-Zanni Dell'Arte Italian comedy comes to ECCAD by Terry Dawes On the afternoon of February 19, the Zanni Players staged a rare theatrical treat right here in our lovely school. The Commedia dell’ Arte, an Italian genre of theatre from the time of Shakespeare which has previ- ously been more readily available in theatre textbooks and classes than in actual theatres, was brought to life in the form of a question and answer workshop and per- formance attended mostly by the school’s media types. The original Commedia dell’ Arte originated the type of performing that the genius Marx Brothers came to later perfect; a very formal, stylized kind of physical comedy incorporating huge doses of improvisation built up around the barest premise or schtick, and also using indicative costumes to bring the characters to life. The characters don’t need the complex motivations of the average Robert Deniro character. It is understood that the only thing that motivates Pulcinellais food or perhaps the possibility of love and that all the other characters have to do is offer up a morsel and Pulcinella will go to any lengths to satisfy, thereby ensuring that the basic conflict necessary for drama to ensue is established. The Zanni Players performed here because they hope to establish a working relationship between the school’s Media Department and themselves, which should prove fruitful considering the bountiful acting resources they’re prepared to offer us. God know we’ve seen enough of lousy student films which incorporate the director’s friends based on the “actor’s” ability to look sullen or act angst ridden. Actors are true craftspeople. But I don’t need to tell you that. @ Anyone interested in working with the Zanni Players or with helping them out, since they expressed a desire for some art students to work with them on set or costume design, should call Susan Bertoia at 526-2090 or 734- 4166. And keep an eye out for them performing around town. What do you need, an invitation? Get with it! Planet of the Arts Volume 7 -Springrites ‘92 Previews by Andrew M. Robulack This year’s Springrites festival presented by the New Play Centre at Waterfront Theatre on Granville Island is a veritable potpourri of play-writing events. Running from March 20 to April 11 it begins with the 24 Hour Playwriting Competition. Overnight 20 (un)lucky con- testants, myself included will each be expected to com- pose complete scripts ready for performance. A winner will be chosen for production next year. So wishme luck, Ongoing during the festival will be appearances by playwrights reading from their recent works. Camille Mitchell & Corrine Koslo in Fallen Angels photo- David Cooper The centre-piece for the festival is a series of plays which emerged from last fall’s One Act Play Competi- tion. The plays in this series are as follows: My Mirror, My Self by Maureen Robinson; starring Jill Daum and Leslie Jones Elvis and Mavis by Jeff Pitcher; starring Todd Duckworth, Crystal Verge and Paula Wolfson Yes, Officer, I’m Sure the Tree Belongs to Me by Suzanne Anderson; starring Jill Daum, Leslie Jones, David Kirby, and Kerry Sandomirsky Blue Caribou by Andree Verchere; starring Todd Duckworth, David Kirby, Kerry Sandomirsky, Krista Wallace, and Paula Wolfson These productions will run at the Waterfront Theatre from March 20 to April 11. One of the Panel Discussions this year will feature the Judges of the aforementioned One Act Play Competi- tion—so all of you losers, this is your chance to pelt them with the rotten fruit of your choice in revenge! Present at this event on March 22 at 4 p.m. will be Peter Anderson, Patricia Ludwick, Joan Macleod and Bob White. I’m sure they'll offer good excuses for their choices of winners in the competition. Another Panel Discussion will happen on April 4 at 2 p.m. This one features Morris Panych and Nicola Cavendish who will talk about their experiences of coming from a performance background into the world Issue 6 page 15 of writing. That oughta be interesting. Meanwhile, back at Isadora’s Restaurant...there are two Cabarets! The first occurs March 22 and will feature short readings by this selection of celebrity playwrights: Tom Cone, Moris Panych, Peter Anderson, Death Cab, Caitlin Hicks, Frank Moher, Gina Bastoni, and Margaret Hollingsworth. And, hey, that psycho-person who wins the 24 Hour Playwright Competition will be announced that night, as well! The second cabaret, on March 29, will deal with a bunch of people from the Everex Playwrights Sweatshop (sweatshop? over-night play-writing? “Springrites OE: the year