Connection | piece several years ago. Her_inspj- between a 16th century Dureren- | ration was a Durer work graving and an angel making a | Melancholia, in which a b crash landing in a construction | angel sits sunk in thought ai site, but the distance from one idea | rounded by various . alle to the other was an easy one for | objects. Theatre Columbus. “I love it,” says Ross, whg “The company, led by co-artistic | the angel, “because I often ff directors Leah Cherniak and | that. Melancholy in the perig( Martha Ross, has come up with | Renaissance was not sheer a number of original concepts, | sion; there is brooding and sc including one (Until We Part) in | in it. The figure seems to be t which the twins. prod’ EARTHLY ANGEL A Th or:a*good' womans story CAah< a ‘fallen lia. ¢ Cen’ The angel starts as a naive innocent. Has no idea of conflict in heaven. No knowledge of earth. ge is in a state of bliss. oe Then ; $7. WEEK/$9. WK. END» For no reason she fAlls CALL 925-8675. _~ to earth. y ule Bit : she can Her quest for — why | ence. ‘ E angels, § is of no importance and S her as a he wan ghe gets no answers. | Wher more lg Then she discovers phe initially § can't’fly back to heaven. \\ i} : = pliysa fallen an. gH i Melancholia, a Theatre C bn_a Durer Phbyaving of a brooding angel. During most of the play she is a straight man to 11 the other ~. The — This sortof concern for people ” 5 stretches beyond the footlights. The company is asking those who attend _ the opening performance tonight to bring a can of food for the food bank at St. Peter’s Anglican Church, where. the group has been rehearsing. Theatre Columbus is a happy mar- characters. 5 riage of several different perso 5 and theatrical styles, including ‘ rniak, | buffoon and vaudeville. At it Each actor sees the angel as he =e elop through the complic- | is the artistic closeness betwee or she wants the angel to be. This is haracters meeting. There | and Cherniak. “Our first sho ght beforehand of what | Until We Part,” says Cherniak the only way that ghe can fit into their sip sic ik ing at Ross. “We still haven't.” é mode of existence. Supe can ae : is to show rather than =e This play is is Her journey from ree et See F i nt between the char- point zero to a true knowledge of self’ | ; kG and the world. — 3 : § out that there is a touch | ; é ; /c in the play's humour, The foreman does not believe in angels. agieee is “a fallen | \ He see Hef a trespasser on the site / igh the characters may : EROS sees , as Pp : — “ridiculous outer sides, RHINOS —_— : 7 --cna}, 7 Uhey are human beneath them. The | He wants to get rid of Her. ‘Gs ene play makes_no judgment of these B 9 eee People.” : between a 16th century Durer en raving and an angel making a trash landing in 2 construction ‘ite, but the distance from one idea to the otber was an easy one for ‘Theatre Columbus "The company, led by co-at Melancholia, in which a angel sits sunk in thought rounded by various, alle objects. “Tove it” says Ross, w the angel, “because I often f wy hort clown | to the afigel’s move dhiFingf the piece several years ago. Heri “ lid rectors Leah’ Cherniak and | that. Melancholy in the pe Martha Ross, has come up with | Renaissance was not sheer ‘8 number of original concepts, | sion: there is brooding and s including one (Until We Pars in | in it The figure seems to which the pod EARTHLY ANGEL ma ab m= 4 Te or:a*good' womans storvand ‘fallen angel’). lia, ¢ Cen ‘The angel starts as a naive Has no idea of conflict No knowledge of earth. ghe is in a state of bliss. ‘Then , For no reason ghe fAlls to earth. Her quest for why is of no importance and Then she discovers she can't/fly back to heaven. During most of the play she is a straight man to characters. Each actor sees or she wants the angel to be. the only way that mode of existence. is is H¢r journey a true knowledge This play point zero to and the world. ‘The foremai He sees He He wants to get rid of “po 11 the other the angel as he This is e can fit into their does not believe in angels. as a trespasser on the site. innocent. in heaven. ‘ij Melancholi at beforehand of what two actors often have ofthe exchange. isto show rather than Jmedy isn’ in dialogue | eel Tent Between the char- | of self Bout thatthereis touch in the play’ humour, ofthe work is “a fallen | / Though the characters may time “ridiculous outer sides, 7 gob, HEY ae human beneath them. The Taine laY makes no judgment of these | pret people.” | ‘The This sort-of concern for — seiches beyond the footights. The company is asking those who attend the opening tonight 10 bring a can of food forthe food bank at St Peter's Anglican Church, were {he group has been rebearsing "Theatre Columbus isa happy ma- wing of a brooding angel riage of several different perso and theatrical styles, including buffoon and vaudeville, Ati is the artistic closeness betwee and Cherniak. “Our first sho Until We Part,” says Cheriak ing t Ross. "We sill haven't” Fel ZeEWA |