The record, 11 juillet 1980, Supplément 1

iliilps* Hr “ j 4” -i 4 BP / ¦ A : ÿ Ss»» Ztm00im - & The ornate Avon Theatre: After the show, there are plenty of fine eating spots. 8-TOWNSHIPS WEEK—FRI., JULY 11,1980 Stratford ,?11 & m m ‘*&S>** 1 I ! «S / ' < ; -1 You ask yourself if the others are necessary ’ Û y** ;*Vi Kate Reid and Douglas Rains in THE GIN GAME: It's only a game, if you play your cards right.Richard McMillan as Sir Andrew Aguecheek in TWELFTH NIGHT.C ontinued from Page 7 naturally offered to the Stratford Festival -a happy consequence for festival goers.Virginia Woolf, along with her sister Vanessa, brother Thoby and.later, her husband Leonard were central figures in the Bloomsbury Group which set the pace of artistic and intellectual achievement in the early years of this century.Yet Virginia was never at ease.According to British poet and critic Stephen Spender.“There was a division between her and other people which she attempted - not quite satisfactorily perhaps - to bridge by questions.She enquired endlessly of everyone about his or her life.Her strength and her limitations were that she really didn’t know how it felt to be someone else.What she did know was how it felt to be alone, unique, isolated." Despite her growing fame, she was forced into reclusion by recurring nervous breakdowns which followed the death of loved ones and the completion of her works.Yet she kept on writing.The imagination which fed her ‘stream of consciousness’ style plagued her day-to-day existence.The solution which she and her husband devised to control these flights was to live a quiet life in the country, a solution which, in light of recent work in psychology, perhaps needs to be re-examined by Ms.O'Brien.The solution certainly does not seem to have been successful.In 1941.fearing a relapse into insanity’ from w'hich she believed she did not have the strength to recover, Virginia committed suicide.The play has three characters but, after the first few minutes, it is obvious that the other characters - Virginia’s father-husband (Nicholas Pennell) and her friend-lover (Pat Conolly) are merely props, reflections of real people as, perhaps, Virginia perceived them.We have not only entered into her world but her mind.Highly poetic and intellectual at first, it is difficult to believe that one woman can pull it off but by the end of the show, thanks to the extraordinary talent of Maggie Smith, you are asking yourself if the other actors were truly necessary.Not that their performances are not excellent.Nicholas Pennell, whom you may remember from the BBC series The Forsythe Saga, plays the double role of novelist Leslie Stephens (Virginia’s father) and her husband Leonard Woolf.Stonily silent, Stephens is on stage only briefly and Ms.Smith plays to his back.But Leonard Woolf, a critic and writer on economics, eventually takes his place, providing the stability and security which Virginia needs.Although Virginia’s important relationship with her sister Vanessa is conveyed through Maggie Smith’s monologue.Patricia Conolly as Virginia’s friend Vita Sackville-West takes on the job of dramatizing all the complexities and lesbian implications of Virginia’s relations with both.Pennell’s make-up and characterization make him unrecognizable.The quality of his acting is shown in his reserve.Leonard is a looming presence for Virginia, steady and caring.In contrast, Conolly’s Vita is full of buoyant sophistication and unbridled extravagance, her love of life feeding Virginia's excitement as no other ever does.Phillip Silver's stage set, at first glance, is stark — a few low, undecorated platforms.two chairs and see-through screens as a backdrop behind wdiich denuded young trees stand.The screens are arranged to create two long passageways which vee out from stage left.During the show, these passageways become the dramatic paths by which people enter and leave Virginia’s life while onto the screens are projected complementary images of places, things and seasons as music plays.The initial slackness soon becomes the transparent, luminous world Virginia must have inhabited.Everyone connected with the play, especially its director and artistic director of the festival, Robin Phillips, deserves credit for the premiere production of this important new theatrical property.Only a game The other non-Shakespearean hit at Stratford is The Gin Game.Mike Nichol’s Broadway production of this comic tragedy by