of dramatic sado-masochism”!) On March 21 at 2 p.m. Joan Macleod will read from her works (which include Jewel, Toronto; Mississippi; and Amigo’s Blue Guitar, for which she won the 1991 Governor General’s Award). Questions? Don’t call me: call either the Waterfront Theatre at 685-6217 or the New Play Centre at 685-6228. And, hey, while I’m on this theatre trip, why don’t tell you about the Vancouver Playhouse? Opening March 27 and running to April 18 will be that wit 0’ the century, Noel Coward’s Fallen Angels,. di- rected by Susan Cox, a veritable Coward enthusiast, | sure hope this production is better than Macbeth, the Playhouse’s recent flooze. At least with Coward you won’t want to go home feeling the need to scream into your pillow. The cast includes Camille Mitchell (“memo- rable star of A Streetcar Named Desire”), Corrine Koslo (Love and Anger), Russell Roberts, Craig Davidson, Anthony Bakenn, and Christine Willes. This production of Fallen Angels is really quite timely in terms of what has been going on around ECCAD lately. The entirety of the new left wing student-fascist movement should check this play out and clear up the confusion they have about what, precisely, “Middle Class” means. No one can explain it better than Mr. Coward himself. Tickets for Fallen Angels can be gotten by phoning the Playhouse Box Office at 873-3311, or through any Ticketmaster outlet. NB: Yes, this preview was written by a white, middle- class male: my yellow triangle is squarely upon my left breast. -Swan Lake Royal Winnipeg Ballet by Catherine Silva and Jim Smathers (the ballet “virgin”) The Royal Winnipeg Ballet recently performed Swan Lake at the Queen Elizabeth Theatre February 19-22. We went to see them the evening of February 20, and although I was hoping we would get to watch Evelyn Hart in the title role of Odile/Odette, Laura Graham inthe lead did the company proud. Heading into the theatre, it was easy to have high expectations: Canada’s best ballet company performing one of the world’s most famous ballets along with hopes of seeing one of the best balle- rinas dancing to the music of Tchaikovsky seemed too good. It generally comes as a surprise to have reality match anticipation. So there we are, two puny, underdressed, ignorant, cager beaver art students all bright-eyed and quivering, when the curtains go up and the stage is revealed; and let me tell you, big bucks were laid on this production. Take the second scene for example (the most memora- ble of all the numbers for me [Jimbo]), which was revealed as a wondrous forested area, the moon high in the sky, and a beautiful blue mist covering the surface, from which emerged the twenty-four swans in their soft skirts, perfectly accented by a mesmerizing blue light. The swans then proceeded to move in unison, and through the beauty of dance and light created an atmos- phere of ethereal elegance. Even the real die-hards (you know the kind: they have high lacquered hair, and try really hard to look like ex-dancers who act like they’ve just done everyone a huge favor by condescending to show their gracious selves in our grunting presence) were just impressed to hell. And then the dancers came on. | know the only reason they came onstage was to flaunt how much they poo-poohed grotty little things like, oh, gravity in front of the likes of us. - So the act continued on until the curtain went down and it was time for an intermission. There are some things that money can’t buy, as evidenced by rich people with poor taste. Watching the wildlife emerge made me grate- ful (for the first and last time) that I have absolutely no cash available for such finery. The costumes we actually paid to see were almost as entertaining, as the Banquet Scene demonstrated. This act portrayed dancers as people of other lands spectacu- larly costumed in flamenco dresses and suits, beautiful burnt sienna dresses, and some very memorable tur- quoise gowns. The rest of the ballet continued merrily along, with one particularly beautiful piece danced by the two main characters which received some of the most enthusiastic applause, accompanied by acrobatic bouts of spinning, throughout which neither dancer thought of losing their balance. Then it was over, and we pushed our way through the expensive crowd, many with their bored kids, and several patrons made more agreeable by the Herculean quantities of wine chugged down during in- termission. The good thing about going to these events is that you can feel really good about having spent the last couple of hours sitting and staring in one direction. Of