AUGUST 1976

tion) Faith, hope and love Christian, no, human ideals. Philemon (we) is (are) finally willing to fight for the right to be able to love.

There exists only one fault 'with Philemon and it is relative neither to the direction nor the casting, but to the script itself. The reprise of the "Greatest of These" cheapens and trivializes the overall effect of the oppressed people's struggle. Throughout the production we are given meaningful themes, thought-provoking messages

and characters, each of whom signifies an important dimension of the whole human race. Re-emphasis of the "Christian" love by the whole cast makes

the production overly religious and self-righteous. The triumphant voice of liberation falls into the traps of cliche and indeed, becomes just another silly love song. Its presence prevents any transcendence of Christianity and plays into the hands of "typical Isn't this wonderful" musical finales.

Despite this criticism, Philemon is a knockout! If you see any theatre this summer, see Philemon. There isn't much time, though, for the play closes on August 22. If Playhouse Square had any foresight, they'd be busily arranging the presentation of Philemon on The City's downtown stage. It is as good, if not better, than Jacques Brel.

Jerry Saunders (seated) portrays a young Christian prisoner undergoing interrogation by Roman soldiers (L. to R.) Alan Mazur and Gary Jaketic.

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Barry Manilow: THIS ONE'S FOR YOU

Barry Manilow is high on the music charts, and his new album This One's For You (Arista AL4090) should again bring him to the crest. It is what we have come to expect from this pop superstar: a group of romantic, sometimes bittersweet, ballads, light rockers, several up tempo charts to make your feet move, and, of course, a nostalgic "boogie" number. This fits into the mold of the previous Manilow albums, but, surprisingly it is fresh and alive.

tire album is Charlie Calello's trite introduction to Daybreak. It sounds like the needle skipped onto a Sesame Street album. This is unfortuante because the song itself is lyrically one of my favorites, but more about that later.

Although Barry Manilow has never labeled himself a gay artist, much of his music carries a message with which gays can strongly identify. Song lyrics are poetry and therefore open to each listener's interpretation. Personally I view All The Time as a gay person looking back at the time before s/he came out. It powerfully expresses the thoughts that you must be crazy and that you must be the only one, contrasted with the joy of being yourself, finding other gays like yourself, and lamenextting that it all did not happen sooner.boot nost penoah wolle to

My one regret about this album, compared with his others, is that Barry has not resurrected another classic like Cloudburst or Avenue C for multiple track harmonizing with himself. Barry's own Jump Shout Boogie is very nostalgic but doesn't quite have the power or class of the others.

The only low point of the en-

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