University Press (Beaumont, Tex.), Vol. 75, No. 22, Ed. 1 Wednesday, November 18, 1998 Page: 3 of 6
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U^entertainment
University Press • Wednesday, November 18,1998 • Page 3
‘Twilight of the Golds’
Play addresses issues,
raises ethical questions
The Lamar Theatre will present
Jonathan Tolins’ “Twilight of the
Golds” Thursday through Tuesday
in Studio Theatre.
‘“Twilight of the Golds’ is about a
set designer named David,” Kelly
Draper, director of the play and
assistant theatre professor at Lamar -
Beaumont, said.
Draper said that the plot includes
the topics of genetic testing, homo-
phobia and abortion.
He said that “Twilight of the
Golds” is not the usual comedy that
people like to see performed on the
Lamar stage.
“It is a drama that hits on some
major issues,” he said, “and it has a
lot of intense moments, too.”
The PG-rated show has some pro-
fanity and adult language that
accompanies those moments as well,
he said.
“This is not a performance that
people should bring their children
to,” he added. “I strongly advise that
children under 12 be left at home.”
“The play is very controversial,”
he said. “But we sometimes feel the
need to slap the (Lamar) students
around a little bit and say, ‘Hey, you
need to be aware of this.’”
The aim of the show is not to
preach to the audience though, Gina
Martin, a Lamar senior who plays
the character of Phyllis, said.
“People need to understand that
this is not a soap-box show,” Martin
said. “We are not trying to stand up
on a pulpit and say that people
should feel a certain way about the
issues.
“These are real issues that have to
be dealt with, and people deal with
them every day.”
In a time when genetic research is
making so many new developments
and homophobia obtains front-page
stature, Draper said, the play really
“hits home.”
“It really applies to everyone,”
Martin said. “It raises the question
of ‘Am I really good enough to be
loved on my own?”’
Although the content of the play
is subject to debate, Draper said, he
feels that the attendance will be
high.
“Knowing our penchant for
drama, people should come out to
see the performance,” Martin said.
“There are only 80 seats available
in the house,” Draper said, “so the
play will probably sell out every
night. Be sure to get tickets early if
you want to see it.”
“Twilight of the Golds” is the last
play before the holiday season
begins.
Curtain times are at £! p.m. every
night from Thursday through
Tuesday, and a special matinee is
scheduled for 2 p.m. on Sunday.
For more information on ticket
sales, call the Lamar Theatre Box
Office at 880-2250.
Director Kelly Draper discusses the play with
cast members of ‘Twilight of the Golds” dur-
ing rehearsal Monday evening.
— Text and photo by Jennifer Turner —
OF SOUTHEAST TEXAS
‘Art a la Carte’
walk-through
' tour scheduled
The last “Art a la
Carte” walk-through
tour at the Art Museum
of Southeast Texas for
the exhibit Oil Patch
Dreams: Images of the
Petroleum Industry will
be Thursday at noon.
The exhibition illus-
trates the story of oil
and the petroleum
industry’s impact on
Texas, the nation and
the world. This is done
through a broad survey
of more than 60 paint-
ings and sculptures bor-
rowed from museums,
galleries and private cor-
porate collections
throughout the United
» States. Several of the
privately owned works
have never been publi-
• cally shown.
This exhibition has
been observed by maga-
zines such as the
American Art Review,
Oil and Gas Journal and
Texas Monthly. The
exhibition is the “kick-
off” event for the
Spindletop 2001 celebra-
tion.
The Cafe Arts will be
offering a “Roustabout”
lunch special for $6.
For information, call
832-3432.
Exhibit pays homage to womanhood
Anyone doubting the strength and mythic qualities of
everyday women and families should pay a visit to the Art
Studio for an exhibition of recent works by Lisa Bell Reinauer.
The exhibit, on display at the gallery through Dec. 2, dis-
plays a collection of 32 works that are both evocative and tech-
nically strong.
Reinauer, an associate professor of art at McNeese State
University, has assembled a show that leads the viewer on a
colorful, surrealistic journey.
Drawing on the stylings of Mexican artist Frida Kahlo and
the Spaniard Remedios Varo, among others, Reinauer has
produced a collection that has the feel of old-style surrealism
mixed with very personal images of family and womanhood.
The most striking works can be found downstairs, with two
series — “Mythical Voices” and “Family of Origin.”
Color fairly explodes from the walls in the “Voices” series
— seven vertical iconic pieces on tar paper that seem to deify
women and their roles.
Reinauer often presents these pieces in collaboration with
Susan Kelso, a theatre teacher at McNeese, who has written
poems and performance pieces to accompany the paintings.
“We have taken women that we know, and we present
them as mythical figures,” Reinauer said.
Lisa Bell Reinauer’s “Mystical Voices” series
presents women she knows as mythological
figures.
“Mythical Voices-Seven” shows a woman conservatively
dressed in a dark jacket — a businesswoman perhaps — set
against a vividly green foliage that would not look out of place
in a Rousseau jungle painting. She heightens the effect by fill-
ing in the background with hints of red. The woman is somber
in appearance, but the vitality of spirit is abundantly clear. One
gets the feeling that he is looking at a caged animal dreaming
of the forest.
Contrasted with “Seven” is “Mythical Voices-Four,” a
contemplative deep red piece that contrasts a peaceful figure
with a violent, red background. The central piece of the seven
in the series, it is the one that attracts the viewer.
Reinauer’s use of underpainting gives her colors a deep,
quiet vibrancy. Throughout the show she has skillfully manip-
ulated the paint to give her colors a brilliant intensity without
being overpowering.