course, if you're insecure, by comparison you'll also feel flabby, awkward, and really wish you could look that good sweating in public. So, if you ever want to have a neato time, and even enjoy the intermission, go and see the Royal Winnipeg Ballet. Chances are you'll get your money’s worth and possibly experience one of the most visually stimulating performances of your life. ax -Zanni Dell'Arte Ttalian comedy comes to ECCAD by Terry Dawes (nthe afieroon of Febuary 19, the Zann Players staged a rare theatrical eat right here in our lovely school. The Commedia de” At, an Italian gene of theatre fom the ime of Shakespeare which has previ ‘cusly been more readily avaiable in theatre textbooks and cases than natal theatres, was brought fein the form of a question and answer workshop and per fomance tended mos bythe school's medi types. ‘The orginal Commedia del” Ate rignated the ype of performing thatthe genius Marx Broters came to later pecfet; avery formal, stylized kind of physical comedy incorpoaing huge doses of improvisation bil ‘up aroud the barest premise o chick, nd also using indicative costumes to bring the characters oie. The characters don't need the complex motivation ofthe average Robert Deir character. Its understood that theonlthingthatmotvatesPucine!aisoodo perhaps the possibly of love and that al the ther characters have todo isofer up morsel and Pulcinell will go any lengths to saisty, thereby ensuring that the asic conflict necessary for dana to ensues established. ‘The Zan Players pefomed here because thy hope texas working relationship between the choos Media Depanment and themselves, which sould prove ‘rfl considering bountiful acting esourcesthey re ‘prepared to offer us. God know we've seen enough of lousy student films which incorporate the decors frends based onthe “actor's ably to look sullen oat angst ridden. Actors are ruc rafispople. But | don't medio yout gs, ‘Anyone interested in working with he Zann Players or with helping thm ou, since they expressed a desire for some art students to work with them onset or costae ‘design, shuld call Susan Beroia at 526-2090 or 734- 4166. And hep ancy ou for them performing around ‘own. What do youneed, an invitation? Get with it! Planet of the Arts Volune 7 -Springrites ‘92 Previews by Andrew M. Robulack ‘This year's Springrts festival presented by the New Play Centreat Waterfront Theatreon Granville sand isa veriable potpourri of play-wrtng evens. Running fom March 2010 Apri 11 it begins with the 24 Hour Playwriting Competition. Overnight 20 (unlucky con- ‘estas, myself included wil each be expected to com ose complete seri ready for performance. A winner willbe chosen for productionnextyex, So wishmeluck. Ongoing during the festival will be appearances by Playwrights reading from their recent works. (Cnet Cera alee Flas gle hete- Dovid Cooper The centre pee for he esa sa series of plays hich emerged from as fal’ One Act Play Compe tion. The plays in hs series areas follows My Mirror, My Sl by Maureen Robinson; staring Jill Daum and Les Jones Elvis and Mavis by Jeff Pitcher; starring Todd Duckworth, Crystal Verge and Puls Wolfson Yes, Officer, I'm Sue the Tree Belongs to Me by ‘Suzanne Anderson; stating il Daum, Lesie Jones, David Kirby, and Ker Sandomirsky Blue Caribou by Andee Vercer; staring Todd Duckworth, David Kirby, Kerry Sandomirsky, Krista ‘Wallace, and Paula Wolfson ‘These productions will run tthe Waterfront Theaue from March 20 to Api One of the Panel Discussions this year wil featur the {judges ofthe aforementioned One Act Play Compet- tion—soallofyouloss hiss your chance opthem withthe roten rit of yourebocen revenge! Present thiseveton March 22at4 pm. willbe Peter Andon, Paticia Ludwick, Joan Macleod and Bob Whit. I'm sure theyll offer good excuses for their choices of winners inthe competion. ‘Another Panel Diseusson wilappenon Api 42 ‘pm. This one featwes Mors Panych and Nicola (Cavendish who will lk about their experiences of ‘coming fom apeformance background into the world Issue 6 page 15 of wring. That oughta be inresting. Meanie, back at Iado’s Resauran.there are ‘woCabarels!Thefirst occurs March 22and wile shor readings by ths selection of ele play wright: “Tom Cone, Moris Panych, Paer Anderson, Death Cb, Cain Hicks, Frank Mobe, Gina Bas, and Margaret Holingsworb, Ande, tat psycho-prson who wis ‘he 24 Hour Playwright Compeiton willbe announced thatnight aswel! The second cabaret on March’, il al witha banc of people fromthe Everex Py rights Sweatshop (sweatshop? over-night play-writing? “Springs 92:he year of