Much to admire in
Saiome production

From page 30

achieves much to admire.

The set was created for the cost
of the screws but looks better than
most ! have seen at Presentation
House. The heady smell of incense
filled the theatre while music —
murmured softly and mysteriously
in the background.

And even if the costumes were
neither Wildely luxurious nor
cheekily Beardsley they were con-
sistent and created a solidly tradi-
tional biblical look.

Unfortunately the lighting work-
ed against these strong elements,
helping neither time nor mood
shifts and reducing the image of
the moon to one of patent absur-
dity.

But perhaps directors Jennings
and Steinebach were deliberately
ignoring symbolism here, too, in
their pursuit of naturalism.

Personally, | don't believe the
play was designed to work this
way.

Sarah Bernhart said after
reading Salome the first time,

“But it’s heraldic; you'd think it
was a fresco. ... The word should
fall like a pearl on a crystal disk,
no rapid mevements, with stylized
gestures.”’

And | would agree that the play
is a series of frozen images, or
tableaux, with events in between
moving like a languid stream of
honey.

Nevertheless, within the less
poetic world of naturalism Alan
George, as Herod, and Leah Baric,
as Salome, create many fine mo-
ments. (It shoud be noted that
Baric alternates with Chantal Gib-
son as Salome.)

Both underplay to good effect,
and George finds more humor in
Herod‘s weaknesses than | had
suspected.

Baric’s dance of the seven veils
is doubly brave at this level of
theatre and deserves better sup-
port from the other female cast
members. (Panty AND slip lines in
ane case.)

There is much bravery in the
directors’ casting too. Several of
the company are high school stu-
dents, which can only bode well
for the future of Theatre West Van.
And they are not bad. The
youngest, 13-year-old Darren
Howard, could give lessons on
staying in the moment to actors
twice his age.

Salome is not a play that is per-
formed very often. Don’t let any of
my criticism stop you frorn giving
this production a chance.

Tuesdays are two for one, and
$5 opens the door on many
stimulating moral conundrums.

The play was banned in England
on the flimsy pretext that it por-
trayed biblical figures, but Wilde’s
story contains a morality, albeit
horrific, of iis own.

Lelani Marrell to star in musical
Reflections on Crooked Walking

AFTER TRAVELLING the high seas
as a cabaret singer for two years
on Princess Cruise ships, North
Vancouver-born singer  Lelani
Marrell is coming ashore to star in
the Arts Club’s production of
Reflections on Cranked Walking,
Ann Mortifee’s magical musical
adventure.

Marrell plays Gabby, a chit-chat-
ty tomboy. “She's really talk-
ative,” Marrell says of her charac-
ter. ‘It’s fun to play a tomboy
because | was one as a kid.”

It is the Argyle grad’s first stage
appearance in 2% years. Her last
tole, Audrey in the Arts Club’s
production of Little Shep of Hor-

rors, won her a Jessie Richardson
Award for outstanding  perfor-
mance in a musical.

“It’s nice to be on the .stage
again,’ said Marrell. ‘‘l really
missed it. I've been around the
world and summerecd in the
Mediterranean. Now | want to stay
on land for a while.”

Reflections on Crooked Walk-
ing, which previews Nov. 26-30
and opens Dec. 1, features Jane
Mortifee in the tithe role of
Madame Opia and Denis Simpson
as the earnest Doorman.

tt will be directed by Ann Mor-
tifee, who starred in the original
production.

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