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The sassy Brass Wacky Gh a acky Ghostbusters};}/*} em of th (8 m the summer | mt PAGE 16 â€" WATERLQO CHRONICLE, WEDNESDAY, JUNE 20, 1984 Humor, technical virtuosity make outstanding evening Coral Andrews Chronicle Special I never met a tuba player I didn‘t like. Especially if it‘s The Canadian Brass‘ own Chuck Daellenbach. The Brass changed their announced Centre repertoire, but each selection was simply dazzling in execution, and Coral Andrews Chronicle Special *‘*We came, we saw, We kicked its ass." That is the wacky motto of three extraordinâ€" ary bright, but offâ€"beat university parapâ€" sychologists who lose their research grant and are forced to start their own ectoplasmic extermination business called Ghostbusters, now at the Odeon. At their recent performance at Centre in the Square, Chuck decided to promenade through the aisles and plunk down next to me, with his trusty tuba close at hand (or mouth). Wow! "Just imagine you‘re in St. Mark‘s Cathedral in Venice sitting next to your favorite tuba player," said resident witticist/trombonist Gene Watts. And 1 did... The Canadian Brass is one of the most entertaining quintet ensembles in the world. They are adored in Australia, the U.K., Saudi Arabia, the Orient, Germany and Hong Kong. The list is as endless as their collective talent. Here are five extraordinary comedians who just happen to be exquisite musicians, and the crowd loves every note. Coral Andrews Chronicle Special In a cinematic coup, Bill Murray, Dan Ackroyu, and Harold Ramis have blended the cream of their ‘spiritual‘ talent to create a contemporary newâ€"generation comedy. A rollicking good time was had by all "when all good friends were called to the bar,"‘ to witness the period pratter and circumstance of Gilbert and Sullivan times two at UW Humanities Theatre. Trial By Jury, the first order of the evening, was short, to the point and sweetly packaged. . Lead soprano Alison Watson, artd Greg Lorentz played the quarrelsome couple spewing forth wandering arias, as she diligently sued him for adultery in the highest degree. Watson was riveting as Angelina, The Plaintiff, and can hit the heights songwise whenever she pleases, which repeatedly pleased the house. Here is a supernatural yarn bursting with some of the funniest oneâ€"liners this summer. They never stop, and you‘ll have to see this movie twice to catch up on all the key lines missed due to continual audience guffawing. Bill Murray, fresh from Tootsie, Meatballs and Stripes, the latter two directed by Ramis, nabs most of the laugh lines. As the mouthy Dr. Peter Venkman, Murray constantly steals the show and the women. Says Ghostbusters client Dana Barrett, played wryly by Sigourney Weaver (Alien, Year of Living Dangerously) "You seem more like a gameâ€"show host than a Ghostbuster, buster."‘ _ This is Murray‘s best screen role to date, showing the rugged comic‘s ‘scar‘ quality, but his coâ€"horts aren‘t far behind. Paul Nowak as Usher, posesses an uncanny sense of comic timing. This likeable G and S bard bears more than a passing resemblance to the late magnifiâ€" cent comic character actor Victor Buono, Solid efforts in HMS Pinafore Movie Review and adds a regal presence to any characâ€" ter he pursues. Although Nowak slightly lacked in the vocal range, his facial expressions compensated threefold. Bruce Bricknell, who joined the comâ€" pany last season as Lord Chancellor in lolanthe, was the whimsical judge, ‘"and a good job too," as he promptly stole the show. In G and S it is crucial the ensemble is strong and supportive, and this year‘s fullâ€"bodied chorus, carried both presentaâ€" tions admirably. Veteran G and S director John Kerr. prides himself on leaving libretti (opera text) virtually unchanged. Kerr believes humorous passages may be dated, yet their meaning can still be appreciated by modern audiences because of parelliels with current situations. The Lass that loved the Sailor, Alison Watson was a peaches and cream standout Never the why or the wherefore, HMS Pinafore is always a G and S favorite. Ghostbusters was the ‘brainâ€"child‘ of Dan Ackroyd, who plays Dr. Ramond Siantz, the sincere and enthusiastic guy with a heart. Ackroyd is a cardâ€"carrying member for the American Society for Psychical Research, and believes that ghosts and American humor are forever linked in the film industry, like Laure! and Hardy, Abbott and Costellio, Martin and Lewis, Ackroyd and Murray??? Hopefully this is the beginning of a beautiful comedy love affair. He and Murray are not the new Ackroyd and Belushi. A replacement of that magnitude simply does not exist. Yet there is an undeniable chemistry between the two that is hilarious. SCTV‘s Rick Moranis plays Louis Tulley, Weaver‘s wimpy accountant nerd neighbor who also becomes