"Trueheart's Pass" is considerably more cohesive than most efforts which strive to be different on our experimental stages. Created by the Paradise Island Express under the direction of Jack Halstead it will berepeated tonight and Sunday at 8:30 and again next Friday through Sunday at the Washington Project for the Arts, 1227 G St. NW.
Western films and pulps are the evident inspiration of this adventure, which strives to combine works, mime, songs and dance for five performers. Jonathan Simple Trueheart hitchhikes his way into town, casually wins the Queens of Diamonds, Hearts, Club and Spades while a piano man plays occasional music.
"Trueheart's Pass," then, means more than the passage through the hills he just negotiated. "Jack," as the mustachioed fellow prefers to call himself, leans toward peotic verbosity off shirt at the drop of a card. There is nothing new inall this, though the effort at invention does hew to a solid line.
This sense of conviction stems from Halstead, a performer obviously capable of better things should he be so cast. His clarityof intent and certainty of expression mark him as an able performer. That he directs himself in a script "written by Paul Lavarakas, Bill Niederkon and the company" suggests he know his capabilities.
The pianist, William Brubaker, and the four girls, Deirde Lavrakas, Adrienne Antiles Whitman, Karel Weisberg and Angie Cohn, have fewer depth to probe.
Limited as this is, its cohesion is a theatrical virtue.
In a article, "The First," which appeared in the Style section of the The Washington Post on Saturday , Nov. 5, the fictitious name Michelle Jeter was used solely for creative purpose and bears no relation to any person by that name.