D.L.Coburn, which starred Hume Cronyn and Jessica Tandy, won the Pulitzer Prize in 1978.This year it has been revived at Stratford under the direction of Mel Shapiro.Although we did not see the original, it is hard to imagine a better performance than that given by Kate Reid and Douglas Rains.The play concerns two old people who meet in an ‘old folks home’ and begin to communicate by playing cards.However, the game soon assumes exaggerated proportions and, in the process, reveals the inner drives of both characters, the milestones which mark the passage of their lives.The Gin Game is an actor’s play.Both Kate Reid and Douglas Rains have lost weight for their parts and assumed the brittle, bent and quirk-laden posture of people who have outlived their usefulness.At first Rains’ character, Weller Martin, seems less stricken by age, until his obsessiveness about the gin game shows his psychological deterioration.It is a difficult part because throughout the play he has the sympathy of the audience, his mind being uncluttered by delusions, his spirit still resilient and challenging.As the game progresses, he must become increasingly compulsive without sacrificing this sympathy, revealing his senility only at the last.The audience is left to write the epilogue.Kate Reid’s problem is just the opposite with Foasia Dorsey.In the beginning Fonsia must appear confused and disturbed, with no solutions for terminal old age yet, despite soul-shattering revelations, she must remain stable throughout.From the nervous ticks to the closely-clutched purse.Kate Reid presents a startlingly consistent characterization.We enjoy seeing our inner responses externalized in the relationship of these two.at least until it becomes critical.For.ultimately, the game reveals the power struggle between individuals for a reason to exist.The night we saw the play, several couples left the theatre arguing.If card games were not a minor irritant Continued next page TOWNSHIPSWEEK—FRI., JULY 11, 198&-V ¦w»->»*¦-'¦W'"- Stratford for us, we might have enjoyed the play even more.The game of gin is a device used by Coburn to raise certain issues.What we found disappointing was that the device becomes more important than the issues raised.Had Eugene O’Neill been the playwright, this would not have been the case.Of course in that event, Gin Game would not have been a comedy.As is.The Gin Game does have a wonderful balance.It is very funny.A combination of the sarcastic wisdom of the old and their childish excesses or eccentricities.one laughs both with them and at them But next time you pick up the cards, you may ask yourself if it is only a game.Despite these very successful forays into modern theatre, Stratford’s international reputation has been built on its ambitious and lavish Shakespearean productions.Shakespeare can be intimidating for anyone who has never seen one of his plays brought to life.For this reason, it is important to realize that Shakespeare’s plays are not an intellectual exercise (though they can be).In the case of the two comic gems this season, they are great fun.The Festival has done a marvelous job with both Twelfth Night and Much Ado About Nothing.Again Robin Phillips is at the helm, ensuring a smooth and sure pace.companion of Belch Perhaps she is too deeply into the character of her major role as Fonsia in Gin Game.William Hutt.Stratford's grand old man, transforms Feste from the young, nimble fool we customarily see to a silver-haired, silver-tongued and silver-witted sage.Cherished volumes under his arm, Feste still dallies for the pourboire (tip) but with the disdain of the aged.Hutt’s singing voice is surprisingly good and, with trick amplification, resounding.But if an award were to be given for best performance in Twelfth Night, it would have to go to Brian Bedford whose Malvolio is impeccable, even approaching the realm of tragedy while keeping us in stitches.Bedford has that wonderfully comic talent of being able to share his thoughts with the audience while remaining in character.His facial expression.gestures and comic silences or multi-takes make of this meaty role an even greater feast.W’hen he is off-stage we hanker for his presence.Predictability, the set for the famous thrust stage of the Festival Theatre is graciously simple, scene changes being executed by costumed minions who carry in and out the elaborate furnishings.A surprise effect fittingly closes the show.Love pits two fiery