eamatesado-masochism) (0n March21 a3 pam, Jan Macleod will cd from ec works (which inlde Jewel, Toronto; Mississippi, and Amigo’ Blue Guitar, fr which sbe won the 191 Governor General's Awad Questions? Don't cal me: call cite the Waterton Theatre at 688-6217 oF the New Play Centre 685-608, Andy, wile 'm onhstheare rp why don't Itll you abate Vancouver Playhouse? ‘Opening Marchand running io Apel 8 willbe that wit othe century, Noel Covard’s Fallen Angels, i rected by Susan Cox, a verable Coward enthusiast, 1 sure hope tis production is ener than Macbeth, the Prayhouse’srecem foot. At lest with Coward you ‘won't wantto go home etn the edo Scream ito yourpillow-Thecastincldes Camille Michell (°memo- rable star of A Streetear Named Desire”, Corrine Kosio (Love and Anger), Russell Robes, Craig Davidson, Anthony Bake and Christine Wiles, Thisprodcon of allen Angelsisraly quite timely in ems of wht has been going on around ECCAD Inely. Te ent ofthe new et wing studentesis movement ood check ths ply out and clear up the Confusion they have about what, pes, “Middle Class” means. No one can explain it beter han Ms Coward hms Tickets for Fallen Angels canbe gotten by phoning the Playhouse Box Office at $73-3311, or through any Ticketmaster oulet ‘NB: Yes, this preview was writen bya white, middle class male: my yellow triangle is squarely upon my left breast ~Swan Lake Royal Winnipeg Ballet by Catherine Sitva and Jim Smathers (the ballet virgin") ‘The Royal Winnipeg Ballet ecenly peformed Swan Lake atthe Queen lizabeth Theae February 19-22. We went ose them the evening of February 20, nd although I was hoping we would get to watch Evelyn Han inthe ileroleofOdile/Odete, Lara Graham nthe ead did the company pro, Heading into the thea it as as o hae high expectation: Canad'sbest ballet ‘company performing one ofthe world’s mos famous ‘alts along wih hopes of seing one of the es ball rinas dancing tothe music of Tchaikovsky seemed 00 300d. I generally comes as a suprise o have realty match anticipation. So there we are two puny underdesid, ignorant, eager beaver ant students all brigh-yed and quivering when the curtains goup andthe tages evald: and lt tell you, big bucks wee laid n this production ‘Take the second scene fr example ihe most memora- be ofall te numbers for me Uimbo), which was revealed a5 a wondrous forested area the moon hgh in the sky, and beautiful blue mist covering the surface, from which emerged the twenty-four swans in thir sot skins, perfectly acented by a mesmerizing blue ight ‘he swans then proceeded to move in unison, and through the beauty of dance and light created an atmos- hereof ethereal elegance. Even the real dic-hards (you know the kind: they have high lacquered hai, and ty tally hard 0 lok ike ex-dancers who act lite they've {us done everyone a hage favor by condescending 10 show ther gracious selves in our grunting presence) ‘wee jus impressed to el, Andthen he daneers came 5. | know the only reason they came onstage wa 10 Taunt how much they poo-poohed guy litle things ike, ob, gravity in from ofthe kes of us. ‘othe ac continued on until he cura went down and it was time fran intermission. There are some things that money can’ bay as evidenced by rich people with oor taste. Watching the wllifemergemademe grae- fal (Cor the fist and last time) that have absolutely no cash availble for such finery ‘The costumes we actually pid 1 see were almost as entertaining, a5 the Banquet Scene demonstrated. This at ponayed dancers penpe of ote lands spectacu- larly costumed in famenco dresses and suits, beautiful tum sienna dresses, and some very memorable tr quoise gowns. ‘The rest ofthe tlle continued meri lon, with one pariculaly beaufl piece danced by the two main charaters which recived some of tie mst enbsistic applause, accompanied by acrobatic bouts of sinning, throughout which ete dance thought of lasing their talance. Then it was over and we pushed out vay through the expensive crowd, many with their bored ids, and several patrons made more agreeable by the Herculean quantities of wine chugged down during in terion ‘The good thing about going io these events that you «an fel aly good about having spent the ast couple of| ous siting and string in one drcion, Of couse, if you're insecure, by comparison you' als el abby, ‘awkward, and really wish you could look that good sweating in publi. So, if you ever want o havea neato time, and even noy the intermission, go and se the Royal Winnipeg Bale Chances ae you'l get your mone’s wor and posibly experience one ofthe most visually tiulaing eomans fer i