mystery Theater" will run
seven nights a week, each a 52-minute
episode beginning at 1 1:07 p.m. on WDNC
(AM), 620 on the AM radio dial and on
WDNC-FM at 1 05. 1 on the FM dial.
Of the 195 original shows planned about
170 will be repeats 26 will be reworking of
classics from Edgar Allen Poe to Mary
don't need r.o gimmicks" school of rock
music, cf which Gregg Aliman ii a lifetime
charter member.)
To prove the point that there is "another
side to Gregg Allman." the song selection
and instrumentation on this album are
unmistakabU and almost embarrassingly
MELLOW. There is none of the life force
which seems to weave in and out of the
Allman Brothers group music here. Some
folks like to think that it has an eerie or
mystical air. but when you come right down
to it. this album is just plain boring.
Now, to look at the music. He has chosen
to go with one of the most overworked songs
in the history of 20th Century music These
Days. Understandably, it is a nice song, but
today Jackson Browne (who wrote it five
dramas
set
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by Billy Armssfead
Television Critic
Over the Christmas holidays, ABC broadcast two dramatic specials that deserve
a second look, when and if they reappear.
On December 16 there was a new television production of Tennessee Williams'
The Glass Menagerie, starring Katharine Hepburn. Pauline Kael to the contrary,
The Glass Menagerie is a first-rate play. It does seem to wallow in its sensitivity, and
its dogged delicacy, fragility and unicorn symbolism often make one want to laugh.
But it has lovely dialogue, with the kind of nonchalant poetry Williams used to have
at his command, plus vivid characters and real, if somewhat clumsily expressed,
feelings. " " "J" . i- :i
ABCs production, filmed with all the care and resources of a theatrical movie,
was excellent. Katharine Hepburn received too much publicity regarding her
television debut, hence her p erf ectly-all-right-but -scarcely-monumental
performance was apt to disappoint some viewers.
Hepburn was never a polished technician; and if her Amanda Wingfield missed
the mark slightly too tough, too old, not vulnerable enough the performance
nevertheless benefited from her extraordinary, intuitive expressiveness. She is
mannered, yes. and too beautiful to be true, but her mannerisms and her beauty call
forth tremendous emotions and hold one riveted. As one watched her in The Glass
Menagerie, the weaknesses in her conception seemed trivial.
As Tom, Sam Waterston brought back memories of the young Anthony
Perkins sensitive, rebellious, embittered, everything a Tom Wingfield ought to be.
The tali, assertive-featured Joanna Miles was miscast as Laura (the part calls for a
Mia Farrow); moreover, she had no limp, but she gave a sound performance.
The most remarkable thing about ABCs production was Michal Moriarty as Jim
O'Connor, the Gentleman Caller. The Gentleman Caller is usually played as slick,
brash and charming in the bad old Hollywood movie, Kirk Douglas took the
A
part but Moriarty turned him into a self-conscious, disillusioned nurd.
The change makes sense. The more conventional Gentleman Caller, who is
supposed to fool Laura, often fools audiences especially younger audiences as
well. They actually believe all his rot. Moreover, Laura's willingness to be taken in
by such a ridiculous man poignantly underlines her desperation. Moriarty filled out
his unusual, excellent conception with an impeccable performance.
A week after The Glass Menagerie, ABC broadcast the Joseph Losey-Jane
Fonda film of Henrik Ibsen's A Doll's House. The television networks have never
given a damn for Ibsen before; what made this production lucrative was the
combination of Jane Fonda and women's liberation.
A Doll's House is a rather four-square play of a type nineteenth-century
realistic problem drama not particularly fashionable nowadays; and if Ibsen is
called for, one can think of several more interesting plays, (The Master Builder.
When We Dead Awaken and John Gabriel Borkmari) that could stand for revival.
On the other hand, A Doll's House is a terrific piece of theatrical construction; it is
fun to watch because each plot turn occurs at exactly the right time.
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Tickets at Union Dek At The Door
Crossword Puzzler
Answer to Yesterday's Puzzle
ACROSS
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6 Article of tur--
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20 Urtruty children
21 Mortification
22 Binds
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But "nobody is going to say this is
nostalgia." Himan Brown, the show's
producer, says. "The programs will be new.
Many will have contemporary backgrounds
and themes. And never before in the history
of radio has there been a seven night-a week
series like this.""
Brown calls the radio drama something
people need "a legitimate art form, like
films, or theater, with its own form and
discipline and ability to communicate and
shouldn't be allowed to die because of
television.'"
The series won't have staff writers or a
stock acting company, he says. "It's an open
show for all the fresh, proven and unproven
talent we can find."
If the show clicks. Sam Cook Digges, head
of CBS radio division, says it could lead to a
dramatic anthology series, a daytime soap
opera and even a new comedy series in
short, a modem mini-revival of the golden
days of network radio.
But the only CBS throwback to vintage
radio drama. Brown said, will be the mystery
theater's opening format the sound of the
squeaking door, the sound he created years
ago for "Inner Sanctum." "That and the
NBC chimes are only two copyrighted
sounds in radio," he said.
I f
years ago) almost refuses to admit trust re
wrote it. It's the kind of overtly persona i
tcng that a writer writes for himself but
comes to dislike after performing it to man
times and hearing other people perform u
tco much. Anyway, it sounds like is s.i-
something, especially when Gregg A'iman
pleading voice gets hold of it.
Next, there is a reworking of an old
Allman tune Please Cell Home. It sound
n.ce enough, but why does it merit being
redone? Once should be enough, shouldn't
it? (I'm asking for my own benefit.)
And lookee here... yet another version o!
Midnight; Rider (for all of you who mied it
the first time around). This time. Gregg
deckles to sing directly into the microphone
so that there is no mistake about the lyrics
(or some other equally as confusing reason)
About this time in your listening to trie
album, you reach for the cover to check the
back up personnel because you are almoM
certain it is not the A. Brothers.
And you are right. What made you think
this? Because everything seems so incredibi
lazy, so incredibly non-Allman like. Except
for a few guest licks from fellow Brothers,
the back up is strictly unknowns (not that
that is especially bad you gotta start
somewhere). But. like 1 was saying. the
aren't the Allman Brothers. They probably
weren't meant to be. After all. it is a solo
album. Still, there doesn't appear to be any
life, just a semi-wasted "smoking dope all
night" feeling.
Only two of the songs are prciousiy
unrecorded Gregg Allman tunes. These are
the only pleasant breaks on the album.
Gregg Allman can still write songs when he
wants to. which is what he should have done
for his "solo" album but didn't.
The final blow is dealt by his inclusion ol
Will the Circle Be Unhroken (shades of Leon
Pvussell and Delaney and Bonnie and
countless other better left unmentioned
folks...) Who needs an education in sing
along folk songs? We want some music.
Besides, this song has been capably handled
several times already in the past.
There has to be a message (or a lesson) in
all this. I think I have it. It has something to
do with musicians making money through
good hard work and then sitting around
wondering what to do with themselves. Lend
Back is an example of this recording for
recordings sake mentality. 1 think I'll cut an
album...
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