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Page 10 The Ticker May 10, 1983'As iJDOeartKJ Ill:Tim& MaqUmeGames Ma9um~TheSURVIVALGAMEhas arrived in NeW" York!!Sp0t7S lJ/uSITateaOutaoor uteAs see" on:The Toaev ShowE¥e••"eness N_sCBSPM MaQazmeThe t.est WordTHEWIMISPRING, 1983ISSUE•CHALLENGINGFA$CINATINGLy REF~ECTIVE- Team against Team- The Hunt and the Hunted- Confrontation and Retreat- Action and ReactionThe National Sur/iva! Game of New York16 Dakin AvenueMt. Kisco: New York---10549(914) 241-0020EXHILARATINGSwift or slow, male or female, street wise or country, bring to the Gameand take from it experiences that make it exciting, different and trulymemorable.For further information contact:Our new slogan is IIWorid Beyond Musical Bounds"The logo is a globe with the N.Y .C. skvline insideand a musicalstaffwith IIWBMB 590 AM"acrossthe globe~ ".--Tee~shirtsare available in both short sleeve (at $6.00)and baseball (at $8.00) styles.StopbyWBMB/ (360 Park Avenue South in the basement)to place your order ~y May 13th.oScoreHighontheINTEllECTUAlSOFTWAREPRESENTSby Jonathan D. Kantrowitz,J. D., Harvard Law SchoolComprehensive computer-assistedinstruction, teaturingautomatic timing, scoring.branching, extensive analysisand documentation.Apple. IBM PC disks:$195.00Available exclusively from:r~J Queue. Inc.5 Chapel Hill DriveFairfield, CT 064321-800-232-2224 or(203) 335-0908FREEDOM OF THE PRESSWhich side an You on?Women', Press CoUedh'eNeeds FaD aDdPart Time VoIuDteenPublicizin. efforts towardseconomic justice forlow-income worken.IDteniew AppUcatJODSBela. Accepted Now!CallPa'" (112)'" 1641lor Jaterricw appolatlDeD.STUDENTS!MAKE MONEYTHIS SUMMERALL YEAR ROUNDl• High Earning Potential• Set Your Own Hours• Part or Full Time• Get Others to Work• Be Involved with anExciting New Weight Loss,Health and Fitness Program• Ground Floor Opportunity.• Year Round Income. '• No Door to Door Selling.• No GeographicalRestrictions• Prestigious,Public CompanyCall: Dennis Shevack,National- Sales DirectorFit For Life, Inc.(212) 357·6130(516) 829·9200TRAINEEPHOTOGRAPHERSUp to $100 a daypart/full time tmale/female. No ex­. -perenee or sellingrequired. Photomarketingfinnexpanding in yourarea. Managementpositions open.Write: UPP Box 60-8~ Covina. CA 91793NEW!! ~E~:!~S~A! ~h~o~!. £~ UIS1~S~R~~~~I~16525.245 TONS PANAMA REGISTRY.'~' .,~,~~.~~ -4 SUMPTUOUS MEALS DAILY· FULL"'CASINO: -: ·SLOTS, ROULffiE, BLACKJACK, CRAPS. ETC._ , ' _ -ALL DECK SP{)RTS - SALT WATER POOL~ ~ -2 CABARET SHOWS NIGHTLY.'~I. ,~\~-LIBRARY - 2 ORCHESTRAS & DISCO. -DAILY MOVIES - DUTY FREE SHOP"""',.-'"• CARD ROOM - GYMNASIUM - SAUNAcp.\..\.VISTA TRAVEL SERVICE INC.3 , 0 G"'EENWICM ST.,NEW YORI(. NEW YOAK 10013(212) 285-1431GROUP RATESAVAILABLE FOR:• FUND RAISING -• SOCIAL & FRATERNAL• BUSINESS• EMPlOYEE GROUPS..... -~ : ' .. ~,-~~ -~.~""-, ..~~COvernight Cruise $85)1202 Night Fantasy Cruise $165. 1365 ­3 Night Fantasy Cruise $195. 1 4954 Night Nova Scotia $260. 16954 Night Bermuda 1380. 1 6955 Night Bermuda 1495. 1 795EARLY BIRD SPECIAL2 NIGHT NOWHERE BERMUDA$99 $199May 14, 21,31 May 16, 23, Sept. 6·2nd. 3rd Person in Cabin Bocked by3/15/132 NI-GHT NOWHERE BERMUDA~99 $299May 16, Sept. 6May 14, 21,31June 6. 13. 20• 2nd. ';led Person in Cabin Booked lIT JJ:ul/aJ- - .__.-------- ._---

May 10, '1983 The Ticker Pqell ..I Gave at the OfficeBy Eva Baranowski.Innovation, infiltration and industrializationare words characteristic of corporatetransition. An IBM Selectric istransformed into a Wang word processor.-Another office worker becomes obsolete.Depreciation is not the cause; automation isthe reason. Such are the concerns con­,sidered in The Department, a new play-atthe Theater for the New City, 162 Second.Avenue.This comedy by"Barbara Garson is sponsoredby Women Office Workers (WOW),an organization attentive to the workingconditions of female. office personnel.Automation is the latest plan consideredby the bank in which the Department ischosen to be the test case. It is here that weenter the typical world of oface workers.As usual, the Department is dominated bywomen since according to personnel, "menwill not work for $138 per week.','...Thesewomen gripe about their duties to manage­-ment, but never seem to finda good enoughreason to put a stop to this conduct. Theyare socially aware of their situation, butpolitically immature.Their work is accomplished with relativeefficiency, but the call for higher levels ofoutput spurs Michael, a heartless junior executive(played by Scott Wakefield with theright amount of corporate ascendency enthusiasm)to infiltrate the Department.You see, it is his plan to design a new programwhich will out-innovate the one producedby the consulting firm hired by thebank. So, instead of "cha-cha-chaing" tothe Caribbean, he pounces on the Departmentin drag and