possessed. He has the crowd in the paim of his hand, as he flees a monster dog with an appropriate retort that is a real showstopper. The former McKenzie brother fares much better in this flick than the lukewarm Streets of Fire role. This is Moranis‘ year for scream comedy. There are over 200 special effects in the film, provided by Oscar veteran Richard Edlund. With their advanced intelligence Murray, Ackroyd and Ramis, portray cosmic crusaders who tread a thin line between genius and lunacy. Edlund simply enhances it with suitable ‘ghostâ€" ing‘ on the camera at all times. technique. * Chuck Daellienbach, tuba; Gene Watts, trombone; Marty Hackleman, french horn, Fred Mills and Ronald Romm, trumpet, believe that chamber music and the classics should have a somewhat lighter side. All five had equal comedy and instrumental billing, from straightâ€"man Hackieman to the zanyness of Romm, Mills and Watts. Daellenbach was reminiscent of a symphonic Woody Allen, as he dutifully explained the intricate musical workings of Bach‘s Toccata Fugue in D Minor. He cleverly showed a highly amused gathering, the exact moment on paper his beloved tuba solo came into view. Pete Meets The Beat, a jazzy ditty, was dedicted to newest member Hacklieman who played with the Vancouver Symphony for 10 years. One highlight was Vivaldi‘s Four Seasons, brimming with, ‘thunder, lightning and hot air, according to tuba player Daellenbach, is trombonist Watts‘ favorite ‘because it has a trombone solo in it.‘ ‘*Bach would‘ve done it like this had he been a tuba player,"" he quipped to uproarious approval. _ The ‘arpegiae‘ (Daellenbach‘s plural for arpegio) twixt the trumpets Mills and Romm, was astounding as their deft fingers raced up and down their instruments. The ‘apace‘ was tops, in this shipshape show, with a few opening night flaws, but nothing monumental. The return of tenor Wayne Berwick as Josephine‘s true love Ralph Rackstraw, a man of ‘"simple eloquence," added strength and substance without becoming overbearing. He and Watson were a credible couple throughout, each one loving above and below their station in life. as Josephine, the Captain‘s daughter. Watson has a spirited knack for comedy, but her distinctive solos were spineâ€" tingling, from Sorry Her Lot, to The Hours Creep On Apace. Baritone Alex Moustakas played the letcherous hunchbac«ed, Dick Deadeye. It matters not whethe: Alex plays Jud the villain from the musical Oklahoma, Model the tailor from Fiddler On The Roof or the Pirate King in G and S‘ Pirates of Penzance, as he did last year, each role is handled with the same energetic effiâ€" ciency. New York City‘s evil spirits don‘t stand a ghost of a chance against ectoplasmic exterminators (iâ€"r) Ernie Hudson, Bill Murray, Dan Aykroyd and Haroid Ramis in Ghostbusters. All set to vibrant vignettes Swan Lake, Tchiakovsky‘s Nutcracker. Love Theme Recapitulation and Romeo and Juliet, this piece was a showstopper, and the audience was in hysterics from start to finish, as they watched the five leap and spin in glee. ‘‘We spent over 45 years in the pits (collectively)," said Daellenbach, and not one of us has ever seen a ballet. (They were always stationed underneath the dancers). So we phoned a friend, and from her lurid descriptions, we developed original choreography, which we feel will be a useful social function." Tribute To The Ballet featured all five assuming standard basic ballet steps. Dance Of The Sugar Brass Fairies, was the clincher, as all five threw caution to their respective winds. Dog Gone Blues, was an innovative slant on the Arthur Pryor oldie A Dog And His Master. The Brass‘s ingeniutive stylings and Mills canine cornet made this number a ‘howling‘ success. But the biggie was Tribute To The Ballet, which almost brought the crowd to its knees, with its slapstick antics and hilarity. Bach‘s famous Albinoni Adagio, solid proof this player can hold his own in any wind circles. Little Buttercup contralto Jean Shantz, loves a scene stealer and Pinafore is just her "butter‘"‘ cup of operatic tea as she alone holds the key to the whole convoluted mess at sea. Bruce Bricknell, as the doting paramour Sir. Joseph Porter, waving his egotistical hanky prop, if you please, was charming, Monacled and never one to mince words, he and Josephine with Dan Lenz, in an even portrayal as Captain Corcoran, made the rambunctious Never Mind the Why and Wherefore, A Pinafore pinnacle. Her quavering solos were at times palid, but the G and S pro, made this peddling role, memorable at the best of moments. The chorus in this bright bouncy producâ€" tion were as pastel and prancing as ever. The ‘sisters and the cousins and the aunts‘ made a seasonal entourage in peach, pink, and blues, a nice contrast to the crisp navy and white crew of able bodied seamen, by their side. B