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_ Mask hails inner beauty and strength PAGE 14 â€" WATERLOO CHRONICLE, WEDNESDAY, MARCH 20 Eric Stoltz took on the difficult part of Rocky, which involved his wearing an uncomfortable mask for long periods of time. This is a remarkable achievement for Stoltz, who manages to convey so much of the spirit and courage of Rocky without the usual freedom of facial exâ€" pression. _ It is also much to the credit of Stoltz and his director that Rocky never appears ugly to the audience. The Don‘t expect glorious nature shots, or elegant homes, or attractive faces. This is not an aesthetically pleasing picture, but rather one that tells a story of inner beauty and strength far greater than what most people will encounter in their lifetimes. Mask is the true story of Rocky Dennis, a brilliant young man who wins affection from all who know him. Rocky is also the victim of a physical disorder that distorts his face, due to calcium buildup on the cranium. The disease is fatal, but neither Rocky nor his mother Rusty are daunted by the apparent handicap. Ruth Demeter Chronicle Special If you‘re looking for a beautiful film, get in line to see Mask, Peter Bogdanovitch‘s latest release. In his fourth career as symphony conductor, Mr. Miller has crissâ€"crossed North America, regularly leading such orchestras as the Boston Pops, the Cleveâ€" land Orchestra and the San Francisco Symphony, playing to soldâ€"out houses everywhere, including the New Year‘s Eve Gala at The Centre in the Square. Tickets are $15.25, $12.50 and $10.25 with stu/sen. reductions. The program features the exotic Polovtâ€" sian Dances by Borodin, music from the Wizard of Oz, Vaughan Williams‘ Tuba Concerto performed by the KWSO‘s own Jane Noyes, a selection of "Once in a Lifetime Hits" including Alley Cats and Limehouse Blues, and Miller‘s famous sing along favourites. Sing along genius Mitch Miller returns to The Centre in the Square to lead the Kitchenerâ€"Waterloo Symphony Orchestra in the Seagram Pops concerts Friday and Saturday, March 22â€"23 at 8 p.m. Mitch returns to Centre Mitch Miller Columns were created of felt, plywood, and sono tubing, painted with glue to stiffen the architecture and then applied with aquaâ€"green wash. If this sounds like a lot of work, it is. West does a great deal of research on her assignments, pouring through period design and various modes of ornamentation to achieve desired auâ€" thenticity. To West, this is nothing new. She enjoys the constant challenge. West worked on this unusual set for a twoâ€"month period, drafting intricate blueprints with scale size directions for production manager Greg Yellenik and, building company to follow. West also erected a balsa wood and cardboard model of Venetian pillars, balustrades, railings and Corinthian columns arched to echo a round image and the visual impression of a larger freeâ€"standing structure. West and lighting designer Al Anderson worked through the idea, consulting with director William Chadâ€" wick, for the final adaptation. Originally from Montreal where she studied a threeâ€"year proâ€"theatre design program at John Abbott College, the attractive set and costume designer now living in Stratford has just completed her first professional solo effort with UW‘s Merchant of Venice, playing this week in Theatre of the Arts. . This usually brown stage locale sports an aqua glow this week, with a ‘marbled‘ plywood floor for Venice‘s merry folk to tromp about on as they see fit. Coral Andrews Chronicle Special All that glitters is not gold. UW Drama‘s Merchant of Venice, directed by William Chadwick is a perplexing visual experiment.â€"Chadwick has audaciously decked its cast in Edwardian garb, rather than the standard Shakespearean dress. This concept results in individual conflict or contentment, depending on one‘s Thespian appetite. As you like it or as you don‘t. Merchant, continuing Thursday to Saturday at Theatre of the Arts is one of Shakespeare‘s finest testaments of wit, centering on female libido, played upon and enjoyed like a delectable feast of words and actions, all at the bewildered menfolks‘ expense. : Coral Andrews Chronicle Special It is also a tale of greed and the "revered pound of flesh," by The duality of this Merchant cast is gt;z;;neavbutâ€"lt;;a'rvlous miserly Jew Shylock, whose own ruthless scruples seek him _ characters exorcise the demon of seriousness for serious folly out at the play‘s end. The Merchant may glitter after all. She‘s set in her ways Twentyâ€"twoâ€"yearâ€"old Danica West is definitely ‘set‘ in her ways. Merchant needs work The stage is West‘s behindâ€"theâ€"scenes home beginning of the film focuses on his home, his baseball card collection, and his rock and roll music before