Accompanying the “Voices” is a series of dyptychs titled
“Family of Origin.” The four pieces in this series chronicle four
generations of Reinauer’s family. Images of her grandmother,
father, brother and son are juxtaposed with images of roads
and countryside.
These works are consistent with Reinauer’s philosophy of
introspection.
“In these works I have looked to the familiar — to family,
friends — the objects around my studio — for subject matter,”
she says in her artist’s statement. “In ancient and primary cul-
tures, the artist’s work often emerged from or in conjunction
with the everyday rituals of life.”
Reinauer cites Kahlo and Varo as her main influences —
“Their work is personal rather than general,” she said — but
she also draws heavily on other artists.
“Lock” would not look out of place in a Magritte exhibit,
and the imagery and color of “Lachesis” echoes Gauguin.
Other strong pieces in the show include “At the Well,” a
vivid landscape with a river so blue it draws the viewer down
into itself.
“Probability and Chance” and “Now You See It, Now
You Don’t,” both mixed media pieces, hold the viewer with
the multitude of layered images, each one fighting for your
attention.
To single out other paintings would be pointless. There are
simply no weak pieces in what is one of the strongest exhibits
shown in this area in recent years.
Visitors to the gallery may well find that they are left with
a feeling of uncertainty. Reinauer has chosen to reveal much of
herself to the viewer, but there is much left unstated.
“She opens a lot of her personal life to us, but in a myste-
rious way,” Greg Busceme, studio director, said.
It is Reinauer’s ability to draw on the legacy of surrealism
and infuse it with a deeply personal, mythological philosophy
that is her strength.
“I am also interested in the cyclical nature of art history
and the universality of myth ritual and symbolism,” she said.
Reinauer has circled back to draw on the best of surreal-
ism, and she has created a body of work rich in both color and
message.
The studio is located at 720 Franklin.
Andy Coughlan, UP contributor
*
<
Review
Hendrix CD
captures mood
of special era
Jennifer Turner
UP staff writer
Hallucinogenic drugs, free love, Martin
Luther King Jr. and the Vietnam War are what
the late ’60s are best remembered for.
The music scene of that generation of hip-
pies, feminists and civil rights activists was a
psychedelic palette of folk singers and acid
rockers, including such revolutionary artists as
Bob Dylan and the Doors. These musicians
reflected the changing times through imagery
and allusion in their lyrics and melodies.
One of the most revered and celebrated of
those musicians is Jimi Hendrix.
He is considered by some critics to be one of
the greatest guitarists not only of that decade,
but of all time. Sensitive and insightful in his
lyrics, and explosive and creative on his guitar,
Hendrix succeeded in marrying his musical
influences of jazz and blues to his mixed ethnic-
ity and events that were shaping the era.
Hendrix continues to be remembered in
“Experience Hendrix: The Best of Jimi
Hendrix,” a recently released collection of
some of the ax-master’s greatest hits (MCA
records).
The album brings together songs that reveal
Hendrix’s multicultural upbringing and political
views.
Part Native American, part African
American and Irish, Hendrix’s mixed ethnicity
shows through in the rhythms and sounds of his
music. This is illustrated on the greatest hits
album with the song “Castles Made of Sand.”
Beats that are reminiscent of tribal Indian
cadences can be heard in the background. And
remaining true to his Indian ancestry, Hendrix
goes on in one verse to sing the tale of a young
brave who meets a tragic and ironic end.
As an acid rock musician, Hendrix made ref-
erences in his lyrics to the popular fad drugs of
the time. “Purple Haze” and “Stone Free,” both
on the album, epitomize the liberal attitude that
many in the late ’60s had toward drug use.
“Foxy Lady,” also appearing on the compila-
tion, demonstrates the sexuality of the young
people who adopted the free-love-for-all atti-
tude of that time.
Hendrix reflected many more progressive
ideas of his generation. As the Vietnam War
raged endlessly overseas, he and his contempo-
raries vocalized the political views of liberals
and college students all over the country.
His show at Woodstock brought his leg-
endary performance of the “Star Spangled
Banner.” Simultaneously patriotic and oppos-
ing Vietnam, this rendition of the traditional
solemn and dignified national anthem was seen
by the establishment as disrespectful to the
nation.
In an interview with Dick Cavett, a popular
television talk show host of the time, Hendrix
claimed that he never meant for his version of
the song to be anything but beautiful. But the
political controversy that he raised with it lives
still. This is probably why the “Star Spangled
Banner” appears last on the greatest hits album.
The album, consisting of 20 of Hendrix’s
most memorable creations (though two of the
songs are only Hendrix arrangements), is a sur-
realistic experience for the ears.
A master craftsman on the guitar, it is doubt-
ful that Hendrix will ever be matched in skill.
Had he lived longer, it is most certain that he
would have reached a boundless level.
His early death came as a shock, as did the
deaths of his peers Janis Joplin and Jim
Morrison. A certain irony lies in the fact that he
died, supposedly, from a drug overdose at the
age of 27. He lived the lifestyle that he sang of
— taking drugs and loving freely.
Hendrix can be appreciated as much now as
he was in the ’60s. His music is a mirror image
of the politically and socially turbulent times.
By listening to albums such as this one, the
audience is instantly transported back to
Hendrix’s time. They are given a taste of that
radical era, and can better comprehend that
decade of American history.
I
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Sonnier, Todd. University Press (Beaumont, Tex.), Vol. 75, No. 22, Ed. 1 Wednesday, November 18, 1998, newspaper, November 18, 1998; Beaumont, Texas. (https://texashistory.unt.edu/ark:/67531/metapth500800/m1/3/: accessed July 7, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu.; crediting Lamar University.