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'Passed Over'
D
o not go gentle into that
Has Branyon
good night," advised Dylan been pressing too
Thomas in one of the most hard on the pedal
famous lines in 20th-cen- of surrealism, so
tury poetry. A similar spirit per- that the characters
meates Alexandra Branyon's become less real
two-character play which has just and too idealized?
opened at the Detroit Repertory More symbol than
Theatre. It is called Passed Over, flesh and blood?
and the title is ironic: In no way The other possibil-
will Branyon let her two women ity — and the
("old, but not old, old," says Miss more likely — is
Emma) get passed over in reck- that this produc-
oning out the last hours of their tion does not serve
mutual existence. Only one will the play well. Cer-
survive.
tainly, I have great
They rant, rave, rage and gen- reservation about
erally cause remembrance envy the headlong,
in the other. Ostensibly, the blind scenery-chewing
African-American Vanessa was performances.
the daughter of a domestic in the
As Miss Emma,
home of Ms. Emma, her live-in Barbara Busby
partner in Mrs. Robboda's home chews over each
for the aged.
line like a dog with
Or was she? As they spend this a bone and has an
last, crowded time together play- annoying habit of Sakunah Delaney (left) as Vanessa and Barbara Busby as
ing dominoes, stretching the breaking lines up Miss Emma in Passed Over.
truth, revealing traumas, noth- into little breathy phrases. This phasis which the director, J. Cen-
ing is quite, quite real. (Vanessa is a Julie Harris role is ever one ter, and the actors have collabo-
says to her counterpart, "You take was written, and though the char- rated upon: to substitute emoting
tangible things and turn them acter is, well, whiny, there are for emotion, mannerisms and ges-
into thin air.")
long, cool stretches where the lilt tures for movement and expres-
Branyon, like Miss
of spring rain is in her dia- siveness. How else to explain the
Emma, has a modest tal-
logue. Busby gives us way DeLaney's character enacts
ent for slight-of-hand —
THEATER
thunderstorms.
blindness but doesn't behave as
making the tangible
As the blind Vanessa, if she's sightless.
seem intangible, the real just a Sakunah DeLaney also rips into
The emotional truth suffers
bit suspect.
the dialogue. Everything from when artifice replaces acting re-
Playwrights who have suc- lunch to a memory of violence is ality; that happens too consis-
cessfully walked that tightrope, a maelstrom of emotion. This tently in this production. For the
such as Tennessee Williams, have character has a radiance, but the record, the nicely designed set is
known the value of poetic trick- light becomes psychedelic in per- by Robert. Katkowsky and apt
ery to bring the light of truth. formance, coarsened. Where are lighting is provided by Kenneth
Somehow, though, the truth our friends of drama: nuance, im- R. Hewitt Jr.
when it comes, seems flat. Oblig- plication, suggestion?
atory rather than exculpatory.
At issue, I believe, is an em-
—Michael H. Margolin
'Dusk To Dawn'
Rated R
arcade game. Subtlety is not their
brief explanation for the cup of tea. But if you'd like a cock-
popularity of Reservoir tail equal parts Evil Dead and
Dogs and Pulp Fiction di- Natural Born Killers with a twist
rector/writer Quentin of Near Dark, chances are you'll
Tarantino's films: He has prop- get off on the bloodthirsty inge-
erly reappropriated profanity and nuity of this duo's take on the
placed it in the mouths of low-lifes modern vampire film.
George Clooney ("ER") stars as
and hoodlums where it belongs.
This accounts for the principal Seth Gecko, the overprotective
reason teen-age boys admire brother of Richie (Quentin Taran-
tino), a psychopathic, homi-
Tarantino films so much.
cidal rapist who is
They are awed by the
MOVIES
incapable of controlling
vulgarity and behavior
his murderous insanity.
of the characters.
AS the film opens, mentally
So, fair warning: If you con-
sider yourself to be a person of re- challenged Richie has sprung
finement and good taste, Dusk to Seth from the clink and killed or
wounded a dozen police in the
Dawn is not for you.
Screenwriter Quentin Taran- process. While holed up in Ben-
tino has teamed with director ny's World of Liquor store, the
Robert. Rodriguez (El Mariachi) Geckos plan their escape and en-
to create a vampire film that con- counter Pete, the world's tough-
tains all the sensibility of a video- est party-store cleric. Before the
A
B.Y.O.B.
I it
(Bring your own bag.)
LLJ
(JD
LU
F-
LJJ
LLJ
When you go shopping remember to bring your own bag.
You can do more than you think. For more ideas on
reusing and reducing, call: I-800-9WILDLIFE
Reese stliff today
Rehm primp totionvw
H-
80
National
Audubon
Society --
brothers leave, there's a sense-
less catastrophic shoot-out. Even
after he becomes a human butane
torch soaked in alcohol, Pete con-
tinues to blast away at the Broth-
ers Psychomazov.
Richie and Seth then force a
family they have taken hostage
to hide them in their Winnebago
and smuggle them across the bor-
der. The father, Jacob Fuller
(Harvey Keitel), is a preacher in
the midst of a spiritual crisis.
Since his wife's death in a car ac-
cident, Jacob has lost his faith in
God. He has left his flock and tak-
en his teen-agers (Juliette Lewis
and Scott Liu) on a road trip.
They drive to the ungodliest
bar in all of Mexico. This is a bar
where the strippers are rippers
and the customers are on tap.
Strip joint barker Cheech Marin
unleashes the most vulgar pat-