March 1, 1985 PAGE 17 Hutt makes “Darrow” shine As a fearless entertainment writer for the Other Press, | have undertaken many: potentially dangerous assign- ments. This time | was called upon to by DAVE WATSON venture deep into yuppie territory to review the latest Vancouver Playhouse production — Clarence Darrow, star- ring William Hutt. Since this was opening night, the cream of Vancouver society came out to chow down at the reception follow- ing the show. Appropriate dress for the distinguished occasion seemed only appropriate, but | didn’t have any. with me and | didn’t have time to go home and change. | decided to go casual and hope others would too. No such luck. Even the other slobs were dressed in expensive, fashionable ratty clothes. Levis and a Grateful Dead shirt (with two small holes) are apparently not in vogue this year. It became obvious that | was in way over my head. | rationalized my appearance by convincing myself that | was making an anti-fashion statement. Mercifully the bell soon announced that the play was about to start. | couldn’t even get in tune with the bell because it sounded just like the warning buzzers on late model cars and | kept checking to see if my door was open. The play stars William Hutt, one of Canada’s most distinguished actors. Hutt’s theatrical career has included several Vancouver Playhouse product- ions, most recently the Autumn 1984 presentation of A Man For All Sea- sons. His portrayal of John A. Mac- Donald in the CBC production of The National Dream is perhaps his -most famous role. His reputation is well deserved, judging from his perform- ance in Clarence Darrow. Darrow is a one man show. This means the actor has to run all over the stage, schizophrenically talking to the audience (while pretending they’re not there) and to other nonexistent characters (by pretending they are there). Most plays of this type seem to be about recent American cultural heroes; the 19th century men like Mark Twain and Will Rodgers, full of wit and social comment. | had never thought of Clarence Darrow as a member of this crowd, but the play- write (David Rintels) re-educated me. The first act emphasizes Darrow’s 17 year involvement with the labour movement. By fighting for those oppressed by industrial robber barons, he caused many landmark advances to be made in the battle for worker’s rights, including the right of a union to strike without being indicted on crim- inal charges. Following the intermission, Dar- 28 at the Luv-a-fair Cabaret. Chilliwack / Wailin’ Walker and the Houserockers — March 1-2 at the Commodore Ballroom. Poisoned / Emily / Out of Propor- tion / Negavision / Reptiles / Indust- rial Waste Banned — March 2 7:30 p.m. at the New York Theatre (639 Commercial Drive). Tickets $5 at Zulu, Black Swan and /Odyssey Imports records as well as BeBop. The Kinks / The Blasters — March 2, Pacific Coliseum. Stringband — March 3 at the p.m. The James Brown Revue — March 5 shows, 7:00 and 10:30 p.m. Skinny Puppy — Thursday, February Vancouver East Cultural Centre. 8:00 ‘at the Commodore Ballroom for two Industrial Waste Banned / Cracked Maria — March 6 at John Barley’s Cabaret. K.D. Lang and the Reclines / Herald Nix — March 7-8 at the Commodore Ballroom. Shanghai Dog / Toxic Reasons / The Irritants / The Detonators — March 9 at the New York Theatre (639 Com- mercial Drive). Los Lobos — March 11 at the Commodore Ballroom. Unit E / The Doctors — March 13 at John Barley’s Cabaret. The Villians — March 15, 8 p.m. at the New York Theatre. Tickets at the door. Triumph / Angel City — March 16 at the Pacific Coliseum. Johnny Winter — March 18 at the ~ The speed of sound around town Commodore Ballroom. Slow / Sexual Infections — March 20 at John Barley’s Cabaret. The Shakin’ Pyramids / The Rockin’ Edsels — March 21 at the Commodore Ballroom. The Other Press Bash — March 22 at the Royal Towers Hotel. Watch for details. Edgar Winter — March 25 at the Commodore Ballroom: Joan Baez — March 26 at the Queen Elizabeth Theatre. Eurogliders / Red Herring — March 29 at the Commodore Ballroom. Deep Purple / Girlschool — April 6 at the Pacific Coliseum. John Lee Hooker and the Coast to Coast Blues Band — April 20 at the Commodore Ballroom. row’s career after World War | is chronicled, including the Scopes “‘monkey trial’’ and a 1926 civil rights case. Throughout the show Darrow’s strong aversion to the death penalty and concern for idealistic causes is demonstrated by the often unpopular cases he undertakes. (102 of his clients faced execution but none were killed). Clarence Darrow is a very topical play due’ to renewed public opinion against labour and for capital punish- ment. His irreverent attacks on organ- ized, restrictive dogmas are highlight- ed throughout the play. Considering the social and economic position of most of the crowd, | was surprised so many of them seemed to enjoy it. Not that | have anything against Socreds— some of my family are Socreds The play has some flaws but Hutt certainly redeems the idealized, some- what overwritten material. He’s my fave, but everytime | see a play he’s in, he flubs a couple of lines. Despite this he’s great. We love you William; don’t you be changing, now. The set was constructed to the Playhouse’s usual high standards. A courtroom dominates the center stage, flanked by a den/office and a library/ study. There are only three jurors’ chairs, but since there aren’t any jurors, it doesn’t seem to matter. Clarence Darrow is directed by Walter Learning. Shows are at 8:00 p.m., Monday to Saturday at the Queen Elizabeth Playhouse. Opportunities in International Careers A special one-day workshop on overseas job opportunities is being offered for students and others who have degrees in those fields in demand world-wide. Participants will learn how to tap the international job market, and they will leave with an understanding of what working and living abroad means on a day-to-day basis. Saturday March 16, 1985 9:00a.m. to 5:00 p.m. Douglas College, Room 220 700 Royal Ave., New Westminster Fee: $30; students $20 Registration Deadline: March 1, 1985