BR Roméo ct Julicte by Chacles Gaunod, VOA pro- duction at the Queen E. Theatre, two performances remaining on Feb. 6 & 8. Ben D'Andrea Contributing Writer VANCOUVER Opera’s Roméo et Juliette should easily convert those naysayers who dismiss Charles Gounod’s treatment of Shakespeare’s romantic tragedy as lacking flesh and blood vitality. In spite of its appealing lyrical melodies, Gounod’s opera at first might seem to suffer from a lite too much Gallic refinement. In short, it can seer a bore. But in the hands of director Bernard Uzan, all the opera’s dramatic potential is brilliantly realized, with some of the most static scenes tumed into theatrical delight. Uaan, who is general and artistic director of L’'Opéra de Moniréal, handles the staging, with admirable attention to every last detail. Placement on the stage of both soloists and chorus never errs, even when jugglers, dancers, acrobats, and a fire-blower spill onto the already crowded stage. Of course, achieving this success with scene develop- ment required a bit of judi- cious pruning along the way. None of the missing pieces, however — like the silly Act TV wedding scene where Juliette succumbs to her death-like sleep just as Paris is about to slip a wedding ring onto her finger — is worth even a moment’s regret. Despite some long and noisy scene changes, the perfor- mance appears seamless from start to Bnish. Claude Girard’s lavish, colourful costumes and natu- ralistic sets were pleasing. A departure from the broadly traditional approach to design (and a nice touch) was the scrim depicting Michelangelo’s Creation of Adam from the ceiling of the Sistine Chapel. When Gounod visited the chapel, he heard liturgical music that greatly impressed him, and he went on to compose much church music of his own, The scrim Photo Tim Matheson SAVID Mitler and Karen Driscoll star in Gcunod’s opera Roméa et Juliette. recalls Gounod’s Sistine Chapel experience and per- haps draws attention to the nitual-like presentation of romantic love in his opera. Soprano Karen Driscoll and tener David Miller were completely convincing in appearance and in their por- trayals of the star-crossed lovers. They didn’t depend on cosmetics to appear voung: they are young. They also made a good-looking pair. Cynics might say that this is rarer than a size five shoe in the land of opera. Driscoll has a pleasing voice, though a small weak- ness in technique in the col- oratura passages of the famous Act T waltz song (“Je veux vivre”) resulted in less than maximum impact. She gained confidence and control as the performance progressed, how- ever, and did nor disappoint in the big love duets. Winner of the World Elvis Assaustion Compatition Memphis Tennessee 1997 Rated #1 Elvis Tribute Artist ia the World by “benge of fhe” Nemghis Tenessce 1997 Recegnized as Canada’s #1 Elvis Tribute artist by Bes Predey Marcu, Brandon Mer Voted Entertainer of the Year bby BC Tri Gti, Charber of Cocamerce 1997 APPEARING LIVE AT: The Eagies Chul Aucioriom 170 W. 3d st. - Hon. Cuz Saturday Feb. 6th “Avoid Disappointment” - ONE SHOW ONLY @ 2covs: 7:00 - Show: 8:00 om Tickets from: Fogles Club Lounge (604) 988-9973 Office (1-Spin} (604) 987-8815 nly $20.00 per person - Ca Sole Now - Everyone Wekome Miller has a clear, lyrical voice, and his singing had enough 3 youthful ardour to set Juliette’s balcony aflame dur- ing his Act IL aria “Ah! leéve- tol, soleil!” Miller and Driscoll were nothing shart of brilliant in their tinal scenes together, their acting, down to the smallest gesture, natural and masterly. In the final tomb scene, their performance nad the impact of rruth. Among the minor roles, mezzo-soprano Mariateresa Magisano, last seen as Berta in last season's The Barber of Sevidle, was the most impres- sive, As Stephano, Roméo’s pageboy — a role that Gounod obviously invented — she sang a most lovely tur- tledove song, her phrasing polished, her tone warm and wanslucent. Also strong, both ag actors and singers, were Gary Relyea as Frére Laurent and John Fanning as Mercutio. Grace Chan made a believable and funny Gertrude, Juliette’s nurse, though her loud sobs of joy following Roméo and Juliette’s marriage broke the dramatic and musical spell. David