ARTS The Michigan Daily Monday, December 7, 1987 Page 7 'Skin' show: Classic performance By Jennifer Kohn The University Players' production of The Skin of Our Teeth, which was performed last weekend, was an aesthetically and dramatically fascinating production. The play was written in 1942 by Pulitzer prize winning playwright Thornton Wilder. In its time the play received much acclaim; as time has passed its place in contemporary American theatre has waned, but its quality has not. 45 years after this play's original production, the distance of time has not significantly changed meaning to be divined from the drama. Skin of Our Teeth begins as a newsreel, a common sight to the 1942 theatre-goer. The au- dience is introduced to the Antrobus family, resi- dents of suburban New Jersey caught in a time warp somewhere between the glaciers and the A&P. Time passes somewhat eventfully, action dives quickly from adultery to apocalypse. It was not the action of this play itself but the dialogues that are most affecting to the audience. This is in part a result of Wilder's impeccable use of language, and in part because of his pro- gressive use of the players' interaction with the audience. The play started off with a conflict between intellect and the existence of the individual. It declined to one less logical in progression: an anti-World War II, pro-Christmas season mes- sage, which is incongruous with the earlier themes presented in the play. The intellectuality of theme in the first and second acts was com- fortable for the 1980s audience. The social re- gression of the third act was confusing and dissatisfying to the viewer. This consistency was the only flaw in an otherwise captivating drama. This particular production was characterized by a fascinating holistic use of the stage. The Power Center provides a multidimensional stage, unlike other theatres on campus. For this reason the play moved into the aisles and created a diverse effect of time and motion. The four major set changes were interestingly and precisely accom- plished. Set design was excellently implemented by John Esposito. Actors have the capacity to fall out of charac- ter and by the end of the play many of the leads had acquired two stage identities: one of their character and one of the alleged actor who is playing their character. While this technique was enigmatic even on stage in the 1980's one can't help but imagine how realistic it might have seemed in 1942, when the 'off-stage-actor-identi- ties' might have seemed current. Particularly notable performances in this pro- duction of Skin of Our Teeth included the char- acters of Henry and Mrs. Antrobus. Henry Antrobus is the Cane-incarnate son of the trou- bled family. Thomas Pasley portrayed the proto- typical sociopath with a certain confused grace that aided to reality of the performance. Mrs. Antrobus, who's first name was either Eve or Maggie (i.e. Mary Magdalene), was comfortably played by Sharon Rosin. The role was one of the quintessential matriarch, and might easily have been satirized by a less careful actress. The most consistent character in the produc- tion was Sabina, played by Elizabeth Richmond. This character was difficult to conceive because she alternated between a floozy house maid, a fairly insightful young New York actress, and a beauty contest winner. Richmond established a comfortable rapport with the audience, as was the playwright's intention. The quality of this performance was subtly guided by the masterful direction of Phil Kerr. Particularly, as the play began the stage action was orchestrated to incorporate the diverse themes and characters. Perhaps as a result of his casting and direction the actors effectively represented the conflicts and themes of the play. Of particular interest in this production is that it marked the final show with costumes designed by Zelma Weisfeld. Professor Weisfeld has been designing costumes at the University for 27 years, spanning over120 University productions. This particular production was characterized by consistency and quality in set design maintained by her superior costumes, the most endearing of which were the dinasaur and wooly mammoth costumes for their respective characters. This Power Series production of Thornton Wilder's The Skin of Our Teeth was a perceptive and exciting presentation of a modern semi-clas- sic in the American theatre. Christopher Murray (left) as Mr. Antrobus, the inventor of the wheel, gunpowder, the alphabet, and beer, explains to his son, Henry (Thomas Pasley), his vision of the future in the University Players' production of 'The Skin of Our Teeth.' CILASSJFIED ADS 764-0557 HELP WANTED FEDERAL MOGUL Explore rewarding opportunities in: .SALES . 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