showing his face. While it is easy to understand the reacitions of those who see him for the first time, our empathy is with Rocky from the start. Cher stars as Rusty, Rocky‘s drugâ€"addicted and freewheeling mother. This casting was incredibly wise. Cher‘s trampy style and lean, mean looks fit the atmosphere of the film â€" motorcycle gangs, endless pariies, and drug sessions. At the same time, Cher pulls sensitivity and strength into the character that do justice to her son‘s undaunted nature. She quite obviously thinks her son is beautiful, and believes that he is capable of anything. Stoltz and Cher are a marvelous team. Both are alternately child and parent; more often than not, Rocky tries to reform his mother‘s drug habits and sexual activity. She in turn accepts his protection, fights with him, and treats him as a fully capable individual. Bogdanovitch has also managed to add dignity and tenderness to the world of the motorcycle gangs. The many men and women who are Rusty‘s smoking and Movie review Thisâ€"week at Humanities "It‘s quite unusual to see so much colour in a set," said West. "I used a coal blue wash for the base, to give Venice the coldness and aloofness of Shylock. But with the rich Belmont scenes at Portia‘s home, this aquaâ€"green Venetian watery effect turns gold, opulent, amber and sunny with Al‘s lighting design,"‘ West indicated, as the exact lighting cue was demonstrated. Danica West Monid should take a lesson from female funster Nerissa, Elizabeth Shannon whose memorable portrayal in the recent UW Streetcar Named Desire, still summons a smile. Shannon unwittingly steals more than one scene with flair and finery. Kevin Bottomley proves an audience fave as lowly Lancelot Gobbo, with Stewart Easun a senile delight as old blind Gobbo, confirming the old adage there are no small parts. Michael Fletcher makes a truly inspiring Shylock, but Janet Monid, as Portia, a woman of infinte wit who picks her men by the caskets they keep company with, sadly resembles a school marm, (likely due to the costume) too severe and reserved most of the evening. She only begins to sparkle in the guise of gle learned legal doctor, out to save Antonio‘s ‘pound of esh‘. Perhap® it‘s much ado about nothing, but this Merchant troupe takes itself too seriously, with several exceptions. Rocky‘s ability to get people to love him is inspiring. When he falls in love with a beautiful blind girl, the relationship seems perfect, until her parents meet him. They do their best to keep their daughter away from "the freak." The injustice of this separation is part of what finally breaks Pocky, though he fights until the very last. « Anyone who feels that their life is difficult should see this film. No one will be able to watch Rocky‘s struggle and not be inspired to be the best possible. One of the funniest, most ironic scenes in the movie is Rocky‘s graduation. Rocky, who has been given his first suit by the gang members, is receiving most of the academic achievement awards. The leatherâ€"clad crowd at the back of the auditorium screams and whistles in approval, and afterwards Bulldog (who never speaks) slowly and painfully tells Rocky "I am very proud of you.‘" It is impossible not to feel the warmth in the words. drinking companions are all kind, warm and supportive of Rocky. At Stratford she began as a ‘dresser‘ and helped to outfit eight male chorus members. From there she worked in *boot and shoes‘ for a leather stint, then became design assistant to Susan Benâ€" son for the 1984 productions of The Gondoliers and The Mikado. In addition West served a term as wardrobe misâ€" tress at Stratford‘s Third Stage. The stage is clearly West‘s behindâ€"theâ€" scenes home, and she‘s looking for more work in this area, but will likely return to Stratford for the upcoming season. West likes the intimate detail in her craft and took extra care applying fine ornamentation to Portia‘s gold, silver and lead caskets. ‘"I learned so much during this time frame. We toured Mikado to London, England‘s Old Vic. In fact, this time last year, that‘s where I was." With this particular colour set, T of A‘s brown floor had to be covered with a thin plywood layer. West painted it herself with assistant painter John Smith, spraying set base colour, then splattering the floor with different washes of pink, green and black, for a marble illusion mingled with depth and warmth. The Merchant set itself is flexible with no major obstacles. In the background hang three tapestries, also designed by West, which add to the elegance of the Edwardian mode of dress. Mode of dress is another fascinating line in West‘s trade. "It‘s really a lot of fun. You just use a glue gun and it works very well. I also used this method to design the crowns for WLU‘s Camelot."