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South Blvd. &-Auburn Rd. 0 0 (Across from Auburn Pontiac) 0 .0 ii Auburn Hills 3 2-774 fable. There are many inter- pretations." Teibele contains "so many messages," says Ms. Urosev, "so many truths and lies. It's like a maze — like wearing many masks. It's like live poetry." Treibele and Her Demon will run through Feb. 17. For ticket information, _call the Attic Theater, 875-8284. ❑ Teibele Works, But Has Some Flaws Clarion Restaurant & Lounge Erotic Demons Continued from preceding page 0. 0.. ric M. Johnson's set for the Attic Theatre's pro- duction of Teibele and Her Demon may remind you of a psychedelic record album cover from the 1960s. The backdrop and several side flats are deep shades of blue, from turquoise to indigo, decorated with various occult symbols. Among these are a bright red, upside-down, female devil and what ap- pears to be a Chasidic Jew in a yellow rocket ship. - Apart from a well at one side and a small platform with a bed and table at center stage, this doesn't seem to be the 19th century Polish shtetl of the play by Isaac Bashevis Singer and Eve Friedman. Director Blair Vaughn Anderson and his designer clearly wish to emphasize the nightmarish, mystical quali- ty of Mr. Singer's fable about a beautiful abandoned wife who is tricked into having sex with a nebbishy neighbor. What we miss, though, is the dreariness of Frampol, the town which Teibele calls "a desert." It's one of several choices that undermine this well-intentioned production. The lonely Teibele is op- pressed by the drabness of her life. Her only pleasure is to study demonology — a sort of 19th century forerunner of National Enquirer stories. But Alchonon, a scholar of the occult, has secretly desired her for years. One night he hears her talking to her friend Genendel about demons; later he enters her house disguised as Hurmizah, a demon, and ravishes her. Mirjana Urosev brings out Teibele's sexuality and stub- bornness, the one drawing her into an obsessive relation- ship with the demon, the other preventing her from seeing Alchonon's merits. She also finds the comedy in Edward Karam is a freelance critic in Ann Arbor. Teibele, who is aroused as much by Hurmizah's stories of lust on the dark side as by his bedroom manner. "They betray you?" she kvetches about her demon's wives. "Why do you stay with them?" As the hapless Alchonon, Wayne David Parker shows the character's bottled-up in- tensity and pain. Early on, listening to his friend, the peddler Menasha, talk about women he's seduced, Mr. Parker's whole body seems to be tensed with secret, unre- quited love. When Teibele tells Hurmizah what a schlemiel Alchonon is, Mr. Parker captures the humor of the situation as well as Alchonon's anger and pain. Mysticsm battles reality in this Attic production. According to Jewish law, Teibele can't remarry unless her husband divorces her or is proven dead. Eventually Alchonon wants her love as well as her body, so Hurmizah tells Teibele that she must marry Alchonon: it is ordained. The story becomes Faustian as both Teibele and Alchonon surrender their souls to satisfy their lust. Unfortunately, we never get a sense of that hell-bent lust. Mr. Parker and Ms. Urosev moan a good deal under Ken- dall Smith's superb, at- mospheric lighting, but the production is strangely chaste. Mr. Parker never even takes off his shirt. The script is a strange mix of tragedy, comedy and lyrical language, but director Ander- son has his surest grip on the comedy. He's devised acroba- tics for Alchonon/Hurmizah, who leaps and somersaults around Teibele's bedroom. It's right for Alchonon initially, but it soon feels. like routine slapstick. A scene in which Teibele has arranged a threesome with Menasha and her friend