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Western Carolinian Volume 37 Number 07

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  • Editorial Comment THE WESTERN CAROLINIAN This newspaper is the Voice of the Students of Western Carolina University. Editorials are from the Editor's desk unless otherwise indicated by the author's initials. Editorial and advertising policy are decided upon by the Editorial Board and comments or criticisms should be made to the newspaper. Opinions expressed by the columnists do not necessarily reflect those of the newspaper. •— ■ — Page 4 VOL. XXXVII, No. 7 Thursday, September 30, 1971 The chronic com plainer FP^mwnY WAKING bjf Phi' *■* The chronic complainer is having a feast these days, It is very simple to distinguish the chronic complainer from the legitimate critic. The chronic complainer chooses those things to complain about that little logical thought would see no reasoning in. For example, the chronic complainer is now complaining about the U,C.B. activities card because it is something extra, or "something we weren't consulted about," Without the card some students could be paying as much as twice what the card costs to see movies on cam" pus. They could be paying even more if they see more movies, or if they go to any away games on the buses or to any dances or to any Center Board function. Quality in restructuring The General Assembly convenes in special session on October 26 to debate the reorganization of state-supported higher education. Such restructuring can only mean one thing for Western Carolina—the furthering of quality education. The biggest point in favor of restructuring and the elimination of the Consolidated University is that with that elimination and with the establishment of a single state board over local boards, dual expenditures will also be eliminated for the most part. This means that if there are two similar programs of study at two universities in the same general area one will be halted and the other expanded. Schools will then be able to expand some promising programs and stop others that are unrelated to the region or not practical because of the small number of majors in the program. A second point in favor of restructuring is that Western Carolina will be on a more equal basis with other schools as far as budget appropriations are concerned. The larger of the state funds, then wont be channeled into the Consolidated University when more money is needed at other schools. But the back-up complaint is that there shouldn't have been a raise in prices of movies (which was made, by the way, before the price-freeze went into effect). Last year the cry was for better movies on cam« pus, from this paper, from some Student Government officials, and chronic complainers. Now the movies have improved better than one-hundred percent( both in quality and in times being shown, and the complaint is that there is something extra to buy, or a quarter more to pay. The activities card is optional. Going to movies, for that matter, is optional. There may be some legitimacy to the complaint about having to purchase an LD. card annually for the price of a buck. There is also a legitimate reason for having to do this, too. The LD. system in the past was shadowy, especially with the continued rise in the number of students. It was easy to keep an I.D. past graduation, or after a student dropped out of school. Or it was easy to have a duplicate made. Now of course, students keep their I.D.'s, but the catch is that they are only good for one year. Students that PAY then to go to athletic events won't be short-changed by students that get in on old cards. But then, this is the stuff chronic complainers thrive on. 'Nothing in a name?9 An alligator has been spotted, interviewed and photographed on a tract of land recently bought by the university. How said alligator came to arrive in the small pond is yet unknown. Where he will venture from there, likewise, is unknown. But for the time being he seems to be happy. We all hope he stays that way. There is one interesting aspect about the story, though, that heretofore has gone un- mentioned. We wonder if maybe fate or some other transcending force played a part in what reporter first seized the rumor and developed it into a story. He was JUNGLE Jim Bowel* DAY£ UIH6M you IMQ^NT A^OIVO) TO rVAWS Wouuc, 4/viaeKA cozp/ tioH asksv N>/Sr. low! w./te&i DRAMA BY DANDIETZ I The more one analyzes people the more all reasons for analysis disappear. Sooner or later one comes to that dreadful universal thing called human nature. Oscar WUde The American Musical theatre has always been something of an anomaly because one judges musicals with obviously lower critical and entertainment standards than dramas; but even so it is difficult to defend a medium which at most has given us some light, pop= ular songs and occasional colorful per~ formers. German musical theatre (at least when Brecht and Weill wrote for it) achieved a definite style of satirical jazz opera in such productions as THE THREEPENNY OPERA and THE RISE AND FALL OF THE CITY OF MAHO- GONNY. But American musicals? Who could possibly take seriously a CAROUSEL or a CAMELOT? Their scores may hold up and one might occasionally play an LP of their music, but to sit through their actual stage performances borders on the masochistic since their immature plots compete with TV soap opera in banality and pretentiousness. But two recent musicals, COMPANY (April 1970) and FOLLIES (April 1971), have surely revolutionized the concept of the musical form and henceforth future works of the genre must be evaluated by the vision of these two productions. It is no coincidence that both works boast the same director-producer (Har- old Prince) and composer-lyricist (Stephen Sondheim) because Prince and Sondheim have always been in the vanguard of musical theatre. Together or separately they have been involved in the original productions of WEST SIDE STORY, FIDDLER ON THE ROOF, and CABARET, and even though these particular musicals did not always fully realize their ambitious goals, they were nonetheless innovative and daring for their time. And now, with COMPANY and FOLLIES, Prince and Sondheim have created what surely must be two of the most venturesome and complex musicals ever seen on the New York stage. Pve seen them three times apiece and they are unquestionably the most brilliant I've ever encountered. They are distinguished by their Chek- hovian quality; that is, there is no plot to speak of, almost nothing "happens." Prince's thesis (and of course a valid one) is that musicals cannot possible approximate in plot and characterization what dramas can, and so why even try? At least half of a musical's running time consists of songs and dances and since any attempt to achieve a con= ventional plot results more often than not in a weak, weighted, plodding libretto at the mercy of the music, the elimination of the plot and character to their barest outlines is a necessary step. Instead, concentrate upon the development of a mood, a feeling, an emotion. All of Prince's and Sondheim's previous work has been aiming toward this eventual elimination of conventional plot action, but only with COMPANY and FOLLIES has this elimination been handled with success. So COMPANY, for example, is a set of variations on the theme of lone= liness~and in particular the peculiar kind of loneliness which is indigenous to American big city life, And since New York is our most obvious example of almost unlivable, inhuman urbanization, Manhattan becomes a meta= phor for loneliness. In fact, COMPANY'S thesis song, "Another Hundred People," depicts New Yorkers who "find each other in the crowded streets and the guarded parks/. , .they walk together past the postered walks with the crude remarks/.. .they meet at parties through the friends of friends whonever know/... It's a city of strangers." The "plot" centers around a bachelor, his five married couple friends, and his three sometime girlfriends. These characters comprise the entire cast and in vignettes they are focused upon in varying degrees to reveal the uptempoed, crowded kind of loneliness which is the essence of the large city. The dialogue and the musical nunw bers deal exclusively with this theme: loneliness in marriage, in engagements, in dating, in bachelorhood, the loneliness, in fact, of merely "being alive" (the title of the production's climactic song). The characters have come to CONTINUED Page 5... •
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