From page 13

haps tipping his hat to a
. Depression reality that
Broadway ignored, uses a nar-
row, spare palere and washes a
lot of potential colour sight
out of Phe show.

- In itself, it wouldn’r be a
huge problem. But it’s added
dget limitations that

‘result in no dance chorus
‘(choreographer Jeff Hyslop
must have wished for more

“help in the Havana numbers) ©

“and a smaller chan usual num-

-. ber of gamblers (12 sinners
are required for salvation).

: The focus is definitely placed

on the actors in this intimate
version of Broadway and,
mostly, that’s just fine.

Karin Konoval as Miss
Adelaide is the undoubred star
of this show. She sings well,
hoofs it well enough in the
Hotbox dance numbers, and
shines in her abilicy to make
what is a potential stereorypi-
cal dumb blond a three-
dimensional character with
genuine feelings. Sure,
Konoval gets laughs, but she’s
not out there looking for
them.

1 took longer to warm up
to Tom McBeath’s Nathan
Detroit, in part because he

pn Chol

doesn’t sing as well as
Konoval. Bur, by the end of
the show, he too had won my
respect for making sense of
the sexist politics implicit in
this show and matching
Konoval’s emotional intensity
at the end.

The more handsome cou-
ple of John Ulivatt, (Sky) and
Laara Sadiq (Miss Sarah) are
actors urst and singers second.
I liked what both were doing
until they sang. That’s not to
say they are poor singers, only
that they do not have the
voices envisioned by Loesser.

Standouts in the cast are
Stephen E. Miller as Nicely

Beats remain influential force

novel, On ‘the Road, became the bible for a
whole new generation of people wanting to
caperience life on their own terms. Along with

Allen Ginsberg, William Burroughs, Kerouac
became.a lightning rod for new voices.

Editor Holly G corge-Warren has helped
make sense of those days with this compilation
‘of essays, articles; and photographs. Much of
thi material is reprinted as it appeared at the
time, some of it was written for this book.’
Combined it offers a multi-layered look at an

important period. It was froma these 50’s roots
that the 60’s grew, and we are still feeling the |

influence today. From personal observations or

own opinion on what was the Beat generation.
There are many familiar names here, Hunter
Thompson, Patti Smith, Hettie Jones, as well
as some surprise contributors, like Johnny
Depp.

Page after page of great writing and .
insightful memories paint a rich and cclourful
history of a turning point of modern social

-history. While much of the material is focused -
-on the bigger names, there is also room for.

details on many of the minor characters, poets
and artists who brought their own vision into
this sub-culture, helping to shape it as it grew.

- This collection will wet your appetite for more

and the final chapter provides a Beat biblicgra-
phy to help fill that desire.
: — Terry Peters

Nicely Johnson, Shawn
Macdonald as Benny
Southstreet and John Innes’s
Arvide Abernathy.

Musical director Lloyd
Nicho!son deserves special

ce f

Friday, November 24, 2000 —- North Shore Mows - 25 —

praise for the job he has done
with the actors. The ensemble
numbers are a treat and the
“guys” especially shine in har-
mory.

Guys and Dolls is a good

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retrospective analysis, the authors all add their

3 oh Girl in Hyacinth Blue by

- Susan Vrecland (Penguin)

: 2, Girl with a Pearl Earring
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3.:The Bridegroom by Ha Jin

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5. The Mark of an Angel by
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