The Citizen, 2001-07-18, Page 19Heated discussion
Jack (Eric Trask) spits insults at his wife Flora (Michelle
Fisk) in the Blyth Festival's production of Cruel Tears. (Off
Broadway Photography)
Table for four
Things went from strange to really strange as Amanda and Elyot (centre) have breakfast with
their cuckolded spouses, Victor and Sibyl in the Avon Theatre's production of Noel Coward's
Private Lives. (courtesy photo)
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JULY
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Adella Andrew graduated with honours,
June 7, 2001, from the University of Guelph,
receiving her Honours Bachelor of Biological
Science Degree. Adella is currently working
as a research assistant at the
Ontario Veterinary College in
Guelph. Attending her convoca-
tion were her parents, Allan
and Linda Andrew, grand-
mother Catherine Andrew of
Lucknow, and grandmother
Idella Wilson of Brussels.
Best wishes and congratula-
tions, Mom, Dad, Jordan,
Mary Joan & Holly
THE CITIZEN, WEDNESDAY, JULY 18, 2001. PAGE 19.
Entertainment& Leisure
Theatre review
Music sets tone of Blyth's 'Cruel Tears'
By Mark Nonkes
Citizen staff
The sounds of the Blyth Festival's
Cruel Tears, which opened Friday,
had the audience tapping their feet to
the knockout country tunes.
A musical set in the Prairies, Cruel
Tears focuses on a truck driving
company and love that is found in its
folds. The show set in the 1970s,
brings the trucking lifestyle of
women and boozing to the audi-
ence's attention.
The tone of the show is set with
the music from Humphrey and the
Dumptrucks, led by Michael 'Eamie'
Taylor. The trio plays a mixture of
upbeat, slow and mellow sounds
with guitar, upright bass and
fiddle.
Johnny (Mark Harapiak) the popu-
lar Ukrainian trucker and Kathy
(Adrienne Wilson) the boss' daugh-
ter fall in love despite their different
backgrounds.
Determined to make their love last
the two convince the father to let
them marry through songs and dia-
logue.
Theatre review
As the son-in-law to the owner,
Johnny is gi ven a promotion, which
causes rifts with the head company
man, Jack (Eric Trask), a mean,
back-stabbing character.
They wed among fellow truckers,
most whom we meet at the bar. After
a brief ceremony a dance with
impressive and funny movements
wows the audience.
Through an unlucky set of circum-
stances Jack begins to spin of web of
rivalry and deceit.
Many of the songs stop the show
and bring lengthy applause from the
audience.
The show is tilled with comedic
moments, especially from Taylor and
the band. In one scene they are a
record player, singing the songs an
actor chooses. It is a moment that
brings the house down with
laughs.
The only disappointment of the
evening is the shocking and abrupt
conclusion of the show.
The unforgettable gems of the
show come from the secondary char-
acters. A budding romance between
an awkward lout (Adrian Churchill)
and the local waitress (Bev Elliott) is
charming. An easygoing hippy
played by Christopher Morris is a
scene stealer.
As Flora, a hard-done-by house-
wife, Michelle Fisk is wonderful.
Her solo about a husband
who's never around is heart wrench-
ing.
Alan Wilbee's minimal set of
painted revolving panels is effective
and plays an important role in
telling the story.
For someone who doesn't always
enjoy country music, the songs and
sounds in Cruel Tears were 'gurpris-
ingly enjoyable.
In itself the band and music from
Cruel Tears is worth seeing and
hearing. The action on stage is just
an added attraction.
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ilauffin d Mattette
`Private Lives' proves love never simple
Love Greg, Bryce,
Andrew & Kaitlyn
By Bonnie Gropp
Citizen staff
Sharp, well-acted and beautifully
designed, the Avon Theatre's pro-
duction of Noel Coward's Private
Lives promises an entertaining night
of theatre.
The story centres on a divorced
couple, passionate as much in mat-
ters of the heart as in temper, who
find themselves five years later hon-
eymooning at the same hotel with
their new spouses. Amanda Prynne
and Elyot Chase, though first horri-
fied at these circumstances, soon
rekindle their burning attraction and
escape together to Paris.
There, despite a pact to halt any
bickering before it escalates out of
control, the pair end up in a battle of
the sexes, quite literally, to the dis-
may of their new partners who final-
ly catch up with them at Amanda's
flat.
Then as Sybil and Victor, the
cuckolded couple, begin their own
war, their impetuous spouses once
again let passion triumph over com-
mon sense.
Love is never simple, and Coward
created a witty take on its many
complications. Physical attraction
and chemistry over calm and affec-
tion of a more solid nature are exam-
ined with humour and not just a
touch of cynicism. The repartee, the
snipes and jibes, the verbal combat
pop out with a finger-snapping
rhythm that moves things along
nicely.
Brian Bedford as Elyot does on
occasion take his time savouring the
moment before punching in his line
but one can't really blame him.
Bedford, who also directed the play,
is thoroughly enjoying himself. One
can almost sense he's aware this may
not be the best work he's done, but
he's having a blast.
And even the worst from this con-
summate actor can be better than
most,
His equal, both in the play and as a
performer is Seana McKenna as
Amanda. McKenna, brings an ele-
gance to a character who in lesser
hands could be quite graceless.
Both Elyot and Amanda, despite
their hedonistic and selfish tenden-
cies are likeable, primarily because
of their wit and their ability to laugh
at their own foibles and failings.
Bedford and McKenna's charisma
improve yet further on this.
As the blustery Victor and insipid
Sibyl, Wayne Best and Sarah Dodd
do an admirable 'job against such
accomplished actors. Best is all
annoying swagger while Dodd gives
the right amount of fluff to the role.
Yet, probably the star of this pro-
duction would be the elegant set
design by John Lee Beatty. From a
hotel terrace on a summer evening in
France to Amanda's tasteful flat, the
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detail ambitiously captured the ener-
gy of the 1920s.
Coward's work is always best
delivered with verve, and as the
audience laughter would indicate the
Avon production of Private Lives is
a lively night of theatre.
IN
111
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