Trinity College School - Record Yearbook (Port Hope, Ontario Canada)

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The second production of the evening was Port Hope High School's interpretation of The Zoo Story . A difficult work to tackle successfully, the general concensus was that the interpretations of Jerry and Peter were not only viable but with merit. The strength of character required for simulating Jerry is one of the difficulties of the play, and considering this. the two Port Hope boys are to be commended for the skill they dis- played in executing difficult roles. Our own T.C.S. production proved itself com- parable to the other two in execution, though the actual content of the play was very different. 'Sorry VVrong Number is a well-known mur- der mystery comedy. Though undoubtedly the most narrow in scope of the three plays. the acting of VVoody Blilholland and the superb direction of Mr. Robertson produced a good plav VVhen the evening tinally Clinic to an end at 10:30 p.m.. the general feeling among directors. players and audience was that it had heen an evening well spent. Speaking for the T.C.S. players. l can say' that it was a most enjoyable endeavour. Through each other's mistakes and strong points. we learned something of value for the future. One fact remains clear: The Une Act Play Festival warrants continuation in future years. hopefully on a larger scale. 'll -1 fn ft'lrIA1Jt'l't'l1ft

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Romeo and Juliet Page lb Franco Zeff'erelli's film, 'Romeo and Juliet' is an absolute gem. Juliet, played by fifteen year- old Olivia Hussey, a new anti-Hollywood anti- heroine, achieves a love so profound that the film-goer believes that the ONLY words with which she can describe her love are those written by Shakespeare. Romeo, played by seventeen year-old Leonard Whiting has a love so burning that one can hardly believe that it is true until liis death, for it will surely burn out long before at. . Zefferelli has, of course, eliminated some of the minor sub-plots and scenes from the play. By the elimination of detail and by the ability of the film to bring more realism to the screen, the viewer is able to concentrate more on the sequence of the play. We with the actors more - we believe in their fate. In this way Zefferelli brings us to deeper sorrow and to higher joy. We are brought so low during the arile of Romeo that we almost feel uncomfortable ourselves. By the time of the tragedy at the tomb we have plumbed the depths. We are able to feel the sud- den maturing of Romeo, forced into adulthood by circumstance. Juliet catches us as Romeo dies and leads us along her road until we actually believe in her fate. The very flow of the film to an early tragedy leads to my only criticism, and it is only because of a personal feeling which some might not feel. Our dizzy fall to sorrow, culminating with the burial of Juliet, leaves one exhausted and spiritually full. Some might feel, as Idid, a little ill at ease and even tired during the tragedylat the tomb. But even this did not allow me to escape into cynicism, and I was caught in e brilliant portrayals until the very end. t There is no doubt that this film will appeal to the Pepsi generation. At a time when 25 per cent of the movie-going public sees 39 or more films a year, and when eighty per cent of these are between sixteen and twenty-five years old, youth is a popular carrot for a film . . . Wild in the Streets , 'The Endless Summer , and 'Hells Angels' are examples. But 'Romeo and Juliet' is artistically and tastefully directed from the beginning to the end, including the touching bed scene. At a time when Hollywood colour, split- screens, 'squeezed' telephoto shots, and nudity have begun to detract from the actual artistry of film, it is a pleasure to watch acostly film done with taste and style. T W Barnett