wits \ 1 ^ Twelfth Night, or what you will In Twelfth Night, one of Shakespeare’s favourite comic ploys, mistaken identities, is exploited, Viola and her twin brother Sebastian are shipwrecked and separated, each surviving on the shores of Illyria unbeknownst to the other.Viola, played with boyish exuberance by Pat Conolly, disguises herself as a young man, Cesario, and gains employ with the governor of Illyria, Duke Orsino.Jim McQueen is the love-lorn duke who finds solace in a seemingly unnatural attraction for his young page, Cesario, repeatedly sent to woo the Lady Olivia (Pat Galloway) on his master’s behalf.There are a great many twists and turns as Olivia falls for the disguised Viola who is, in turn, completely enthralled with Orsino and takes pains to show' it.As in all Shakespeare's comedies, all ends well once brother and sister are reunited and the Cesarion delivery back to womanhood is made.What makes this comedy great is not the romances of the nobility but the humour of the lower life - Olivia’s uncle.Sir Toby Belch; her house-servant Maria; her Jestor Feste; a suitor of Sir Toby’s choosing, Sir Andrew Aguecheek; and her steward Malvolio.Richard McMillan’s characterization of Sir Aguecheek may be definitive.It is difficult to think how it could be improved or indeed who else could play it better.In face gaunt and white, voice high, body gangly he will always remain our image of Aguecheek.Barry MacGregor’s Sir Toby, not as Falstaffian as more traditional interpretations, is nonetheless a credible characterization.One can conceive of other Belches although perhaps not with this Ague.In a disappointing performance, Kate Reid plays Maria with a sad distraction, not in keeping with the merry plotter and Effects are even a more important part of .Much Ado About Nothing.Appropriate to its name, the play abounds with pomp and ceremony.It has an army of handsomely costumed extras and special lighting, making use of armfuls of candles.The costuming ranges from the gallant buckskin of its Spanish soldiers to the lace and embroidered silks of the Iberian nobility.The big celebration comes midway with the intended marriage of Claudio and Hero and makes Claudio’s denunciation of his presumed unfaithful betrothed all the more dramatic.But this play rests upon the qualities of its two principal figures - Beatrice and Benedick.And no finer vicious wits could be found to fill these respective roles than the dazzling Maggie Smith and dashing Brian Bedford.Their verbal sparring as two confirmed bachelors is delicious.They are assisted in their contest of love by Jim McQueen, in his best role as Don Pedro, the Prince of Aragon who plots their romance; Stephen Russell, a gallant Claudio who.finding love, wishes the whole world to be in love; Diana Leblanc as Hero, the object of his love; and, on the night we saw the play, William Hutt replaced Max Helpman as Leonato, Governor of Messina and father of Hero.Hutt had difficulty coming in one cue, jumping the gun on at least two occasions.But once he got going he did a fine job.For those who are unfamiliar with Much Ado, it is a delightful comedy camoflaging a very serious plot.In fact, it seems to mock some of Shakespeare’s more tragic plays (Romeo and Juliet, for example) and could easily have been turned into a tragedy if the Bard had not persisted in maintaining its humourous bent.This is even confirmed in the last lines.When the play’s villain, the Prince’s bastard brother, Don John, played with fox-like cunning by Nicholas Pennell, is caught, Benedick says “Think not on him till tomorrow; I’ll devise thee brave punishments for him - Strike up, pipers!” sjsM.Maggie Smith and Brian Bedford in MUCH ADO ABOUT NOTHING; Two sparkling wits and the best actors at Stratford.vm mi TWELFTH NIGHT; From left, William Hutt as Feste, Brian Bedford as Malvolio and Pat Galloway as Olivia. W-TOWmSMIPSWItH-FR»., JULY 11.tm Stratford If you can manage, here ’sfour more STRATFORD — If you really have a taste for drama, you might want to take in the other Festival productions — Titus Andronicus, either of the Henry Vs, The Beggar’s Opera and, if you’re desperate for still more laughs, The Servant of Two Masters.The Bard at his bloodiest Titus Andronicus must be one of the most bloodthirsty plays ever written and the only Shakespearean tragedy at Stratford until King Lear in October.It is one of the Bard’s less frequently-staged plays for a number of