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Li, Gscriherss name will he omen-d in a draw for a Theatre "Mend for two m New York my, mummy of Faton's Travel ihiverNity of Waterloo and WIterlm, I'mmoum - - Rodney Gilchrist Chronicle Special The Beckett School of Piano on King Street in Waterloo has a piano program that teaches children to play through a process they can understand - the “mother-tongue" ap- Students ot the Suzuki Piano Program at The Beckett School of Piano practice as their instructors watch. Left to right Sarah Gropp, Beth Taylor, Judith Beam and Lorna Sawatsky. Roomy Gut-hm photo proach. WV“... The mother~tongue method of teaching tackles the process the same way a parent teaches a child to speak - by ear and through repetition. "fiiriiiiiihod is the basis of the Suzuki Piano program, and is applied to students in the three-to-six age bracket. - .-. . Through the creation of a positive learning environment and by repeatedly listening to tape-recordings, the child learns to develop his/her musical potential note-by-note. Developed in 1932 by Dr. Suzuki when he was asked to teach a young child music and didn't know how, the program does not teach a child how to play professionally; instead it teaches how to play with an intimacy that can only Suzuki piano program takes ‘mother-tongue’ approach to learning come from a program that teaches piano as a way of life. - _ . Every step of the process involves the parent as much as the child. The parent must be there for every lesson and must assume a teacher role themselves when they are at home. The program requires the parent to make sure that the child listens to the tape they are learning from, for three to four hours each day. Because of the importance of the role played by the parent in the program, the school asks that the parent attend a lesson before signing their child up. -rdditkb/an, a teacher with the school, describes the Sukuki method. ”all involves learning one thing at a time, one finger at a time," said Bean. "This way the child is always bulldingon what he knows." There will be a Suzuki piano recital on June 16, at 6:30 p.m. at the Conrad Grebe! College Chapel on Westmount Road in 1httt',t, After the recital there will be an orientatio meeting for prospective Suzuki parents. Trims "1th at the Humanities Theatre Box Offke (tttG 42g0)gndallother BNF outlets Hours Mmtdsttomdrt. " am m6pm-Uttstdry, I pm to5pm Coral Andrews Chronicle Special "I wrote the book from which the movie has not been taken." This the premise for Alan Alda's latest effort Sweet Liberty, a behind-the-scenes-, behind-the scenes-look at movie-making now at the Waterloo Theatre. Add English pompous Lothario Eliott James, 'who has the depth of an emotional eggplant' (Michael Caine - who merely exaggerates his usual self in the role), Michelle Pfieffer (Ladyhawke) as Faith, ,virtuous Sweet Liberty heroine Mary Slocome, and a quaint little Connecticut town, and you have the makings of historic modern com- edy. Alda has used his director's skills to his fullest in this film centering on sticky situations and backstage hijinx especially when it comes to extracurricular activities of the actors in question. Alda wrote, directed, and stars in this syrupy made-for-television movie adaptation about smalltown teacher Michael Burgess who writes a novel about the American Revolution which is taken consumed and predictably changed by the glamor and gaudiness of Tinseltown. - TGiriiGinek (a noted Canadian comic) is super as the no-nonsense Tootsie-roll sucking director who wants to spruce the movie beyond reality. Viol)! 'Hoskins is amusing as Stanley, a compulsive grape-muncher who passes himself off as a sereenwright - while dripping ketchup on Alda's revamped marytsprirlt. __‘ -. - . . "iTarirGii,ird%Tiltidins deserved hilarity is rather like a debonnaire version of Peter O'Toole with his ever-unsuspecting antics. Pfieffer doesn't quite get a fair shake in this film, but hopefully her time will come for she is a veritable talent. As Faith, she's trouble on the set, and director Rubinek would rather not handle her demands tending to 'avoid her when she's wearing street clothes.' Faith is wry, who wants whatever and whoever she gets, including her leading screenwright. "iriai"iiriiors. It's so old, so full of events," says Caine in one awkward tete-a-tete with Alda and steady girlfriend Gretchen (Lisa Hilboldt) who is also keeping “steady time" with Caine. . 'iiiiiiG'vGTs riGr'iUGro'tG?ieairiil his? octing role, unwittingly slugs the movie industry in his director's role but adds humorous insight into the script which iArTedictattltardyt tag contrived. In the long run, it's funny with Alda's casual flair for sit-com finery coming to the fore. The movie-within-the-movie plot of this film is Sweet Liberty's strength, as director Rubinek determined to make Alda's script a marketable concept warns his star writer if the leading lady and man don't fall in love, the "audience will set fire to the ushers." ”W113; "iiaiirurihiiurGl; itidsiof today want to see in a movie. One, defy authority, two, destroy property, and three. take people's clothes off," claims the director. - -- - . . .. And Sweet Liberty, of course, has of all three, including a wonderful cameo performance from veteran actress Lillian Gish as Alda's invalid mother. . But Sweet Liberty is not up to Alda's usual fine-honed MASH calibre of wit. It's a movie history in the making, but Sweet Liberty certainly won't make movie history. . Sweet Liberty too syrupy for classic status Movie Review 51mm!