University Press (Beaumont, Tex.), Vol. 64, No. 15, Ed. 1 Wednesday, November 11, 1987 Page: 3 of 6
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UNIVERSITY PRESS November 11,1987*3
LU Theater wins
:awards at ACTF
Lamar University Theater has
* been nominated to advance to the
^regional festival of the American
College Theater Festival, George
* Brock, Beaumont senior, said.
. In addition, Lamar, which entered
“The Elephant Man,” by Bernard
' Pomerance in the competition,
.received a Director’s Choice Award
for the third year in a row, George
’ Beverley, department spokesper-
. son, who accompanied the group on
the trip, said.
* ACTF is a nationwide competition
y between college theater depart-
ments which culminates in the na-
1 tional finals at the Kennedy Center
^for the Performing Arts in
Washington, D.C..
* The area competition was held in
^San Antonio Nov. 2-7. Lamar was
one of 10 universities entered in the
area competition.
Brock, who played Frederick
Treves in the play, and Dal James,
Port Arthur junior who played the
Elephant Man, were both nominated
for the Irene Ryan Acting Scholar-
ship, which will be held in conjunc-
tion with the regional ACTF contest
in Lubbock, Feb. 23-27.
Elisabeth Sanders received
special recognition for her costume
design, and James received special
recognition for his acting by the
critic judge.
Beverley traveled with the group
in the place of their adviser, Adonia
Placette, who is in the hospital. “I
was pleased to have had the oppor-
tunity to attend the conference,”
Beverley said. “The awards show
we have a strong program here.”
;‘Barfly’ gives bums
;some poetic justice
By Bob Thomas
* Associated Press writer
t “Barfly”
Dir. Barbet Schroeder
* Rated ‘R’
v . The publicity materials for “Barf-
ly'” contain a letter from Charles
* Biikowski, the poet laureate of skid
row, in which he brags that every
*' word in the movie was his or approv-
, ed by him.
Probably only one other writer —
* who was not a director as well — has
4. been accorded that privilege: Neil
Simon.
v Bukowski’s intense participation
A proves a mixed blessing, mostly for
the good. Cunningly acted by Mickey
v Rourke and Faye Dunaway, “Barf-
ly” is full of bawdy fun, surprise
> plotting and bright dialogue.
* “Barfly” begins with a bored
bartender reading a newspaper in
y an empty East Hollywood bar, like
, those in which Bukowski apparently
spent much of his adult life. All of
* the action is happening in the back
galley, where the boozy Henry
Chinaski (Rourke) is having another
* of his bloody fistfights with his burly
* enemy, Frank Stallone. While other
barflies cheer, Henry gets smashed
► senseless.
Review
Henry has amazing recuperative
powers. He sleeps it off, then repairs
to another dive, where he encounters
Wanda Wilcox (Dunaway), whom
the other boozers shun as crazy.
They are a perfect pair. Henry
moves into Wanda’s crummy apart-
ment. They make love between bat-
tles, but their idyll is complicated
when Henry is tracked down by a
wealthy literary scout (Alice Kripe).
Wanda reacts expectably to the
young woman’s invasion, resulting
in a barroom brawl that delights
Henry. At the end, nothing is chang-
ed, and Henry is back in the alley
facing Stallone.
“Barfly” is the result of a long
crusade by French director Barbet
Schroeder to bring Charles
Bukowski to the screen. His effort
seems rewarding if only to see two
stars in bravura performances.
Mickey Rourke is uncompromising-
ly accurate as Chinaski, with matted
hair, scraggy beard and simian
stance. The only annoyance is his
upwardly inflective sentences,
reminiscent of another bibbler, W.C.
Fields.
By Brent Snyder
UP entertainment writer
“Alone with Daddy”
Daddy in His Deep Sleep
Restless Records
The year 1987 will probably be
remembered as the one that The
Cure and R.E.M. broke Top-40 radio,
but underground music fans
shouldn’t panic because new
musical excitement can still be
found in the form of Daddy in His
Deep Sleep (my favorite name for a
band since The Jesus And Mary
Chain).
The San Jose-based combo has
been described as everything from a
“hard-edged pop” group to a
“modem neo-dirthead band.”
Comparisons have been drawn
between Daddy in His Deep Sleep
and L.A.’s premiere punk band X.
While it is true that Daddy’s dual
vocal harmonies do harken back to
the X sound, the differences between
the two groups outweigh the
similarities.
Daddy in His Deep Sleep heralds
fast, hard-driving post-punk rock
(like X), but then plays around with
the structure of a song (unlike the
straight-ahead X), inserting a
change-in-tempo break to give the
number an almost artsy nuttiness.
On the issue of song subjects,
unlike X, whose themes stayed safe-
ly within the boundaries of beer and
infidelity, Daddy tackles the big
ideas of Christianity, incest and
America’s dead-end dnig culture.
Daddy’s guy vocalist, Jeffery
Daddy in His Deep Sleep, from left: Jefferey Layton, Lori Bauer, Bradley Caseldon and Dave Doyle.
Layton, has a nerdy cool-jerk voice
that works well on songs like the in-
sightful “Santa Claus and Jesus,”
the nuked-out Buddy Holly-style
“Puppy Dog” and the psychedelic
“Suburban Ranch.”
Daddy’s little girl, Lori Bauer,
sings with the same traditional
“I’m-a-girl-from-Califomia” voice
that Lone Justice’s Maria McKee
rode into town on (ex-Go-Go Belinda
Carlisle used to sing that way, too,
back before she married a
Republican). Bauer delivers the
Califomia-girl stuff with a passion.
