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V . tc" 'TP" . ,.,. 2" _. “‘3‘ "1‘69 22;. " x, '2 . ‘ . 2. l yi'"., .- .t?/ 1 . yi V P " , _ y -'errr " p" _ rCr. . " _ .- JT" y jij/ “- i:,', .. . 2. ' C 'e . _ 'C",' ' ' , 2 . . yf " _ _ N A _ ' , M _ m FyeP2erPtrIrcri_=22====E==2Pi'arr.'iTi'aaaail man...“ TPTD2V2'WAe_=-2a8 ' pm MW... ...,.2. mm... Mxr=C'C= '-EeeMeeeer5eee55eeee5eeer=======iiiGrii'i ,2/WW42~M.M.W.MM 2 2 ~2.~...2.......-Wm Rm MacDonald Chronicle Special Considering the grandiose as- pirations ot British art-rockers Marillion - the latest in a string of ersatz heir-apparents to the Gen- esis throne - a roller rink would seem like an unlikely venue to accommodate their sweeping gestures. But last Friday, with a bag of instrumental tricks and worn out cliches in tow, Marillion brought its large scale show to the small scale confines of Super Skate Seven. When lead singer and leading actor finally appeared on stage at 10: " (yes, that time is cor- rect), his reaction was probably twofold. First of all, had anyone remembered to advertise the concert and secondly, did his group have a following in the K-W area. Having played to a crowd of 12,000 in Buffalo the previous night, a turnout of several hundred people in a place which holds ten times that many can be a touch disconcerting from an ego standpoint. Marillion demonstrates the good and bad of "art rock" genre in appearance _ f But the boys managed to grin and bear and after some half- hearted rationalizlng from Fish, they gave the party-sired gather- Linda Crawford and Jeri sanger appear In Lerner and Loowa’a Brigadoon opens next Wednesday for two shows at the Centre in the Square. ing exactly Whitt it_eo9tectetl. Both credited and discredited - it depends on one's appetite for the genre _ with the rebirth of art-rock, Marillion demonstrated everything that's good and bad about the form. The show was essentially a two-hour critique of the history of progressive rock. Like nu- merous outfits that fall under the "progressive" umbrella, Maril- lion suffers from a malaise that represents a common denomina- tor amongst the members of the art-rock family tree. It's actually a paradox, encompassing a style characterized by outstanding in- dividual musicianship but at the same time, surrounded by an air of bloated self-importance that Next season the emphasis will be on more music, more variety, and more performances for the Kitchener-Waterloo Symphony Orchestra. which unveiled its 1986-1987 lineup last week. - Responding to an unprecedented 90 per cent average attendence at all of its concerts, and a 25 per cent increase in its subscriber base in 198536. the KWSO has expanded its program to include more than 60 concerts in eight series, five special events performances and five school concerts. Three new series-Sunday Serenade, consisting of four matinee classics concerts, Kidstuff, three Sunday afternoon concerts for children ages four to 12, and Eight Decades Alive. highlighting the musical directions of the last eight decades-have KWSO offers more of everything manifests itself through overlong solos, predictable song struc- tures and verbose lyrics. - - Because of the size of the crowd, the band did its best to keep the pomp and posturing to a minimum. But an inevitable pat- tern developed, not a surprise i suppose for anyone familiar with Mariilion’s conceptual trilogy. The trilogy - the band's three albums, Script For A Jester's Tear, Fugazi and Misplaced Childhood - is actually a throw. back to Genesis' Selling England By The Pound and The Lamb Lies Down On Broadway. La. belled by the cynical as bombas- tic and uninspired, the songs are of an epic nature .. carefully structured with abstract story , which Brigadoon, the captivating Scottish fantasy, returns to the stage when the national tour opens at The Centre In The Square, on March 12 and 13 for two pertormaeet only. - . Written by the legendary team of Alan Jay Lerner and Frederick Loewe, (My Fair Lady, Gigi, Camelot), Brigadoon is told against the backdrop of authentic Scots tartans, plaids, brogues and bagpipes. A thrilling combination of romance, comedy, fantasy and adventure, Brigadoon boasts some of Lerner and Loewe's finest songs which have become a cornerstone of American musical lore: "Almost Like Being in Love," "Heather on the Hill," and "From This Day On." The show's dances delight audiences with innovative choreography rooted in the breathlessly exciting Sword Dance. Brigadoon tells of the adventures of two Americans: one romantic, the other cynical. Vacationing in the Scottish highlands, they stumble into the picturesque Scottish village of Brigadoon - a magical place that comes to life on one day every hundred years. In Brigadoon, the romantic fellow finds love, tranquility and a simplicity that is untouched by time. As their adventurous day draws to a close, he is forced to make a decision: whether to remain in peaceful Brigadoon with the village maiden who has captured his heart, or return to the hustle and bustle of the modern Brigadoon comes to Centre in the Square wdrid Featuring a sensational New York cast, Brigadoon is directed by William Westbrooks. The director's credits include last year's highly-acclaimed national tour of Seven Brides For Seven Brothers as well as Shenandoah, starring John Reitt and the recent touring revival of Gypsy. Choreography is by Mitzi Maxwell and Musical Direction is by Hampton King. From its magical beginning to its triumphant conclusion, Brigadoon is an enchanting fantasy for the entire family. Tickets for Brigadoon are still available: $20.50 and $24.50. Call the box office, BASS or selected agencies for more information. lines and complex arrangements that alternate between fractured narration and outright jam- ming. - The Genesis influence was prevalent throughout the show. Fish has obviously done his Peter Gabriel homework, from the studied vocal technique to the frequent interludes of philoso- phizing and patter. Unfortun- ately, his renowned stage thea- tries were practically non-exir tent which tended to undermine the excellent light show. The instrumental portion, which also paid its debt to the Genesis legacy, was actually more reminiscent of the work of Italy's P.F.M. Numbers such as Fugazi's "Jigsaw" and the title also been introduced to appepl to, a bFae.tarnuy audience. With 'ii,ii'ii;ti7iGieriariirriaGrNiagari Falls, Listowel, Welland and Guelph, as, well as venues in Kiichener-Waterloo, the KWSO predicts it will perform before a live audience of more than . . . . ' A. -B, A._,_:- _._-.l:- I... n...“ “was: yawn-Ln, B+ w... r‘" .v. ... --_..-e __ -- 60,000, ages three-93, and be heard via the electronic media by well over one million music lovers. This season's extremely-successful Amadeus series at the University of Waterloo will be followed in 1986-86 by a similar four concert series focussing on the music of Ludvig van Beethoven and his contemporaries. WAYERLOO CHRON‘CLE. WEDNESDAY. MARCH 5 track from Misplaced Childhood, with their subtle Intros, intermit- tent wordplay and tempos that gradually build into guitar/key- board creseendos, typify what Marillion and the others before them are all about. Of special note was the play of guitarist Steve Rotherey, whose inspired, piercing solos stood out from the pulsating bass and heavy-handed percussion in- sens. This may be art-rock and to the impressionable high school and college crowd. it probably is. But because of its calculated nature, predictability and cut-and-paste instrumental fills, it's more paint-by-number than Renair sauce. tContinued on page 34) ttiNM' --PAGE 21