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I don't have either the time or energy for too many one night stands. First, I live in the country. And I do try this may be a generational gap I do try not to bring although not all the time -but I do try to keep Brewster sort of separate.

If I have any optimism at all in my nature I'm not an optimist, I'm a pessimist it is that I think people care less and less; that more and more people say, "Well, so what. What else is new?"

...there are times when I feel. more naked than before.

...before people could say, "Well, Jesus, you know, I think he's a faggot." Now they can say, and very often do, "Well, the son of a bitch, he can't write anything, he's a faggot, you know. So why listen."

Go away with your bigotry.

In 287 A.D., a Roman Commander, Allan Mazur (left) persuades a simple street clown, Fran Soeder, to assume the role of a recently murdered Christian leader in order to uncover secret information from the prison undergrounds, in the "Cleveland Premier" of the new Tom Jones/Harvey Schmidt musical, PHILEMON which will begin a three week run on August 5th at 8:30 at Cain Park's Alma Theatre. FOR RESERVATIONS CALL 371-3000.

By JOHN NOSEK

audience.

un-

Surrounded by genital, exincremental, and sexual tercoursal talk, the first half of What makes Philemon a sucthe performance mildly alienates cessful production is the com-the Yet bination of all the right comsimultaneously establishes the ponents: intelligent script, sensynthesis of music with sitive direction, unpretentious dialogue. The numbers naturally musical arrangements and a flow from the script. Harvey Schcast which vibrates with realism. midt's 20th century jazz inWritten by Tom Jones and Harfluence dominates but a Greek vey Schmidt, co-authors of The flavor is successfully attained Fantasticks, Philemon is a con-through foreign effects like the temporary, if not classic, play. It Chinese Bell Tree. The spare orsports enough substance to sur-chestration (piano, RMI elecvive our immediate time, for it tronic piano and percussion), deals with eternal themes, the coordinated by Eric Stern, search for humanity and love, couples well with the growth, change and revolution. cluttered stage environment. Philemon is based on an actual event in 287 A.D. The Greek street clown, Cockian (played by director Fran Soeder in his first acting role in four years) is jailed for vagrancy by the Romans; but is told he will be released if he assumes the identity of Philemon, a Christian leader. The Romans hope -through Cockian to receive secret information on the leaders of the underground Christian movement. But in the end Cockian is executed when he assumes not only the identity, but the function and ideals of Philemon.

In the tradition of classical Greek theatre, there is rudimentary scenery and symbolic costuming. The feeling is very much of a stage within a stage.

The two principals of the evening's fare, Cockian and the Roman Commander (played by Allan Mazur), develop a homoemotional relationship which vividly represents the opposing values of Greek and Roman philosophies. For example, Cockian on the one hand, believes in a god who lives on a mountain and comes down to earth "to screw pretty young girls....and boys." The Commander, conversely, espouses a god of order and unity. The two genuinely like each other and perhaps symbolize the desire for

a

ballance and new manifestation. Intricate symbolism permeates every move on the stage. Characters Andos (Jerry Saunders) and Marsyas (Mary Ann

Piotrkowski) represent trust and naivety, comfort and security, respectively. Cockian wears a phony red phallus, symbolizing the Greek concern for fertility. Even the capes (designed by Mark Passerell) each represent an image of the Western World's past: Christianity, fascism, antiquity.

In what is an uncomfortable highlight of the first act, the inverted comedy of life is humorously portrayed in a scene where while on the road Cockian and cohort Kiki (Judy Brown) "castrate" a sausage symbolizing Rome. Kiki slices the sausage as the narration

tells of the Goths, Persians and Visigoths overpowering the Roman empire. Cockian, in the meantime, grimaces and groans as each slice takes its toll.

In the second act, Cockian begins to genuinely feel the gentler emotions the Christians wish to protect, and the compassionate love they strive for becomes a statement in emerges as a significant theme, Servillus (a Roman guard, played by Gary Jaketic) professes a painful truth to Cockian as he prepares him for execution: "I'll go along with whatever order is existing at the time. For me this is a job." Indeed, he represents the vast majority of all wo/mankind who slide into secure, but limiting cornfort of the existing status quo (closeted gays notwithstanding). The implication transcends history. All people are not martyrs. Surely, it would take a world of martyrs to make a universal revolution. This, perhaps, is not possible. Still, without martyrs there can be no change.

revolutionary itself. In what

The play's ultimate theme and highlight focus in "The Greatest of These, a beautifully executed song by the wife of a Susan Funk, who portrays the former underground Christian wife of a recently executed leader of leader. (Not enough superlatives the Christian underground in An-are at hand to praise Ms. Susan tloch 287 A.D., strengthens the faith Funk's heart-rendering, operatic of fellow prisoner, Fran Soeder. treatment of this musical selec-