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Spelman Spotlight
November 6, 1981
Th Art Previews & Reviews
“A Lesson From Aloes”
Performed At Academy Theatre
by Lisa Turner
Feature Editor
“A Lesson From Aloes,”
written by Athal Fugard, per
formed at the Academy Theatre,
stars an impressive cast of
actors, including Bill Nunn — a
1975 Morehouse graduate who
performed his first play in
Spelman’s Fine Arts Building.
Mr. Nunn portrays Steve
Daniels, arid is accompanied by
Tom Hammond, as Pit
Bezrudenhout, and Brenda
Bynum as his wife, Gladys. The
play is set in Port Elizabeth, South
Africa and due to the realistic
performances of the cast, the
stress and racial tensions of
South Africa are recaptured on
the stage for the audience to
experience.
This play is like riding on a
sleeper coach that just bumps
along in the night until ...BANG!
all of a sudden you are there.
The characters progress
onward, each building an in
dividual emotional platform.
Gladys builds her character as
the plays goes on as the unstable
wife who is on the verge of
another breakdown. She is, by
far, the star of the show. Her
emotional outbursts caused
many audience viewers to
become involved in her perfor
mance. Steve isthe brooding and
mistrusting political protest
leader who has just been releas
ed from prison. Piet, a friend of
Steve’s, is engrossed in the study
and classification of aloe plants,
which is the dominant symbol
throughout the play. Thesymbol
represents the South African
people, whose price of survival,
like the leaves of the aloe plant is
thorns and bitterness.
The high point of the play is
uncovered at the reunion of the
trio after Steve’s release from
prison. Steven, when prompted
by an emotional Gladys, is forced
to admit that he suspects Piet of
informing the police of his
political involvements.
The unique and effective set is
the work of Randall J. Bailey,
which allows for quick and
smooth transition from one
scene to another. The lights are
done by Keith Crofferd. This play
is exceptionally intellectual, and
wholly relevant to our people. A
lift in our socio / political con
sciousness is much needed, and
such a lift is what this play offers.
Performance dates continue
until November 21.
“Colored Girls”
Received Rave Reviews
by Kimberly Harding
One of the most dramatic
events of the year took place
October 12 - 17 at the John D.
Rockefeller, Jr. Fine Arts
Building. For Colored Girls Who
Have Considered Suicide When
The Rainbow Is Enough was
performed by the Morehouse -
Spelman Players with much
audience appeal. Written by
Ntozake Shange, the play was
presented by two casts in
terchangeably.
Described as a chorepoem, it
was comprised of many im-
provisational works of poetry,
music, and dance. The verses and
monologues expressed feelings
and experiences of love and pain
as felt by Black men and women
through the usage of a mixture of
light humor and heavy drama.
The play closed with a song
entitled "I Found God In
Myself,” and the lyrics instilled in
the audience a determination to
overcome the brutalities that
plague not only Black women,
but everyone.
The characters portrayed were
either vivacious, defiant, reviled
or misunderstood. Each
character spoke in a clear voice
directly to the audience.
The enthusiasm of the ac
tresses was unmistakably
catching. Denise Thirties’
CONT. ON PC 12
Spelman College’s Glee Club
Prepares For Christmas Tour
by Nancy Bowman
Performing Arts Reporter
A familiargreeting of," hello
Sweets,” and other such friendly
words, coupled with a
recognizable dedication to and
love for Spelman, distinguish this
man as one of Spelman’s most
visible faculty member.s
Dr. Roland Allison is the
Chairman of Spelman’s Music.
Aside from chairing the Music
Department Dr. Allison is the
director of Spelman’s Glee Club.
Allison believes his 1981 -82Club
to be “the most talented group
with the greatest potential” he
has had in his 20 years of
teaching. In addition, the club
also has the largest composition
of new students in his 15 years at
Spelman.
Dr. Allison feels that the Glee
Club, which is perhaps the oldest
organization that the school has,
“represents the college in every
instance of public relations.” It
is for this reason that he demands
from his girls a respect for the
organization and the school.
Necessary in establishing and
maintaining a unified Glee Club,
Allison believes, is the element
of love and a feeling of
sisterhood. He says that “you
can’t have animosity and have
complete involvement.”
The closeness within the
organization can be seen when
noticing Allison’s relationship
with his girls. “I love these girls
exceptionally,” he says. In addi
tion Allison says, "what I lack I
make up in honesty and dedica
tion to the students.”
Currently, the club is working
on pieces for the annual Christ
mas Concert which will be
December 11, 12, and 13 at 8:00
in Sisters Chapel. The Concert,
says Allison, "serves Morehouse
and Spelman admirably.” Ex-
citeman is definitely building for
the concert, thought by many
within the A.U. community to be
the highlight of the semester.
Allison firmly believes that
"the legacy of past Glee Clubs is
such an integral part of the
college” and for that reason "the
Glee Club is extricably entwined
in the past history, present
growth and development and
future of the college.”
Diana Ross Records Lyrical Biography
by Carolyn Robinson
Reporter
Diana Ross, coming from a
lower class housing project in
Detroit, Michigan, has certainly
risen to a status of supremacy.
Her singing career commenced
in 1962 with the Motown Recor
ding Studio and The Supremes, a
profound female trio of the
1960’s. In 1970, Diana made the
transition of stepping out on her
own. This proved to launch her
spectacular feat of becoming
one of the most appreciated
artists of today.
Ms. Ross'album, titled, "Diana
Ross-All The Greatest Hits”is just
that. The album features a diver
sity of selections stemming from
a medley of the best of the
Supremes containing, "Someday
We’ll Be Together”, "You Can’t
Hurry Love”, “Love Child”, and
others. It includes one of her
latest, "Endless Love,” a love
ballot written and produced by
the Commodores’ Lionel Richie,
that has touched the hearts of
true lovers everywhere. It also
contains tunes such as her first
solo hit single, “Reach Out And
Touch Somebody’s Hand”, a
heart warming melody written
by Nickolas Ashford and Valerie
Simpson. “Reach Out And
Touch”exemplifies the message
Diana wants the world to con
ceive from her music. She puts all
her heart and soul into her
performances which can be seen
in “Ain’t No Mountain High
Enough”, more upbeat than her
premier solo record.
"All The Greatest Hits” also
includes the theme of her mo
tion picture, "Mahogany”, "Do
You Know Where You're Going
To”, which is one of the biggest
hits of her propitious pursuit.
Popular tunes such as, "Upside
Down”, “I’m Coming Out”,
“The Boss”, and “Touch Me In
The Morning”, help incorporate
this menagerie of songs. Diana
was not side tracked during the
mid 70’s when the discotheque
music epidemic emerged. She,
possessing dexterous charisma,
overtook the disco scene with
her sensuous, yet deliberately
paced jam, “Love IHangover”,
also a part of this double record
album.
In essence, Motown Studio
has constructed a musical and
lyrical biography of the legen
dary career of Diana Ross. Each
song is brilliantly produced, and
the lyrics convey a special
message that stems from the
heart of Ms. Ross, herself. This
collection definitely holds true
to its title. Contrary to the classic
precept, you can judge this
album by its cover because this is
indeed, Diana Ross and all her
great hits!