Agler led the Vancouver Opera Orchestra in a fine performance that gave Gounod’s auusic impressive weight. All aspects of this pro- duction add up to an enjoy- able evening. Mary & When,Johnny can’t read Lf your child has trouble with read- ing, writing and arithmetic, the problem may be dyslexia. About 15 percent of the population have it, and girls and boys are both affected. The dyslexic mind, often gifted, learns differently. At Fraser Academy, we teach differently. If your child is struggling in school, we encourage you to attend our open house to leam more. Open House — Thursday, February il * Drop-in for tours, displays, meet teachers and students 6 p.m. to 7 p.m. — Speakers | 4 p.m. to 8 p.m, — Activities * Douglas Halladay — Head of School, discusses dyslexia * Maureen Steltman -.A parent's perspective ¢« Heather Kedenbach —- Multi- sensory instruction Call 736- 5575 FRASER Friday, February 5, 1999 ~ North Shore News — amlet is direct ut disappointing Fran: pane One can only hope that Playhouse artistic director Glynis Levshon, betore chow wing her lineup for neat season, will leak atthe dast three productions that have appeared on her stage and compare small cat plavs that have something to sav with smali cast plays that do nor. eo¢ Thad expected to be leading with a review of what is one of the greatest plays ever written. But the Arts Club produc tion of Hamer disappointed me. Thave spoken to several people whose opinions © respect about wharf feel, and mst acknowledge at once that response is split, with ar least as many people expressing enthusiasm as disappointment. The dividing fine appears to me to be vouth and/or famil- iarity. Director Morris Panyeh and set designer Ken MacDonald. costume designer Naney Bryant, lighting designer Marsha Sibthorpe and composers Jeff Corness and Mark Ferris have created a palette of stimuli that are moody, unsettling and timeless cnough te reach to the new millennium. Something ciose to an hour has been trimmed from the text and Panych’s scene segues are either fast or interesting. Add to this the choice of Michael Shanks as the Prince of Denmark and this production is as cleanly accessible as you can get. Shanks, a °94 UBC acting rad who has worked at Stratford as well as starring in Szargate SG-1, projects a natur- al Hamlet whose strength is action, not introspection. In fact, with his overcoat flapping in the slipstream of his anger you wonder why this Hamlet doesn’t just bust a bortle in the face of his murdering stepfather and have done with it in Act 11. And that is both the strength and weakness of this pro- duction. Lacking, principally, are texture and nuance. Internal con- Hlict is limited, relationships work only on a simple plane and poetry is sometimes steamrollered (it doesn’t seem right that Donald Adams should have the most interesting, voice). I'm not laying all this criticisms on Shanks. Hamlet’s rela- tionship with his mother is one of the most challenging dilemmas in Shakespeare and Patti Allan and director Panych carry an equal load in filling in the blank after rejecting any Oedipal overtones. Likewise, Shanks’ interaction with Gerry Mackay’s Claudius rarely rises above irritation and anger. On the other hand, Hamlet and Ophelia’ s bricf encounter is crystal clear ( although Jennifer Clement’s mad scene is held hostage by her costume) and Shanks’ play-long interaction with Dion Johnstone’s Horatio is rock solid. Other standouts are Bernard Cuffling’s humourless Polonius, Kurt Max Runte’s Laertes, Ted Cole’s Rosencrantz, Zachary Ansley’s Guildenstern, and Donald Adams” Player King and Gravedigger. T loved what Panych and MacDonald have done with the staging but despair of the Arts Club’s budget restrictions on fit and finish. Benches that are the principal scenic dividers and, in the context of MacDonald’s rich drops ery out for the lustre of black ebony, are so badly finished they look like they came out ofa high schooi scene shop on the last day of term. Bryant's costumes also seem to suffer from occasional odd lengths and ill fit. Ifyou've never seen Hasler before T know you'll enjoy this production, if you have you may be disappointed. 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