AUGUST 1976

from too heavy a production. Continuously, one is bombarded with what seems like 4 or 5 channels of sound. The abrasive primitivity of the V.U. is lost; but then it's 1976. It's been a decade and available studio techniques are far superior to what they were 10 years ago. Furey's deliberate exploitation of this technology may be an artistic statement in itself.

In any case, the album is generally successful. Furey's piano work is superb and theatre-story rock, the lofty ambition. One can only speculate whether Furey is gay: but his gender blurs are ever-present, and bisexuality is given. "Poetic Young Man" is blatantly gay, and "Top Ten Sexes" works well as a tongue-in-cheek survey of people's preferred

sexual positions, water sports and racks notwithstanding.

The pseudo-violent lyrics are all rooted in sexual symbolism. Trust is heard as often as lust. It is the selection "Legacy" which just may be Furey's "Rock and Roll Suicide," an anthem to both the satyrs and martyrs, the devils and angels which is perhaps what the Reed/Bowie/Smith/Furey contribution is all about, rock as street poetry, not decadence, but commentary on the reality of alleged "evils" as well as exposition of the traditional "goods." Furey will leave his mark: "We invoke the sacred and the profane...All is in your heart." "Legacy" Lewis Furey.

ELLIS' "MOUSETRAP" AT B-W

BEREA Anyone who likes nostaligic whodunits will enjoy Mousetrap presently playing at Baldwin-Wallace's Summer Theatre through August 22. The play, written by master plotcreator, Agatha Christie, is totally unpretentious, not claiming to deal with cosmic intellectualism; it is calculated to en'ertain and that it does.

The Mousetrap has taken its place in theatrical history. It has broken all records by being the longest running play ever and is still playing, entering its twenty-

fifth year at St. Martin's Theatre in London. Indeed, the play has become as much a tourist attraction as the Tower of London and the Changing of the Guard. The fact that the play is a product of an enlightened feminine genius is subtly apparent throughout the plot. One of the leading characters, Christopher Wren, skillfully portrayed by Mark Snider, is overtly gay, but not stereotyped. (Over the course of the play, he wistfully cruises the butch police officers.)

Directed by British professional, Brian Ellis who has an extensive theatre background, the production is captivating. It, however, suffers somewhat from slow transitions and oratorical rather than natural conversation. The make-up crew also could have been more enterprising. In his soup-bowl haircut and peachy countenance, David Reifel (Detective Trotter) looks fresh out of high school and barely a seasoned officer of the law.

Shortcomings

notwithstan-

ding, the play is crisp, sympathetic, and delightful.

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Page 21

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