She doesn’t squeak she belts it out
from below the hip.
Daddy in His Deep Sleep certainly
knows how to rock ‘n’ roll (oh, ex-
cuse me, make that ROCK ‘N’
ROLL) as evidenced in the foot-
stomping “Play the Part” and
“Tales from the Crypt,” but
songwriters Layton and Bauer can
also turn out fine ballads.
“Jeeves” is a rootsy song, that for
just a few seconds at a time, turns
into a hardcore thrash number and
Bauer’s vocals shine bright on the
catchy folk-rock ballad “Blue
Sighs.”
“Alone with Daddy” is one of
those rare finds, an album that from
beginning to end, grows on the
listener more and more each time it
is played. Daddy in His Deep Sleep
is, without a doubt, the best new
band of 1987.
It would not be suprising if “Blue
Sighs” became a (gasp!) radio-
breaking single for Daddy in His
Deep Sleep. For a band who lists its
influences as Aerosmith, Blue
Oyster Cult and the film “River’s
Edge” and reveres modem neo-
dirthead actor Crispin Glover as a
god, stranger things could happen.
Band relives past in live set at SSC Perch
By Bryan Murley
UP managing editor
Scott McGill and The Cretins
Setzer Student Center Perch
Nov. 6,1987
A diverse crowd gathered Friday
evening to view a mixture of musical
styles in the Setzer Student Center
Perch.
On the one hand, there was Scott
McGill, a local blues guitarist, who
warmed up to the nightclub at-
mosphere immediately.
On the flipside was The Cretins,
whose revivalist sounds were on
another plane from the blues of
McGill.
McGill was definitely at home on
Review
the Perch stage, sending out the
guitar pyrotechnics he has made
famous at the Boulevard, another
local nightspot.
McGill held a captive audience, as
there was no doubt he would.
The Cretins are another story. The
band has not been playing together
long, and the Perch was to be a pro-
ving ground for their ability to hold
an audience.
Gary Reynolds and his revamped
Cretins lineup dispelled any doubts
Friday night as they held the crowd
in their chairs with a mixture of
psychedelic 1960s music and
late-1970s punk that isn’t found often
on local stages.
The Cretins’ raunchy, guitar-
based sound mixed well with
Reynolds’ Sex Pistols-like vocals on
covers such as “Gloria” by the
Doors, a Rolling Stones tune and
Cream.
But the psychedelic proved to be
only a part of the show. Reynolds
slipped into covers by punk groups
like the Sex Pistols at times to break
up the feedback-laden guitar work.
The only disappointment of the
evening was the lack of original
songs on The Cretins’ playlist, which
Reynolds said was due to the new
line-up.
Whatever the problem, the Cretins
definitely had an engaging stageim- /
age with Reynolds rocking back and
forth behind the mike, spewing out
whining vocals along with the slight-
ly heavy-metal outfit of the rhythm
guitarist.
The drummer and bassist held the
dual guitarists anchored to a heavy
beat, making for good music.
Reynolds plans to have the band
doing more originals in the coming
weeks, and looking at their choice of
cover tunes. The originals should be
just as engaging.
This band deserves a headlining
concert here, and they should be get-
ting one in the coming months.
Front Row Entertainment
SETZER STUDENT CENTER COUNC
Great Movies for your viewing pleasure
SSCC Recent Movie Release presents:
FREE
Every Wednesday, 12:30 p.m., 7 & 9 p.m.
in SSC Room 206.
^0®
PLM ; !
f NB58F
hi C
I0W BALI
TIN MEN
•L 7987 Touchstone Pictures
“PLATOON” is coming to SSCC
Don’t miss this exciting, infor-
mative “double-your-evening
entertainment” with the Forum
Committee’s presentation of the
film, “Platoon” followed, in per-
son, by the military adviser to the
film,
CAPTAIN DALE DYE
Tues., Nov. 17, SSC Ballroom
“Platoon” - 6:30 p.m.
Capt. Dye - 8:30 p.m.
$1.00 w/LU ID
$2.00 General Public
Best Picture
WINNER
4 ACADEMY AWARDS
hCSThICTEO ..
ofuon
PLflTftN
The first casualty of war is innocence.
“Platoon” will be shown again on Wed.,
Nov. 18 as part of the SSCC Recent
Movie Release program in SSC Room
206.
Fri., Nov. 20 - The Return of DAVID NASTER atm ^
m
°Hl^s0JV
_tb<M LIGHT_
COMEDY COMMANDOS
P
‘For LOCALS Only” Concert
Fri., Nov. 13, 9 p.m. - Perch
SCENIC ROOTS/DETOUR
Music to soothe a Friday night
SKI TRIP TO STEAMBOAT SPRINGS, COLORADO
Comedy
at its
funniest...
Fri., Nov. 20
9 p.m.
Ballroom
$1.00 advance - free painter’s cap with presale ticket.
$2.00 at door w/LU ID.
Stea
mLoat
K
January 2-9
$325 Lamar Student
$350 non-student
(Next deposit, $150, due
Dec. 2}
If you are interested in going
and have not paid a deposit,
please contact Gary Clay, ext.
8734 or Karen Thomas, ext.
8729.
y
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Ford, Steven. University Press (Beaumont, Tex.), Vol. 64, No. 15, Ed. 1 Wednesday, November 11, 1987, newspaper, November 11, 1987; Beaumont, Texas. (https://texashistory.unt.edu/ark:/67531/metapth500433/m1/3/?q=Lamar+University: accessed June 1, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Lamar University.