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PAGE 16 â€"â€" WATERLOO CHRONICLE, WEDNESOAY, MAY 8, 1986 Coral Andrews Chronicle Special The UW Arts Centre has announced its 1985â€"86 talent showcase and again it looks like a ‘thumdinger‘ of a season, from the ‘rockappelia‘ of the Nylons, and Royal Canadian Air Farce‘s Dave Broadfoot to the uproarious antics of the Cambridge Buskers and the pure energy and electricity of Les Ballets Jazz de Montreal. Due to last year‘s outstanding success, The Custom Series returns. This means the public will be able to pick and choose Canadian and international attractions, that suit individual taste social calendar, and pocketbook . There is even more variety this year as audiences are invited to build series attractions from live theatre, classical music, popular comedy, cabaret performances, and dances, as they select shows from The Sampler Series, Gourmet Series, or The Super Series. In addition to the usual UW Humanities Theatre, and Theatre of the Arts, shows will now be performed at UW‘s newest facility, Federaâ€" tion Hall. Another interesting note concerns perfor mance venues. The Blyth Summer Festival productions have always been tremendously popular in this area over the past few years, with The Tommorow Box and the awardâ€"winning Quiet In the Land. This year Blyth presents Ted Johns‘ riotous Arts Centre highlights this year, are innovaâ€" tive and entertaining, appealing to all ages, groups and social genres. â€" o â€" | WX A chiigren‘s series highlight, notto be missed, | [opeg‘a year‘s sabbatical to work her mind again, tries to reason is Toronto‘s But I‘m Just A Kid, a Junoâ€"award. akes a year‘s sabbatical to wm"k hqr mind again, tries to reason Dave Broadfoot is back with zany â€" winning liâ€"piece band for children, which on his PHD and Jan takes a year‘s with a string of strange occur commentary on everything under the _ writesits material from a child‘s perspective, in resluito brecol::r from a recent rences, which only seem to happen sun. fastâ€"paced energetic style. nervous Dreakdowll, (continued on page 22) a C % y a utual enjoyment in Spring Sing Daphne Lavers Chronicle Special A celebration of spring was the theme of the last concert in the current season by the Kitchenerâ€"Waterloo Philharmonic Choir, last Saturday evening at the Centre in the Square. And a celebration of spring it was. The customary formality of the Kâ€"W Symphony was dispelled by a stage bedecked in colorful hydrangeas, azaleas, ferns and potted plants, and by choir master Howard Dyck who appeared in white jacket with yellow boutonniere. Sounding appropriately formal and jocular at the same time, Dyck introduced the evening‘s performance as a blend of classical selections from wellâ€"known operas and operettas, combined with more contemporary pieces from Broadway plays. _ ‘"If you feel an irresistible urge to sing along,‘" Dyck said, ‘"you may!" _ 2o & _ The first half of the program, however, was best left to professionals, and professionals were indeed on hand to perform. Four soloists graced the stage, each a recent Value plus in upcoming UW Arts Centre season Talent galore comedy Garrison‘s Garage, a satiric look at Revenue Canada, with Johns‘ commonâ€"sense insight, always a refreshing angle into everyday sliceâ€"ofâ€"life situations. Don Messer‘s Jubilee, is based on John Gary‘s (Rock and Roll, Billy Bishop Goes To War) play about all the stars in this Canadian classic television show including Marg Osbourne, and Charlie Chamberlain, and has received rave reâ€" views. Monkeyshines is a new comedy/drama that stars Frances Hyland in a riveting mix of Same Time Next Year versus On Golden Pond. Ain‘t Lookin‘® is the homeâ€"run hit production of an *allâ€"black‘ baseball team in the summer of 1939. Based on John Craig‘s nostalgic Chappie and Me, the play chronicles the childhood experiâ€" ences of Craig posing as a black member of a ‘hotâ€"potato‘ baseball team during the Depresâ€" sion. £ Musically speaking, the Nylons return after two sellâ€"out shows last year, with plenty of dry ice, razzleâ€"dazzle choreography, and that speâ€" cial brand of ‘rockapella‘ sound. The Cambridge Buskers perform everything from Rossini‘s William Tell Overture, to Scott Joplin‘s ragtime, to Handel‘s immorta)l Halleluâ€" jah chorus, in the brassy, kazzoo tones of the krummhorn‘!‘‘ This is a duo who combine the best of comedy and the classics with great music and tomâ€" foolery through an odd assortment of inâ€" struments. Dooâ€"Wah Diddy recalls the fun of the ‘60‘s, ‘70‘s and ‘80‘s, in the Big Chill meets A Chorus Line, and Genes is a lively trio that blends jazz, pop, folk and classical melody for an inventive potpourri of unique vocal arrangements. If you like your laughter sweet but satirical, Royal Canadian Air Farce‘s own veteran Dave Broadfoot, presents his zany comment on politics, peoples, and the North American way â€" his way. Kloset Komics is coming back this year, so the search continues, and the UW Arts Centre hopes to attain the same calibre as the last year‘s hilarious effort, which should be on CKCOâ€"TV May 4. Appearing with Dave Broadfoot, is the official winner of the first Kloset Komics show, Toronto funnyman