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James Graham looks on as Paula Schwan and Charlene Lee hold centre stage in a scene from MacGregor school‘s Gypsy Troubadour. main characters in Wednesday‘s dress rehearsal sneak preview at MacGregor school were James Proudfoot, Stephanie Haase, Marcie Saleh, Rod Croen, Alison Cranston, Jeff Heywood, James Graham and Jonathan Dorfman. Rick Campbet! photos The Gypsy Troubadour has a double cast for performances this week. Appearing as Harriet Roos softly serenades James Graham in a scene from the operetâ€" 1 1 q 1 4 q3 MacGregor school will showcase the operetta The Gypsy Troubadour toâ€" night and Thursday at 8 p.m. at !lCI and last week they gave fellow students a sneak preview at the school of the problems, romance and drama that can be expected. Over 100 youngsters are in the total production, which is directed by Ken Papple and musically directed by Esther Groleau and Lisa Farr. Other staffers aiding are Heather Reid, John Gaynor, Harold Remus and Carolyn Dysart. Tickets are $2 for adulits, $1 for students and are available at the school or at the door at WCI. SNEAKING A PEEK Returning to the allâ€" tooâ€"familiar tale of vampires and their vicâ€" tims, The Hunger offers only minor plot and character variaâ€" tions that momentariâ€" ly, perhaps, intrigue or involve an audience. As a vehicle to inspire terror, however, it is virtually shudderâ€"less. The gore, while unâ€" pleasantly graphic in contrast with the aura of beauty and sensuaâ€" lity that surrounds it, is not as copious as likely would be desired by the majority of contemâ€" porary horrorâ€"film fans, although it still might be considered too much by viewers lured to the movie by its ‘"‘*class‘‘ preten sions. Everything about The Hunger is ludiâ€" crous in context with everything else, a situâ€" ation that could have been exploited for deliâ€" ciously campy effect. But Ridley seems to have been too intent on establishing himself as a serious cinematic ‘"‘artiste"" to allow the more diversionary aspects of the picture to assume any more than unintentional sigâ€" nificance. If the story is not, the casting is, admittedly, quite auspicious. The starring triumvirate of Catherine Deneuve, David Bowie and Susan Sarandon do indeed give performances worthy of far more purposeful and affectâ€" ing subject matter. Love scenes between Deneuve as a 4,000â€" lookingâ€"likeâ€"40 year oldâ€"vamp and Bowie as her 300â€"yearâ€"old decay ing lover, and later between Deneuve and Sarandon as Bowie‘s boudoir replacement, are tastefully explicit, although their eroticâ€" ism is, again, all too The UW Humanities Theatre will be one of the stops for Anna Russell‘s farewell tour as the 70â€"yearâ€"old classical music satirist and comedi enne will appear Thursday, May 26 at 8 p.m. Russell‘s biography describes her in this manner: ‘*Musician turned singer. Singer turned comedienne. Comedienne turned inside out." In her own words, Russell explains her career: *"My plan was to be a brilliant opera star. But then I got smashed in the face with a hockey stick ... I lost my acoustics."‘ The Canadianâ€"born performer began as a student of serious music at the Royal College of Music in London. Following several disastrous forays into serious performance, she decided to turn to comedy: "If everybody‘s going to laugh anyway, 1 might as well make a buck .‘ Tickets for her Waterloo appearance are available at the Humanities Theatre Box Office. UW Arts Centre and regular ticket outlets for $12.50 and $25.00 for Gold Section including a Russell has been sticking pins in musical! pomposity for more than three decades. "I‘m not making this up, you know," is the famous defense offered as she presents her madcap retelling of Wagner‘s Ring of the Nibelung. Other routines include ‘"How To Write Your Own Gilbert And Sullivan Operetta‘‘ and "How To Play The Bagpipes." Her incomparable parodies of serious music and its even more serious interpreters has become a unique comic art. reception with Russell Musical satirist Russell at UW Anna Russell