leopard skin.As Michael/Michelle spies on the Department'swork performance, these womenmistakenly surmise that one of their own isthe s~ in question. The interrogateJessica (Jessica Bloom), a strated unionorganizer who has been sent. 0 the Depart-rRotter...."By Bill ~U~y\George Bernard Shaw ~ said, "contemporarydrama is bland, commercial andtimid." It is sad to note that in over sixdecades, nothing has really changed. Ifonelooks on the boards today, there is oneword that immediately comes to mind:FLUFF. Most of our current offerrings areexceedingly weak. Even worse, they don'ttry to have a bite to them. Much of theblame can be placed at the producer's feet,who fears that a truly potent pice of theatrewill keep the blue hair, as well as Mr. AndMrs. Suburbia, away fr-om the box office.There are a few decent shows aroundhowever, which manage to cover an arrayof topics very well. Agnes of God, for example,touches upon religion and pits faithagainst reason, bringing both ideologiesunder the operating lamp for close examination.Amadeus also touches,although lightly, upon religion, and the irresistablepower of hatred. There are alsofar too many clinkers, Foxfire, Whodunnit,Steaming, n, and Twice Around ThePark, just to name a few. The dramatistsguild reports that some 3000 plays arepublished every year; surely there must. be 5or 6 within that group, more potent thanthe present offerings.The situations with"our musicals are evenworse. Few and far between are those pieceswhich manage to both entertain and stillhave some meat to them. A few old "standbysare still around. Evita can still be intellectuallystimulating; and informative.Michael Bennett's A Chorus Line, whichjust might run forever, has lost some of itspolish, but still triumphs over anything elseplaying on the rialto.Take a good look at the musicals of lastseason and this one. and chances are, youwill burst into laughter or tears. Marlowe~The Little Prince, Is There Life After HighSchool, A Doll's Life~ Rock and Roll: TheFirst SOOO Years, and Alice in Wonderlandare hardly worth mentioning. At least,Their flaws became universally -known andeach was a financial flop. But look at theothers, the so-called hits:Dream Girls - sorry, Bennett, youmissed on this one. This "histroicalaccount of the Supremes" is stagedwell and there are good performances,but the score. is simplistic and redundant.The music sounds like sornementfor distributing WOW leaflets whilesinging Christmas carols in a Santa Clausoutfit. This all leads one to ask what will bethe cost to women for recognition in thework force.The Second Industrial Revolution hastaken its toll on the rest of these women aswell. They find themselves in the Departmentdue to re-distribution, replacement bya machine or questionable demotion. Theyrepresent 'a humanity that is rapidly dissolvingfrom the American corporate scene.Each of them has the chance to be chosenMs. Median, a title reserved for the"average" office person who's reward is tobecome the first employee to try out a newand improved machine. Michael/Michelleis selected and willingly subjects herself tothe health hazards of the apparatus. (Shebelieves that this demonstration willauthenticate his efficiency findings) Withgoggles in place, she is at the mercy of alluncontrollable efficiency giant. _Autornaisdefinitely dangerous for one's health.Through the manipulations of Vi, (ViTorbett), one of the women workers and anexpert in the area of extramarital managementrelations, the bank merges and leavesthe Department automation-free. Automationmay be unstoppable, but the "humanfactor" has temporarily pulled its plug.Most of the clerical roles are performedby members of WOW. Thei-r inexperience isevident, but it does not lessen the intent ofthe play. Instead, it adds credibility to theirlines.--L The "positions over people" theme isconvincingly and comically presented, butperhaps not with the right amount of el'liphasis. The underlying tone ofthe play suggeststhat women will have a tough time inthis changing corporate world, if, evenbefore they have a chance for advancement,they've already been replaced by a machine.The Department runs through5//5Tickets are free. 254-1109.On The RialtoCats: escaped the critics' claws,.By. Erin Blackwell-- - ---/Will: woohll by wit, not wilesAll's Not WellThe Trevor Nunn version of All's WellThat Ends Wefl should be no one's introductionto Shakespeare. Newcomers tothe Bard will come away from thebeauteous Martin Beck Theater thinkingold Will a heavy-handed fantasist; born towrite silent melodramas, but cursed with aself-conscious, overly wordy prose stylelearned from the unread back pages ofdiscouragingly long Russian novels literallytranslated. No one would ever guess fromthis production that Shakespeare islanguage. That's how wrong what's