Word: sankey
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Dates: during 1960-1969
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...generation and the folk-rock musical supposedly speaks to us and for us as Oklahoma cannot. But Tom Sankey's The Golden Screw is a pretender to the folk-rock name which rejects our commitments to urban-ness, peace and humanity and insults our perspicacity. It idealizes instead a Dylanesque young folk singer who goes through the protest song stage into electronic rock on the rock road to success. At the end, when our hero is king of the music mountain, he sings a last rock song about "Flipping Out". Then he asserts his individuality by saying "fuck...
...Golden Screw pretends to be innovative and exciting theater. The hero never speaks. He (occasionaly with other characters), merely sings in between dialogues which are directed at or about him, but in which he never participates. A one sided conversation is hard enough to pull off on stage. Given Sankey's trite dialogue, Alice Roach's direction, which is unobtrusive to the point of negligence, and M.I.T.'s incompetent actors, who tend to point their hands a lot and look bored on stage, the results was worse than a class play at P.S. 451--children are cute at least...
Substandard dialogue and music can sometimes be forgiven, though not enjoyed . But The Golden Screw is unforgiveably inane because Sankey looked at the world, saw that it was not perfect, and plugged in the easiest wrong answers. Protest songs and rock music are hardly decadent--they represent a social and artistic commitment to our world. They, not "John Henry" are the songs of us folk, as hip Country and Western groups. Sure, folk music is often great and gutsy. But the simplistic Romantic anti-sellout sentiment it symbolizes in this play really equals the willful alienation of Sankey's hero...
...Mullin, p, rf 5 1 2 1 1 1 0 Darracq, lf 3 1 1 1 0 1 0 Natanson, c 4 0 2 1 1 5 0 Brady, cf 2 0 0 0 1 3 2 Varnum, 3b 2 0 1 2 2 1 1 Sankey, 2b 4 0 0 0 4 2 0 Totals...