The Michigan Daily - Friday, March 7, 1986 -Page 9
Prizzi' Books
Baby: Playtime
v -
(Continued from Page 8)
stuck to their own kind," he said in an
interview. "The Irish and Eye-
talians, that's what we called them,
never, never mixed ... and so I had
nothing to draw on." With the help of
actress Julie Bovasso and hours of
listening to records, Hickey began to
get the hang of it. "First I heard the
music of the language. Once I could
hear the part, I thought, 'now I can get
away with it.'
The Oscar nomination is a first for
Hickey who, despite 45 years on
Broadway in such plays as "On the
Town" and "Tovarich," and in
movies ("A Hatful of Rain,"
"Operation Madball"), never
received the public recognition other
character actors earned.
Yet Hickey is well-known among his
peers. On the first day of shooting
Prizzi, Hickey wanted to introduce
himself to Jack Nicholson who played
rCharley Partanna, a hitman.
& They became instant friends on the
.reset, which may be part of the reason
why Prizzi, a dark comedy about a
pair of his-and-her mob assassins,
was such a success.
Before shooting a scene in which the
don tells Charley he is going to make
him head of the clan, Hickey said
Nicholson leaned over and whispered,
"What should we do?"
"I dunno," Hickey replied.
"You're the . . . acting teacher,"
Nicholson ribbed. (For the past 35
years, Hickey has taught at the H-B
Acting Studio in Greenwich Village.
Nicholson was one of his students).
"Yeah, well you're the.. . movie
star," said Hickey. "If we screw up,
they'll (the audience) notice you, not
me."
The fact that he isn't a recognized
celebrity doesn't faze Hickey, who
remains a professional in every
situation. In the movie, Flanigan,
with Geraldine Paige, Hickey played
"an Irish drunk lying in the gutter."
During one filming session it star-
ted to rain when his scene began and
the director considered canceling the
day's shoot. Hickey, covered between
takes in cellophane to keep him dry,
knew the film was on a tight budget
and insisted they continue.
"I just can't see you lying in the rain
-,,dike that," the director said.
;"You're in the rain," Hickey told
im. "I'm in the movies." Yet Hickey
voluntarily put his movie career on
hold for, some 16 years because he
refused to leave his mother, Nora, and
move to Califronia. He lived with her
in a cramped apartment, sleeping on
her bedroom floor "like a dog," until
she died in 1976 at age 84.
Though it cost him a television
series and countless film roles at the
peak of his career in the early 1960s,
Pickey said it was a decision he has
ever regretted.
These days Hickey lives in a
Greenwich Village co-op with his
faithful four-pawed companion,
Bucky. The actor rescued him from
an animal shelter hours before he was
scheduled to be put to death.
"And now I know why," Hickey
said. "He's the worst thing God ever
put paws on." Bucky, it seems, likes
to bite. "He nips, really," said
Hickey. "He doesn't really draw
*lood - maybe once in a while by ac-
cident."
Hickey brings the 80-pound, shaggy-
haired Heinz 57 hound to classes,
movie sets and once even got him a
job. But the would-be, canine star got
fired because he wouldn't let Hickey
speak sharply to his co-star. "He
kept jumping up, licking my face."
Bucky is the reason you'll not likely
spot William Hickey at the Dorothy
Chandler Pavillion in Los Angeles on
*Oscar night. "If Bucky can't go," the
actor said, "neither can 1."
To End the Arms Race:
Seeking a Safer Future
By: David Rittenhouse Inglis
266 pp.
Unviersity of Michigan Press
David Inglis, who participated in
the original development of the
atomic bomb at Los Alamos, has since
worked as a champion of nuclear ar-
ms reduction and control. To End the
Arms Race is a compilation of articles
he has written over the years on why
and how to end the arms race.
Each section of articles is precluded
by a contemporary comment by
Inglis. He points out errors of assum-
ption he made at the time the articles
were written and relays current
diplomatic changes relative to each.
The book begins helpfully with a brief
autobiography, facilitating the
reader's understanding of how Inglis
arrived at Los Alamos and his current
viewpoint on nuclear arms. To begin,
he justifies his early work on the
bomb: "With faith in the workings of
democracy I could thus see the
project as a worthy cause, not only for
the immediate objective of preventing
Hitler from having the bomb first
during the war but also for the long-
term good of the world." The next
forty years reads as a psuedo-apology
for that decision.
Helpfully organizing the published
articles by category rather than year,
Inglis makes it possible for the reader
to grasp the mood of each decade,
both that of the public and each ad-
ministratior.. Each chapter, from a
different angle, inevitably presses his
point: If the American public and its
civilian authorities joined together,
they could suffocate nuclear arms and
the race. Inglis believes: " . . . we
still haven't really tried. We have at
no point given arms control the
priority it deserves over continued
nuclear arms production in a quest for
improved long-term national security
and indeed for the prospect of human
survival." If we only gave arms
precedence over all else, the human
race could continue. Such a conten-
tion seems naive for such a learned
man. With similar statements, he
leaves the reader confused at times.
His research is thorough and en-
joyably written. Personal insight ac-
companies all evidence he provides.
