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Coral Andrews Chronicle Special The horror and the uncertainty of the Nuclear Age hovers above today's apathetic society like a twisted sinister mushroom (-qud. The KAN Amateur Theatre is acutely aware of this panic-button theory and in an i-urm-sl attempt to inform interested beings on this third wau- planet, staged their own retrospective insight into the absurdity and futility of the Nuclear Ago. No Time for Tears, a pr'emostalgir cabaret performed recently at Waterloo's Adult Recreation Centre, With a thoughtful and provocative occasion for all. 'it-rw-hifi/it-ear Theatre production thoughtful, provocative KieAT complied a series of vignettes from chosen A compilation of sketches, song and dance numbers relating the history of the nuclear age, No Time For Tears by the K-W Amateur Theatre group played to packed houses last week at the Adult Recreation Centre. Here Tom Roedding, a former Bluevale collegiate‘ student now on his way to the University of Waterloo, performs 21 A.B. (After Bomb) - a musical, and sometimes humorous, lexplenetion at how the wortd came to end Jn a nuclear holoceust. new mum. photo plays, sungs and speculations of other artists to devise both a versatile and innovative. yet crushing. state - ment. 500 AB. (After Bomb) was Mummenshantz type iA. highly acclaimed mime troupe throughout the world) scene in which two camouflaged green blobs explore and impure one another after the holocaust, to haunting, earthy flute stylings, This piece was inspiring. yet frustrating, because the main action centred on the noor and the audience had to cram- their necks to we it. Haised on a simple wooden platform, this segment would have had much more im pact. . Overall, the production was polished to a point but the constant shuffling through numerous wt changes transformed the pace to a theatrical yp-yo. More time to Tom [wedding and Cynthia Kelly in 21 Years A.B, both have good distinctive vocals, Cynthia possessing a rich, mellow. yet casual. flair and Tom a flamboyant compliment to her interpretive style. Solo, Cynthia was naturally effective. with good visual overtones as she sang Joni Mitchell to a series of slides dealing with the horror and the human failings war always brings. perfect technwit operations wuuld have certainly remedied this interfering aspect, _ The players were the' key: with strong potential and stage presence by ail repeatedlyrtivmons1rated. Th; produGion ranged from the 1505 to the 'ttOs with a drama/comedy slice-of-life attitude that was often hu- morous. theme ohm: production number featuring Tom Budding. Atso shown hove an (H) Jane Tom, Cynthia Kolly and WOW Sowauky. W Mertirtu* mo The complacency of the work! in the 19603 towards the growth in nuclear armaments was the 1g,!!,i,.t, "ill; i g? i" 'i. No Time (For Tears Fab Fifties, with Jane Topper as your typical 'soap opera' spouse, was amusing ax she gabbed on a gigantic styrofoam telephone mutation and deftly stalled a welrmeaning nuclear vendor at the door. But lhehighlighl in No Time for Tears was the dance of the Two Sarperpowers, where all cast members darted m the monosylabic drone of the band Shriekbacks' somber missle comment. The dancers sported Russian and American warmarkings respectively and against the jet-black drops and single spot lighting, the piece was mesmerizing. Candu ' about Canada's foremost nuclear reactor set to the tune of the famed Royal Bank jingle. was top-notch in addition to a subtly brilliant cereal skit, where a middle-class nuclear family busily munching on their favorite brand of synthetic fibre obliviously switches the radio station when John F Kennedy"s fateful October missle crisis speech occur». Jun Klaassen's "nazi/smatzi" Strangelove-like de- claration was interesting to behold in the Late 'tiOs segment, as the obsessed warmongvr vehemently tried not to Heil his hand high. The finale, in the '80s featured the talent of Wally Sawatzky crooning a soft but serious When I'm Gone which brought the simple production to a nice, yet provocative. finish. as the whole crew joined in with beautiful, hand-crafted authentic banners and marked dedication to this controversial issue which was highly encouraging. Aniko Scharar and Meryn Cede” should take an atomic bow for a fine choreographic effort. According to dlraclor Aruna Manda. the "pro-noctalglc cabaret" was intended as an "orttortaining and my" way to introduce the public to the throat olnuclaar war. The hour-long production cloud with tho anllra cast, many carrying barman protesting (in lasting ot tho cruise Walla. bolnlng Wally Sawatalty twith guitar) in a ttnat tong by US scum! Tom Lehrer. WWW“)