reasons, some of which may be obvious when seen.But for that very reason you may wish to catch it.So many people are killed by play’s end and in such methodic succession that one is tempted to laugh and many do.But the gruesome tale and its incessant horrors are no laughing matter.How many chuckles are there in the rape and mutilation of Lavinia who, seeing her husband murdered, is unable to identify the killers because her tongue and hands have been cut off?Or her father, Titus, who cuts off his right arm to save his sons from unjust punishment for Bassianus’ murder only to be presented with their bloody heads in a sack.Or a mother, evil as she may be, being tricked into eating a meat pie stuffed with the flesh of her two sons.Or a father stabbing his own daughter to put her out of her misery.And they say there is too much violence in the arts today.Although a mesmerizing story, it is not one of the Bard’s better plays and perhaps its quality is reflected in William Hutt’s performance of the title role.His delivery lacks energy from the start.Instead of a conquering hero, we get Titus as a tired old man.From time to time, he rises to the occasion with a volatile outburst but the rest of the time he seems to be saving himself for these moments.Pat Galloway as Tamora.the Gothic queen, is more convincing but lacks the intense hardness of pure evil.Goldie Semple, one of the impressive members of last year’s Festival Lennoxville company, reaffirms her acting ability in a difficult role ¦ a tragic, elegant victim with neither words nor hand gestures.Unfortunately, no matter how good he looks, and he does look the part of a rash, insecure emperor, Jack Wetherall reduces the impact of his Saturninus when he opens his mouth, steamrolling over the lines with a cracking voice, The costuming and staging is grand and Brian Bedford's direction has made the best of it.If you like Greek tragedy, this will hit the spot.If not, and your spouse drags you along anyway, you can always get as ‘tight as Andronicus’ on the balcony lounge.History requires intimate medium Henry V, part of the historical cycle of Shakespeare plays, is one that lends itself to another medium.Sir Laurence Olivier’s film interpretation and the British production aired recently on the American Public Broadcasting network were not only superior artistically but also more comprehensible.Willie makes great demands on the audience in this play, shifting the action from England to France, from high society to low, from the English to French army camps, from court to battlefield.To tie it all together, he employs the services of a choric figure who explains all these shifts.The scene can be set much simpler on film but even if a multi-media approach were used, director Peter Moss and the two Stratford Henrys - Jack Wetherall and Richard Monette, who alternate in the title role - would still be hard-pressed to meet the standards of their predecessors.The two versions have only minor differences besides their leading men.Wetherall plays King Henry as though he had not yet shuffled off the playboyish coil of Prince Hal.Monette’s interpretation is stronger and more sensitive to the language.Although both plays are quite long, Monette commands more attention with his articulate, interesting delivery.But the most startling transformation is made by Twelfth Night’s Sir Aguecheek.Richard McMillan as the soldier who challenges Henry on the eve of the Battle of Agincourt is a solemn, proud figure, the very antithesis of the giddy Ague.Beggars can’t be choosers, but we can.The Beggar's Opera by John Gay is Stratford’s attempt at a Broadway musical without relinquishing the classic obligations.In the quality of the staging, acting and singing, it certainly measures up.But with two intermissions and a tedious plot, it’s a bit long and — despite attempts to modernize the political satire with contemporary references — a bit dated ( the beginning of the 18th century, to be precise).It’s worth seeing for the staging.Instead of scenery, the production uses hordes of people - the 32-member strong Stratford Youth Choir (all in costume) plus the 19 or so members with bit parts who together sprawl, writhe, and frolick all over the stage throughout the performance with tremendous effect.Add to this a liberal use of dry ice fog, excellent lighting, skilled direction (Robin Phillips and Gregory Peterson) and we have a spectacle.But even the all-out effort to