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Thursday, June 23, 1977 The Tar Heel 7
STARTS
FRIDAY
2:05
4:30
7:00
9:30
11:45
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ABC
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ACCEPTED
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NO
PASSES
2:00
4:20
6:45
9:10
NO PASSES
NO ABC
CARDS
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Area Concerts
Tavares
Carowinds, Charlotte
June 25
Johnny "Guitar" Watson
Greensboro Coliseum
June 25
Eagles and Andrew Gold
Greensboro Coliseum
June 27
Emerson, Lake & Palmer
Greensboro Coliseum
June 28
Emerson, Lake & Palmer
Charlotte Coliseum
June 29 ;.
Darryl Hall & John Oates
Charlotte Coliseum
June 30
(Schedule subject to change)
Charlie Rich
Carowinds, Charlotte
July 2-4
The Four Seasons, featuring
Frenkie Valli
Carowinds, Charlotte
July 5-7
The Charlie Daniels Band
Carowinds, Charlotte
July 8-10
The Captain & Tennille
Carowinds, Charlotte
July 16
Ted, Nugent, with Foreigner and
Rex
Greensboro Coliseum
July 17
Marily McCoo & Billy Davis
Carowinds, Charlotte
July 30
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The Duke Summer Theatre's production
of "Look Back in Anger" will be
presented at 8:30 Friday and Saturday
nights in the East Duke Music Room at
Duke University.
"Look Back in AngerJ,
never clicks as a whole
By PAT GREEN
Staff Writer
Experiencing the Duke Summer Theater
production of "Look Back In Anger" is
! rather like being sucked in and out of the eye
1 of an early summer hurricane. You keep
expecting something awesome to touch
- you the potential for a gripping empathy
with the characters charges the air but
instead the audience is tossed from fringe to
.fringe of the storm's center never feeling the
full impact of the wrath the angry young
playwright built into the work never fully
experiencing the uneasy calm of the true
center of a 1950's depression piece.
The production never clicks as a whole.
The storm's force dissipates bit by bit as the
evening wears on. One is left looking
forward in vague ennui, and with little desire
to look back on the production. t ?
That's a shame,, because-John Osborne's ?
script is full of the stuff that serious theater
goers often enjoy mulling over long after the
lights have gone down.
The show lacks force, and this is made all
the more clear by the dynamic performance
of UNC graduate student Brian McNally.
With his swarthy, menacing presence he is
well cast as the surrogate Osborne, the
prototype of the angry young man. McNally
also manages to make the difficult
transitions called for in the script to a vital,
tender, even huggable young man.
Only one member of the cast holds her
own when on stage alone with him. Teresa
Westbrook as the smoldering Helena
recharges the atmosphere every time she
steps on stage. You may remember her from
her recent roles in the Playmakers The
Crucible" and Look Homeward, Angel."
Dorothy Rankin as Alison, the
unawakened wife of McNally's Jimmy
Porter, is not so electrifying. She does look
the part, has an intriguing voice for the stage,
and wears Karen Thompson's well thought
out costumes beautifully, but she does not
consistently make her character a believable
one. - '
Jimmy Porter's mild mannered friend,
Cliff Lewis, is rather unevenly played by
John Daggan. Daggan also looks the part,
but his performance lacks polish. With a bit
more concentration on his stage business
and attention to maintaining a
characterization even when the focus is not
on him, his performance would be beyond
reproach.
Michael Peterson as Alison's father,
Colonel Redfern, and Curtis Gregory and
David Marable, offstage on trumpets,
provide nice touches, as does Scott Parker's
appropriate set and supportive lighting
design.
Director Linda Wright has done a good
job of interpreting the play. Her visual sense
is extraordinary the blocking is nearly
flawless and her actors all look their parts.
She and the Summer Theater At Duke are
once again to be congratulated for daring to
offer serious drama. One, would hope that
the unevenness of this production would not
disco urags them from continuing their
efforts or prevent theatergoers from
experiencing some fine moments with
McNally and crew.