Friday. s-plmbu 29. m7
.YEAH, YEAH . . .

_ KRAUSMAN
PLAYS DEBUT

By DEBBIE GENTRY

Fanatical eyes, crazed plays
with an umbrella, a spoilt
child’s whine, an incredible
piece at machinery — these I
can happily remember of Wele
lington’s Chair, the first of two
Joe Krausman plays which
were presented this week in
the Arena theatre.

Joshua Sachs’ whole ebing
radiated the mad scientist, Dr.
Pankey. Fritz Schwaller anis-
tlcally moaned his way through
the part of Wellington, the
dissatisfied millionaire who ii-
nally achieved the “ultimate so-
lutlon”—suicide.

Greg Wallace —- as Wellinga
ton’s dead lather — added the
most humorous touches to the
play.

Ruthie Stemberg made a
good Miss LaPoop — Welling-
ton’s beautiful, aifected secre»
tary — but a maudlin Dora—
Wellington's deceased w i i e.
However, as with Phil Miller’s
Hyman Geltfast, a rich friend
of Wellington, the fault seemed

to lie with the characters as
written and not so much as
portrayed.

Krausman was dissatisfied
with the audience reaction to
the first play, which he regards

 

 

 

 

 

 

Joe Krausman ml
Wellington‘s Chair

as having more potential than
the second, "An Ear for
Truth.”

Bonnie Tinker was frighten.
ingly realistic as the isolated,
old, lonely, widowed, loquaci-
ous Mrs. Stern, whose only re-
liable link with humanity was
Mrs. Hogan, adequately played
by Michelle Sweeney.

Jimmy, the young man who
made the mechanical mouth
enabling Mrs, Stern to hold

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

SCARLET AND BLACK

SLAVIC PIX

An exhibition of contemporary
Yugoslavian prints is now on
display at Scheaiier Gallery.
The exhibition, which includes
intaglios, woodcuts, and various
other torms oi print media,
continues through Oct. 9.

Assembled by the Pratt
Graphic Arts Center in New
York City, the exhibition is be-
ing circulated by the Western
Association of Art Museums,
Seattle, Wash.

Illlllllllllllllllllllllllllllllllllllllllllllllllllilllllllllllllllllllllllllllllllllll

conversations with her plastic
“listening ear,” was played by
Murry Nelson.

Nelson seemed to capture the
spirit of his role as did Lucy
Blount, the stilted Social Inves-
tigator. Miss Rogers.

The mechanical devices in
Krausman’s "m e c h a nic al
plays." were manuiactured by
Joe Krausman, Barry Ancuna
and Wendy Batson; Stage
manager Ancona was assisted
by Randy Mills.

Although Douglas Fink’s vo-
cabulary as the Mouth in "the
Eat” was limited to “Yeah!"
“No!" "I don’t know!" elct,
tor the Curtain call he managed
to utter “Thank you! Thank
you!"

Thank you, Mr. Krausman, tor
a most enjoyable evening’s en-
tertainment.

m

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