liven up the show with movement, and especially bawdiness, by the third act, it does begin to drag.A facile farce The Servant Of Two Masters cannot be accused of dragging.It’s much too light to drag.Carlo Goldoni’s farce is so airy it pays attention to neither language nor plausibility.The plot concerns a servant working for two masters to make an extra buck who, unknown to him, are desperately searching for one another.All of Truffaldino’s efforts are spent in trying to keep them apart.There are some maniacal scenes but too many liberties are taken to maintain any credibility.If Shaw has done it, at least the dialogue would have been clever, but, justifiably, the actors have no qualms about squandering the language ( translated from the Italian) or adding their own.Some of the acting is interesting (Goldie Semple disguised as a man, Brent Carver as her incognito beau) but it all drifts into caricature with the masques barely maintained and even at times allowed to slip.This is definitely Stratford’s contribution to the “silly season” for people who are in a silly mood., \ f, HENRY V: William Merton Malmo as the Duke of York RESTAURANT APRÈS LA CHUTE MAGOG TEL.: 843-9365 A COMPLETE NIGHT ON THE TOWN 4 entirely different but complementary atmospheres.RESTAURANT APRÈS LA CHUTE BAR LA GROSSE POMME CABARET LA GROSSE POMME AND OUR GARDEN TERRACE Now Open 6 Days & 7 Nights Except Monday, From 5 P.M.MAGOG 843-9365 o^ A o/ RESTAURANT APRES LA CHUTE Summer hours, full menu nightly COLD BUFFET $4 .25 complete served from noon Tuesday through Saturday.HOT BUFFET $6.95 complete from noon Sunday] Full Restaurant In Operation From 5 P.M.Nightly.Our Bar, La Grosse Pomme & Garden Terrace Opens at 7 P.M.Nightly.MAGOG ANNIVERSARY PARTY RESTAURANT APRÈS LA CHUTE THURSDAY TOWNSHIPSWEEK-FRI., JULY 11, 19B0- U What happened to SAQ wine shelves?What’s red or white, has a Spanish name and is never found in Quebec?If you guessed a Chilean wine, give yourself 10 points.What has 2,400 different shades, tastes and colours but is seldom seen in Quebec?Italian wines?Give yourself another 10 points.What comes in bottles, kegs and jugs and is confined to the United States?If your answer is 90 per cent of all American wine, go to the head of the class.By now, you are probably aware of the fact that I, in my own subtle way, am trying to make a point.If you haven’t figured that out yet, take a trip to the nearest S.A.Q.outlet and scan the shelves.What you will see is what remains of what was once probably the best selection of wines in the country.Unfortunately, lack of imagination, outrageous government taxation and a certain amount of racial prejudice have all acted to reduce the selection of wines available in Quebec to the lowest common denominator -standardization.If you don’t believe me, think about it.Of the two thousand-plus types of available Italian wine, the S.A.Q stocks somewhere around 20.To be fair, you can t count Soap opera culprits always get caught LOS ANGELES (AP) — Soap opera transgressors always gets caught; retribution is the name of the x« u.s.»|« li-J o „ co r^-oc co UJ co * o • 2 - s a c game.On ABC’s General Hospital, Dr.Rick Webber has been paying for one night’s mistake for the last 18 months.And he didn’t go to bed with the woman — he just told his wife he wanted to.Such suffering and misery is the stuff of parody.But listen to Chris Robinson, one of daytime television's top stars, who plays Webber, He says: “I get touched by some of the stories we do.They’re so true to life.Then you’ve got to go on stage and do it.” Then Robinson reveals that he, too.has been paying for one night 18 years ago.He lost a paternity suit 12 years ago and has been paying $900 a month child support since.VIA RAIL 5 6 3-0 366 Portlorxj.Boulevard Stame MARK HAMILL HARRISON FORD CARRIE FISHER Weekend Show limes: 1:80-4:(10-6:;>U-9:00 Weekdax Showliines: 6:30-9:00 Wining and dining BYTIMBELFORD the six or so types of Valpolicella since they are all basically the same wine.Nor can you count the numerous Chiantis since they too are merely variations on a theme.The same holds true for the numerous German wines.Many are of the same or at best related types.In a period in which wine prices are skyrocketing, it baffles me why our wine buyers are unable to find different and in most cases cheaper wines from the thousands that arc available.Even if there is a reluctance to scour Europe for variety in taste and price, the