One particularly appreciated his
covering the diplomatic advances (or
setbacks) with regards to nuclear
arms. He slams the current ad-
ministration for being less concerned
for humanity than previous ad-
ministrations. Furthermore, he in-
sists: "The alternative to nuclear
war, then, involves verification - and
verification will be denied us by
massive deployment of modern cruise
missles . . . It is we (not the Soviets)
who need verifiability." Although one
cannot agree with this contention, he
argues his point vehemently.
Inglis' book leaves one informed on
how we got to where we are but also
leaves one with a gnawing sense that
the situation afterall, is truly
hopeless. He is a Don Quixote in an
age of Buck Rogers. He concludes
that all the fears and threats "should
become manageable if the two sides
(Soviet and U.S.) could view and treat
each other without exaggerated fears
of evil intent." That would be but it
seems highly unlikely. So it continues
- even after Professor Inglis' book
we are left still seeking a safer future.
-by Gloria Sanak
The Night Child
Celeste de Blasis
225 pp.
$3.50
Bantam Books
Celeste DeBlasis, popular romance
novelist, attempts a mysterious twist
to her writing in The Night Child. Un-
fortunately, the mystery-romance
doesn't succeed in either category.
The book's major flaw is its predic-
tability. Not only does the reader
know how the book will end, but he
can even guess what is going to hap-
pen in the next chapter. Predic-
tability might be expected in romance
novels, but should definitely not ap-
pear in a mystery. When one knows in
Chapter Two who committed the
crime, the rest of the book just isn't
too exciting.
Even more disappointing is the fact
that it doesn't compare with DeBlasis'
other romance novels such as The
Proud Breed and Wild Swan. There is
no torrid romance, exotic locales, or
swaggering heroes. There is,
however, a fiesty heroine.
Brandy Claybourne arrives in un-
civilized Maine shortly after the Civil
War as governess for five-year-old
Missy King. Daughter of shipping
magnate Grey King, Missy has not
spoken one word since her mother
died two years before in a mysterious
stable fire. Because she is a deter-
mined, caring woman, Brandy
decides she can help Missy overcome
her disability by discovering what has
frightened her into complete silence.
While helping Missy, Brandy learns of
the mysterious circumstances
surrounding Mrs. King's death.
Grey King is the lonely mourner
whose desperation over his
daughter's condition convinces him to
enlist Brandy's aid in her recovery.
Brandy soon falls in love with his
brooding, gloomy good looks and
strong personality. But all Grey
seems only to care about his
daughter's welfare. He is certainly no
average hero (if one exists). He
exhibits no rippling muscles, athletic
feats or sexual finesse. However, he
does have a lot of money.
Brandy Claybourne is the star in
this script, and she plays her part
well. Her character is a little too per-
fect, but what heroine isn't? It is her
sparkle and determination that keep
the reader interested.
The Night Child is a fast read that
doesn't require much brainwork. The
mystery is a bit more interesting than
the romance aspect, but, in the end,
both are equally predictable.
-- by Lisa Berkowitz
WEEKEND
MAGAZINE
Fridays in The Daily
763-0379
By Kathleen Haviland
MUSKET, the people who brought
Evita to campus last fall, are presen-
ting a new production this weekend.
Baby, a pop musical which premiered.
on Broadway in 1983, is a story
focusing on pregnancy and people's
reactions to it. The musical shows us
three very different couples and their
very different reactions to the
situation. One is a pair of unmarried
college students who don't feel
mature enough to be parents.
Another couple are in their thirties
and are trying desperately to become
parents. Their inability to conceive
causes each of them to question their
femininity and masculinity. The third
couple have already had a child and
consequently ended up being parents
rather than friends and lovers to each
other. They question is whether they
want to return to their pre-child
relationship.
"I think a lot of people can get
something from the play," Director
Gary Garrison said. "It's not a
typical musical with a lot of gushy
numbers. It actually has - I hate to
use this word, but yes - a message.
It's about what to do when you're
pregnant and didn't plan to be. It's
relevant to people at any age."
"I hope a lot of people come, for
themselves as well as the cast,"
Garrison continued. "This group of
people have worked twice as hard as
normal, mainly because of spring
break."
Baby received several Tony
nominations during its Broadway run,
including Best Musical and Best
Book. It is being produced by
MUSKET, a student-run organization
which provides an opportunity for
students in non-theatrical schools to
have an outlet for their theatrical
talent. The cast will run the gamut
from voice majors to B-school studen-
ts to LS&A students.
"Musket has a lot to offer," said Co-
Producer Marc Siegel, and LSA
junior. "It's a good chance for
students to perform. There's not
enough productions open to all studen-
ts and there are a lot of talented
people outside of the theatre school."
Baby is Siegels' and co-producer
Jameel Kaha's third Musket produc-
tion. They also co-produced Evita and
were publicity directors of Pippin last
winter.
Baby will be at the Power Center on
March 6, 7, and 8 with all performan-
ces at 8:00 p.m. Tickets are $5.50 and
$6.50 for Friday and Saturday
evenings and are available at the
Union box office and all other Ticket
World Outlets.
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