by Cynthia Ashton Styles K—so it’s midterms and we all feel weighed down under an impossible load. But if you’re looking for some light relief towards the weekend, why not take in Kismet at the Massey Theatre. This is a big show, presented by the Peace Arch Musical Theatre Society, and it’s a colourful evening out and a good cure for the February blahs. A show of this fhagnitude is quite an undertaking for an amateur group and happily the principals are all experienced. Angus Kenneth Stuart, who sings the role of the romantic young Caliph, is a fine operatic tenor with an imposing stage presence. Marsinah, the girl who captivates him, is sung by Debra Da Vaughn, whose soprano voice also has an operatic upper range. These two alone, when their voices soar, are worth the price of admission and are both major talents. Their duet ‘This is my Beloved’ is a high spot of the show. Paul R .Thompson, in the role of Hajj the Poet, strikes a clever balance between comedy and villainy and delivers his lines and Lightning Knopf Canada by Trent here is a mystical thread that runs, it seems, through everything that Gail Anderson-Dargatz writes. In her previous book, The Miss Hereford Stories, the mystical thread is wondrous, and ties the stories together like a thread of gold. Here, the sense of awe is re- placed by fear, even danger. This book is darker, moodier, deeper in touch with the mess of desires and passions that drive humanity. Sometimes, it’s not a pretty sight. Unlike Miss Hereford, a collection of short stories and anecdotes about a single character, The Cure for Death by Lightning is a full- blown novel. The main character, Beth Weeks, is a teenager living in trying times. Across the ocean World War II rages, distant, horrible. Meanwhile, in her hometown of Turtle Valley, BC, strange things are happening. A classmate, Sarah Kemp, is mauled by a bear. Children are going missing from the nearby reserve. But Beth has problems closer to home. She is being pursued relentlessly: by the local boys; by one of the girls from the reserve, jealous of Beth’s friendship and affection; by the farm hands who work on her father’s dairy farm; by her father himself who is slowly going crazy. But most frightening is the strange, unknown force that hunts her and haunts her. The book doesn’t move quickly, but the strange happenings leave th Beth and the reader disori- ented, always a little off-kilter. All the characters (save for Beth) are a little off-kilter too. Filthy Billy, the farm hand, is an inveterate swearer. Her father kills a porcu- AGE his songs with the punch they require. Ed Milaney as the wicked Wizard is another strong character, while Susan Drury as his seduc- tive wife Lalume is another singer with operatic talent. Since the score for the show is adapted by Robert Wright and George Forrest from music by the Russian composer Borodin, operatic talent is what is required. Strong musical support is also needed and this is ably provided by the pit orchestra under the direction of Henry Waack, the show’s musical director. Henry Waack has been teaching piano in the Music Department at Douglas College for many years, and the music scene in BC and elsewhere is scattered with his former pupils. There were a few Douglas College music students in the orchestra pit on opening night with Henry and it sure made a difference, because this kind of music. cannot be played by just anyone. Visually the show is a delight with colourful sets by John Gleadle, sumptuous costumes by Doris MacKellar and effective lighting by Donald Thorsness. Produced by Vina Envik and with The Cure for Death by Gail Anderson-Dargatz pine and serves it to guests as chicken. Even her mother, solid and reliable, is a little off. But despite their quirkiness, they are all real. Beth is a complex character study, both strong and weak, iron- willed and malleable, aggressive and submissive. Full of love and hate, confusion and wisdom. Ina word, human. Sometimes, though, it feels like the reader is a little too detached from the character. Maybe it’s a stylist choice, forcing us to get beyond the defensive walls of the character, but at times it’s tough to really feel for Beth. Sometimes, the honesty Gail Anderson-Dargatz infuses the book with is painful. She forces us to look at who we were then and who we are now; the way women were treated, the way Natives were treated, and the way we view humanity, sexuality and nature. There’s a lot happening in this book, and much of it forces us to look at the seedy underbelly of our own psyche. Beware, the view can be disturbing. Romantic leads soar in Kismet Norman Leggatt as Artistic and Choreographic Director, assisted by Doreen Marlor, this show has good credentials behind it and should enjoy a good run. However, there is a problem in the length of the show—three hours! A few judicious cuts need to be made—but it’s difficult to know where. Also, there are times when the chorus is unfocused. And some of the singers seem to be straining their voices on the high notes. This could be due to the fact that the show has no voice coach or chorus director—a vital function in musicals. (It’s rather like sending in a hockey team to play without a captain!) However, the principals are all pros with lengthy performing credentials. Susan Drury has trained professionally in New York and Debra DaVaughan is currently studying with Marisa Gaetan. Angus Kenneth Stuart has sung opera in the States and in Europe as well as in Canada, and Thompson and Milaney are both “old hands” at musicals. The dancers are a treat to the eye, with seductive costumes and routines, so Kismet can provide a good end-of-winter tonic—for Amelia Douglas Gallery by J. Robinson alled ‘Chaos and Order: Life Patterns,’ Amelia Douglas’ latest exhibit opened Feb 14. The paintings by Heffa (Elisabeth Rittinger) follow two distinct directions. There are paintings that flow with the abstract. They are simple things trying to make sense of a larger existence. She is translating everyday reality into universal paradigms. Her other direction is more personal, trying to under- stand the individual within a larger context. Reaching into an abstract, and often incomprehensi- ble, world with only emotions to weave the singular into the multitude. The personal is dis- played with binary simplicity, thin black lines invading indistinct, faded backgrounds. It is unclear whether the outside world causes individual action, or is affected by the singular human tying all space together into some sensibility. Seemingly unordered, her thoughts spill incomplete from one canvas to the next. Sometimes, you just have to sit and write. Oft’ times the words don’t come, and there are many times when words aren’t enough. I imagine Heffa sits down, and just has to paint. Perhaps she has an idea of what she wants to say, but I think she just has to paint. Some things need to be said, and it doesn’t matter when, where, who by, what words or images they are or even what they could mean. This display is intrinsically connected to what Heffa has to say. Heffa’s patterns try to show elemental reality, caught at a pre- rational level, unlimited by any borders. There are no shadows and very little light to illuminate any concrete, or multi-dimensional, objects. The painting itself, as frame and object, is more substantial than Angus Kenneth Stuart, the tenor. around the corner and that there are places in the world where the sun still shines! those of us who manage to survive the midterms! The romantic songs, such as ‘This is my Beloved’ and ‘Stranger in Paradise’ are timely reminders that spring is just yestalt am Photo avi Heffa (Elisabeth Rittinger) ‘Chaos and Order’ will be at the Amelia Douglas Gallery until March 17. There will be an artist's talk noon Tuesday, Febru- ary 18 in the gallery. what is being painted. And what is being painted is a mood. If you close your eyes and imagine seeing before you were born, you'll get a good idea of what these paintings say. David Tam Photo Perception: The Mind's eye «(CHINESE CUISINE* 3 item Combo Lunch Special 10 dishes to choose trom Now $ g' 29 included ASSP U 11) (Ol PR LO.RFH 1 eA RD daily soup with any purchase of Chinese Combo, Sandwich or Burger THY BLESSED KITCHEN+520-0782 The Other Press Februarv 17 1997 9