solution, or at least part of it, is no farther away than our neighbour to the south.Since the end of the last disagreement with our German friends, American wine makers have been working overtime to develop what may be soon one of the world's largest, if not best, wine industries.In the last 20 years, producers such as Freemark Abbey, Paul Masson, Beaulieu, Mondavi — to name but a few — have consistently upgraded production of all of their wines, from the jug variety to their best varietals.Part of the reluctance to import these wines stems from the fact that because of government taxation their price would possibly be prohibitive.However, if the very few that are available to us now are anv indication this is a false assumption on the part of the S.Â.Q.Please don’t get me wrong.I am not complaining about the wines that have, by the grace of our representatives in Quebec City, been made available in the grocery stores.Many of these are perfectly acceptable everyday drinking wines.Nor am I railing against the S.A.Q.-bottled European brands that come to us at slightly reduced prices because of their bulk importing.r My complaint is with the literally hundreds of varieties of nondescript, non-Appellation, non-character wines that the S.A.Q.foists upon us under the guise of “selection” when in reality they look, taste and smell exactly the same.You know the ones, with their very French looking labels; Chateau-this and Domaine-de-that.In reality, what we are given is the choice between dozens of varieties of indistinguishable French reds and whites at greatly inflated prices averaging $3.75 or more per bottle.Now to some of you my complaints may seem entirely unfair.Afterall we do have a very large choice in the better wines.at outrageous prices I might add.Yet to anyone who wishes to explore the multifarious nature of the world of wines, to uncover the shades of difference that exist from country to country, to truly test the palate and delight the appetite, all at a reasonable price, then I say to you that what the S.A.Q.is passing off as the best selection of wines in Canada is complete flummery.Perhaps there is something we can do yet.I’d be interested in your comments.Until then, cheers! * Boutique Ngg Inc.We hove a variety of gifts you need Prop.; Georgette & Michel Brault KN0WLT0N: 293 KN0WLT0N RD.SISSY SPACKK | ioc IX'MMY i.EK JONESi AU '-a/ j ® nunnmg RUNNING Weekdays 7 30 Sundays - 1 30-7 30 Coal Miner s Daughter Weekdays 9 20 Sundays 3 20-9 20 CAPITOL Theatre 59 King east 565-OTn PARKING FACILITIES Rhythm and Blues Lovers Don't Miss THE BLUES BUSTERS Featuring Brian Monty at LE CAFE DU MOULIN (Coffee Mill) North Hatley Every Saturday at 10:00 p.m.842-2727 BUCK AND DOE RESTAURANT SPECIAL WELCOME TO OUR CANADIAN FRIENDS DINNER SPECIALS DAILY 'Superb Food — Impeccable Service.f "A REALLY NICE PLACE TO EAT" MODERN DECOR RESERVATIONS APPRECIATED L OPEN YEAR ’ROUND! “WE SERVE COCKTAILS" Your Hosts: Ronald A Helen Langford 135 Main St„ ISLAND POND .call: (§02) 723-4712 .• ^ ¦ THEATRE de L’ATELIER Jacques-Cartier Park Sherbrooke From June 28th through August 16th "BROKE" Tuesday to Friday 8:30 p.m.Saturday 7:00 p.m.to 10:00 p.m.Information & Reservations 563-1778 12—lOWNSHIPSWEEK—FRI., JULY 11, 1980 Listings for this week's television programs as supplied by Compulog Corp While we make every effort to ensure their accuracy, they are subject to change without notice Check The Record daily for any changes.Saturday MORNING 6 00 1 7:00 I I NEW YOU I UNIVERSITY OF THE AIR I LITTLE RASCALS O ANIMALS, ANIMALS.ANIMALS C9 IN VIEW ® VALLEY OF THE DINOSAURS 7:30 Q KROFFTS SUPERSTARS (B MONTREAL SUMMER ® GIGGLESNORTHOTEL 8:00 Q MIGHTY MOUSE-HECKLE ANDJECKLE Q GODZILLA- GLOBETROTTERS HOUR C9® WORLD'S GREATEST SUPERFRIENDS © CIRCLE SQUARE © SESAME STREET (WETK ONLY) 8:15 © MIRE ET MUSIQUE 8:26 O IN THE NEWS 8:30 © HEIDI © LET'S GO 8:55 O ® SCHOOLHOUSE ROCK 8:56 *1 IN THE NEWS 8:58 © ASK NBC NEWS 9:00 O© CANDY ©BUGS BUNNY ROAD RUN NER SHOW © FRED AND BARNEY MEET THE SHMOO © SESAME STREET O © PLASTICMAN COMEDY-ADVENTURE SHOW © ROCKET ROBIN HOOD © MISTER ROGERS 9:26 © IN THE NEWS 9:30© © AVENTURES DE CHAPERONNETTE A POIS O LA FOURMI ATOMIQUE © ONCE UPON A CLASSIC Old Curiosity Shop' Quilp now Sports believes that Nell is an heiress and that she and Grandfather are returning to meet the mysterious stranger.(Closed Captioned) 9:45 © TIME OUT 9:56 © IN THE NEWS 10:00 O© HEROS DU SAMEDI © SKIPPER AND CO