goingon up on that stage is.This romance of alienation about awoman who woos a man by wit, not wiles,and wins him against his will, is a fairy talefor the ' 80s. Someone at the, Royal' -Shakespeare Company apparently sensed.this, butN'unn's every directorial choicemoves away from implicit sexual and socialrelevance. This complicated fantasy, splendidlyvulgar and doggedly allergic to sentiment,is the antithesis of still-lingering Victorianmores. Inexplicably, Nunn sets All'sWell at the turn of the century, effectivelytranslating Masterpiece Theatre onto thestage-immaculate production values,linear dynamic, crisp, smug regression tothe glory days of the Empire intact.The actors behave as jf they were playingChekhov, which effectively denudes the" piece of all bite and self-mockery, becausethe English like to play Chekhov as an argumentfor keeping the monarchy. Theyspeak their speeches like impediments toplot or overwritten subtext, embalming theverse with unmotivated, enervating pausesbefore, and spitfire delivery without a nodto sense during. They act like they'reashamed an Englishman had ever been apoet.thing from WBLS, or- wKTU, and thelyrics are even worse, borderingon illiteracy. Bennett tries to compensateby giving us beautiful costumesand miking up the stage, butthe end result -is that the theatregoerwalks out, not only bored, but deaf.Woman Of The Year - the only thingworse than the easily forgettable bookand score was the so-called star herself.Lauren Bacall, that time-ravagedsauroid, cannot sing, dance or act on themusical comedy stage. I suggest she stickto coffee commercials.Joseph And The Amazing TechnicolorDreamcoat - a title like this should tipyou off from the start. This is te gar- .bage. The whole entire production is sooverrated, sophomoric, and patheticallystupid, one would almost like to jumpup on stage and redirect these people.(That's if they were directed a first time,I have my doubts.) Right now the showstars David' Cassidy. And don't kidyourself, this boy, withalittle work, willsomeday share that same' type of respectin the acting world as Sylvester Stallone.Our strident heroine Helena, writtenwithout an ounce of fey in her is played byHarriet Walker as a young Tammy Grimessucking butterscotch candy-husky, sticky,yucky. Winsome and witless, -Walkerregisters neither intelligence nor sensuality".A girl guide with adenoids.Phillip Franks as Bertram, the -feckless,highborn hunk she sets her cap on, has apparentlybeen encouraged in the belief thatblondeness and v~or are all. Strictly BBC­TV quirky young reading man.\) Margaret Tyzack deserves mention forthe thorough lack of conviction or even interestwith which she impersonates Bertram'smother. She has several times thetask of expressing profound love for the'young couple, and uniformly declaims itlike an order for the milkman. Maybe she'stoo bus)' playing stature and indicating ennui.. .Stephen Moore provides welcomespirited comic relief as Parolles, a bit ofFalstaff to Bertram's Henry. A genuinelyelegant fool, his clowning never manages totranscend entertainment to revelation. Hedistracts us from the less likable BertramIbut he fails to illumine the younger man ashis victim. -Any criticisms of the actors is like theirperformances: drowned out, overshadowedby, and lost in the general wrongheadednessof John Gunter's piteouslyliteral settings. Like a bad hybrid of HaroldPrince and Franco ZeffereIli, a cinematicrealism distends the playing space, stealsfocus, and attenuates whatever tensionhappens to build between principals. This isa production for people who like beingtricked into seeing and feeling theirShakespeare; instead of hearing and sensinghim. .Martin Beck Theater, 45th and Broadway., .,Merlin - the magic is fantastic; now ifonly Henning could make the wholeshow disappear. The book really isn'tabout Merlin at all, but rather a secondratemagician and his fight against a car­-toon character of a queen. Bring thekids, they'll have to explain to youwhat's going on.My One and Only - Gershwin Tunes,polished dancing, even more polishedperformers, but the backbone to anyshow is still it's book" and" that sorelylacks here. One not only doesn't care ifTwiggy will accept Tune, but can'tblame her for not doing so.Dance a Little Ooser - Too bad, sceneryalone can't carry a show. This musicalversion of Idiots Delight has one minorflaw. It's all idiot and very little delight.Insulting and cutting? Perhaps, but I feelI'm justified. This Is my last critique forThe Ticker and I would have loved to writtennothing but raves. I really would haveliked to have written a piece. that describednothing but a great intellectual, upliftingsurge in quality in our theatre, but that justisn't the case. .. ..: ..,.-... ..•-

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