Rob McLean. McLean won the coveted rubber chicken award for his delicious routine of a ‘loungeâ€"lizard‘ performer who illustrates his material by "smouldering the ‘ole ‘88‘s"‘ (piano keys) and seething with satire. Other coming attractions include a Tribute to Mozart, with members of the Kâ€"W Symphony Orchestra, magician Peter Sameison, and some exquisite dance with the Les Ballets Jazz de Montreal for two nights, and Ballet Eddy Toussaint de Montreal. graduate of the University of Toronto faculty of music and related programs. e Stephanie Bogle, soprano, and Mark Dubois, tenor, began the vocal performance with Brindisi from La Traviata, a powerful yet funâ€"filled duet which the soloists obviously enjoyed as much as the audience. With the presentation of lesserâ€"known pieces from wellâ€"known operas, the first half of the evening provided a refreshing change from traditional operatic selections, and included such pieces as the Count‘s Aria from Mozart‘s Marriage of Figaro, and Chez Maxime from Lehar‘s Merry Widow. The remaining two soloists were Linda Bennett, mezzo soprano, and baritone Bruce Kelly, and all four sported boutonnieres and corsages, adding to the springâ€"like amâ€" bience. The easy control of the soloists during the difficult classical pieces of the first half was repeated during the second half when the performance centred on more contemporary pieces, beginning with an orchestral Coral Andrews Chronicle Special Strange things are happening at Victoria Park Pavilion this week. Windows are clattering, lights are flickering, and the old wooden stage is constantly ringing with the proverbial ‘"bump in the night." It‘s all part of the fun and mystery in Kitchenerâ€"Waterloo Little Theatre‘s latest effort I‘ll Be Back Before Midnight. This comedyâ€"thriller written by Peter Colley is one of Canada‘s most produced plays with over 70 versions from coast to coast. It has received rave reviews everywhere it plays, including New York. KWLT‘s interpretation also lives up to raveâ€"review status, as droves of amateur Sherlock Holmes fans are flocking to see this merry tale of murder an mayhem. A small but mighty cast, comâ€" bined with special effects knowâ€" how makes I‘ll Be Back Before Midnight one of KWLT‘s best along with Waiting For The Parade. Greg and Jan are a young city couple, who decide to rent a cottage in the country, as Greg takes a year‘s sabbatical to work on his PHD and Jan takes a year‘s rest to recover from a recent nervous breakdown. Any ‘whodunit‘ freak will have a ball trying to reason with Colley‘s complicated plot. Just when you think you have it all figured out, the plot thickens with delightful twists and turns, leaving you totally confused. A scene from the KWLT production of I‘ll Be Back Before Midnight. B. Kieasiing photo KWLT chiller a real thriller medley from The Sound of Music, evocative of spring and mountains and flowers. oo o Selections ranged from Rodgers and Hammerstein‘s You‘ll Never Walk Alone, heartrendingly performed by mezzo Bennett, with the choir filling in softly behind her. to Cole Porter‘s Hey Babe, done by the choir itself reminiscent of a choral barbershop, a fun and upbeat piece. Soprano Bogle eased into George Gershwin‘s Summertime, matching the high notes of the strings with perfection. â€" The first grand finale, Oklahoma‘ saw all four soloists together illustrating their range, versatility and power, and turning, with a pleasing politeness, to the choir for its chorus. A few souls in the audience tentatively took up the choir master‘s invitation to join in. The second finale, following a standing ovation, was that delightful favorite from My Fair Lady, I Could Have Danced All Night. The audience, still hesitant, took up the refrain, again enjoying themselves as much as the performers, a pleasing end to the concert season heraiding the beginning of spring and summer. Their landlord is George, a strange old farmer who cheerfully informs the couple of ghosts, and a horrible murder that occurred at the old farmhouse years before. To make matters worse, Greg‘s sister Laura arrives, to Jan‘s dismay, as the two do not get along. Jan is puzzled over the hold Laura has on Greg. The tension begins to build and the audience discovers Laura is one of the causes for Jan‘s recent condition. Farmer George‘s tales take on chilling reality as the old farmâ€" house continues its terrifying repâ€" utation... Ian D. Allen, is no stranger to the stage, and wins the audience instantly in his KWLT debut. Allen is capable of eliciting ample laughter with just a facial expresâ€" sion. As the rustic nextâ€"door ‘hoser‘, Allen gives his personna credibility and rugged ‘charm, while chatting in a wonderfully graphic fashion about grisly events at the old farmstead, and maintaining ‘"it‘s just one step from the grotesque to the horriâ€" bie." The chemistry between Jan and Greg is also convincing. Becky Maynard Tomasevic as Jan shows she has good sense of the dramatic as well as comic timing. Along with Jan, the audiâ€" ence finds itself glued to every door, nook and window cranny as Jan, beginning to think she‘s losing her mind again, tries to reason with a string of strange occurâ€" rences, which only seem to happen