The Los Angeles Times from Los Angeles, California • 66

Cob Angeles Sixties SCOTT ROBINSON 'NIGHT OWLS' D00BIES: Nostalgia at the Pacific Amphitheatre 6 Part VI Monday, October 2, 1989 IT" rial, including feisty renditions of such chestnuts as "Rockin Down the Highway," "Jesus Is Just Alright" and "Long Train Runnin'." Simmons and Johnston had little to say in perfunctory song introductions, but they probably realized that their repertoire alone was enough to give the show a ready-made sense of connection and That, of course, is the problem with rock nostalgia: The whole experience is ready-made. Real excitement comes from watching a band whether new or old that still has the capacity to surprise itself and its audience. The Doobies can't be accused of playing by rote. But, Friday, the Doobies' safe, familiar rock was just alright and that's about alL The Husband You Buried 17 Years Ago In A Hero's Grave Just Showed Up On Your Doorstep Continued from Page I country, soul and rock 'n' roll roots. The Doobies did play six songs from their successful reunion album, "Cycles." But the new material hews to the band's old style, the Doobies having been sufficiently honest and market-savvy to stick with proven old ways instead of trying to sound falsely "contemporary." Certain songs from "Cycles" convey a depth that the Doobie Brothers' early music lacked, a sense of life lived with struggles and disappointments.

Otherwise, it was pretty much good-times as usual for the Doobies, a way to make the people smile. While the "Cycles" lineup is drawn from the Doobies' early 70s incarnation that centered on Simmons and Johnston, the show included a few songs from the later period marked by Michael McDonald's sophisticated white-soul style (McDonald, the only Doobie Brother who went on to solo success in the '80s, is not part of the reunion). Sidemen Cornelius Bumpus (a late-period Doobie) and Richard Bryant helped carry the McDonald songs off, but the Doobies were at their best with more rocking mate I -J V-jm. 50 all' 1 innn.ni What Do You Say lb The Son He Never Khew And The Man WtoM to Welcome Home Lisa Pelikan, left, and Gina Hecht keep answering the phone but nobody's there in "Night Owls" at the Cast-at-the-Circle. "TERRIFBC!" -JOOISioOOI.

GOOD MORNMG AMERICA. AK-1V Lethal At 6fNPSVIiSTSH IIP6 tt-t-620-7: Kill t46-l-S-4o-t46 10-30-50-70-1 IfXJ Of MfAMSIPf CA SMITH Of WAi(l) 10-36-6: 15-7 JO-IJ6 For home delivery, call 1-800-LA TIMES, Pre mm Continued from Page 1 Stories about men and their incessant needs. Stories about men' and their brutal impulses. Kathy, the more hopeful of the two, relates a wonderfully naive tale of the golden days of Los Angeles that is, a dozen years ago. Alice tells murkier stories, about why she changed her name when she was 10, about an Indian boy who wanted to end it all.

While they talk, the sounds of the city outside their window intrude on their peace and security. Just as they keep changing their minds about picking up the phone, they also keep opening and shutting the windows. When the windows are closed, the noise diminishes. But the heat becomes stifling. And when they open the window and hear a snatch of "La Boheme" drifting in, Alice in particular realizes that not all of the noise out there is annoying or troubling.

Alice needed to know that, for it becomes clear that she was the victim of an assault three days ago and the witness of another assault last night Although she just spent her day at the Renaissance Faire reading Tarot cards, her initial veneer of tranquillity is rapidly wearing thin. Hecht takes us through Alice's deterioration with carefully measured steps, marshaling her intensity until it bursts. Alice warns Kathy that no one is immune to the awful things that happen out there, but Kathy is not a quick study. Although she works for an escort service, she expects wonderful breakthroughs any day now. She has even been infected with the screen-writing bug, though she hasn't a clue about how to make it pay.

The role isn't as developed as Hecht's, but Pelikan excels at its innocent, dithery quality. We're never told how or why the two women became close. Maybe it's because they both know their way around a deck of Tarot cards though their extended exchange on this subject is a bit too extended. Nevertheless, Hecht and Pelikan make the women's friendship credible. Deborah Lavine's staging felt slightly under-rehearsed on opening night, with a couple of moments of hesitation by the actresses and by whoever was operating Robert M.

Smith's sometimes baffling lighting design. Smith also did the set, a grungy single women's flat Philip Allen's sound design blended in well with the sounds that might normally be heard around the neighborhood of the theater, which is only a mile or so west of the area where the play is set A few lines in the script come off as gratuitously witty, and the ending is somewhat contrived in its upbeat tone. It's difficult to share the women's excessive joy at how they get their comeuppance on the unknown caller. But, while "Night Owls" isn't as much of an integrated piece as "October 22," lacking its consistently light touch, it is an important step in the development of a genuinely original Los Angeles playwrighta poet by profession who actually knows how to write for the stage as well as the page. And "Night Owls" may well crystallize the feelings that many Angelenos have recently developed about their increasingly besieged city.

At 804 N. El Centro Hetty-wood, Thursdays through Saturdays at 8 p.m., Sundays at 7 p.m., through Nov. 5. Tickets: (213) 462-0265. tEZB 0V23IM CC FOOMM CMV commtouoiii omiaoi tutLnmrtm mam mo 2fiS2JS 0O6V65o44 PoaiclOoWolO 714MMOZ2 7RWO-3290 IAO OFOIIIIOIIU mtm AMC Cil miLIMII J74hSoO AMC OfOMJO Mol 7UAU7O340 ftamuSSSm 3 FWOOOAOOOAM OMMTA MU (on7MO ihvm77 u7UW4333 i in in OOJOOWAMJMUS "rjrjSSSMj OCCFoamt) 0OV347-0OO1 iroomK UROTOMII OOtTA MOM EdMordi kMOl CoofFttio IFU0 3043007 IMV.I00.IO MO-MOtttMM or CMmo 0 40MUI iihm IMHO Utm OB fOM 7UDOQ33 EOMnh MM MM 7WS0H00O UMM AM HMO OFMianW ltVOU4M2 AHCFMIMi IW7304317 1 053-3117 AMC IO4J0fO 0OWAMM1 UMM ATOM I mimam (1 101(1 17FaaCoMNo.

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