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On Saturday, january 4th, Emily
and Charlotte set out to determine if
Jackson Davies could overcome his
popular image as a _ bumbling
R.C.M.P. Constable on prime time
C.B.C. and assume the dramatic role
of the oversized, slow-witted Lennie
in the Vancouver Playhouse produc-
tion of the Nobel prize winning Of
Mice and Men, written by John
Steinbeck.

The 1937 play was a significant
social statement of its time. However,
the impact. on today’s audience is
lessened by the social awareness of
the 80's.

The roles are well cast-and acted.
The sets by Edward Kotaner and the
lighting by Donald B. Scanow enabled
the girls to become enveloped in the
depression atmosphere of the ‘‘dirty
thirties’’.

The heart of Steinbeck’s play is in
the friendship two migrant farm
workers Lennie, ‘‘a good worker’,
and George, the acerbic little guy who
looks after the ‘‘big fella’’.

They protect each other from the
pain of loneliness suffered by the old
man (Robert Clothier, Relic on the

 

 
  
   

  

Beachcombers), the black man (Ralph
Cole of Ain’t Misbehavin’ fame) and
the neglected wife.

Lennie and George share the dream
of security and freedom that would
come from owning a ‘‘place of their
own”’ and ‘‘working for themselves’’.

The fantasy of ‘‘living off the fat of
the land’’ sparks, for a moment, a
new purpose in the old man and the
black man who hopes to share in ‘‘the
place’’.

Loneliness is very much a part of
any era, and many still dream of a
place of their own. It wasn’t difficult
to empathize.

It is soon evident that Lennie is a
bomb waiting to explode, and the
boss’ beautiful, blond wife, exquisite-
ly depicted by Goldie Semple inadver-
tantly sets off the fuse.

The dream is foiled by an ironic
combination of fate, character and
circumstances—the traditional form-
ula of tragedy.

The play affirms, in the words of
Steinbeck’s Nobel acceptance speech,
‘‘man’s proven capacity for greatness
of heart and spirit—for gallantry in
defeat, for courage, compassion and
love.’’" by EMILY and CHARLOTTE

COSHTOTOTOTHONOSOSOSONONON

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Pic, Left t Riau * William Samoles 4 Frank C Tuener

dlICOUVEr

Calls KK Me - January 1, 1986 Emily and Char-

    

(7s.
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lotte attended Vancouver Calls Me -

the whole song and dance, a produc-

* tion by Tom Graff celebrating Van-
couver’s 100th birthday.

The girls, arriving at the Vancouver

 
   
     
   
   
   
 

a Sop East Cultural Centre decked in
\ sequins and velvet, were disappointed
* by the failure of the rest of the

 
 

audience to dress up to the festive
evening. Where was your birthday

© spirit, Vancouver?
whole \ The performers, however, turned
\ out in white tie and tails to sing and
\ dance their way through Vancouver's
| last hundred years. While the individ-
ual performances were excellent, the
material left something to be desired.

&
‘. pance’ It was often repetitive, particularly
Si z

 
   
   
     
   
    
 

  
  
 
  

the talk show sequence which gave
the same information about Van- _ The entertainment section

for writers to cover local,

 
 
  

ol ie couver’s past three times.
ee It was often difficult to determine
Bo which era was being represented, and lleries; theatre; and
SN ue as Humanities
ah | on at New West
our music and

doing.

 

the transition from one piece to
another was often difficult to follow. It
was not always clear whether the
material was current or from a period
in Vancouver’s past. However, the
postcards to placards segment pre-
sented a delightful picture of old
Vancouver from the point of view of
visitors and new residents to Van-
couver over the years, and moved
clearly through the years.

The performances were energetic
and spritely, and Connie Kaldor in
particular contributed a brightness
_that helped light the birthday candles.

     
   
  
 
  

 
  
 

     
   
   
   
   
   
 
 
 
  
  
 

 
   
   
 

  
  

D.C. musi
# , or anything
think of — Come on
make The O.P. Entertain-
ng this semester. It’s your

 
 
     
  

re
ment exciti