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Page 64 text:
.. .Kg if
Synthesizing the creases, wrinkles, bumps, and bags
ol old age, actor Ted Samuels prepares for his portrayal
of Mr. De Pinna in the Valley College production of
"You Can't Take lt With You." Samuels creates three-
dimensional skin shadows with white and brown Pan-Stik,
while sharper tones are painted on with theatrical eye
liner. De Pinna's characterization requires Samuels
to hide his tull head of hair under a skull cap fastened
and blended with a latex adhesive. Moustache and
beard are grayed by a tooth brush application of
powdered hair whitener.
Page 63 text:
mf Highlighting his potential as an upcoming prolessional
Dam' Anas 'emamed on stage almost me actor, Jeff Reese holds his own during the "Caretaker".
"The first scene in the play brings in the charac-
ters and the exposition. It tells the audience what's
going on, and it develops conflicts between the
characters," said Arias.
He has learned that it is an actor's responsibility
to inform the audience at the beginning of each
scene where he has come from and why and for
what reasons he is there.
The devaluation of Riley's Notebook is not fore-
seen by Arias, who anticipates using his character
and situational scene notes as possible research
material for future roles.
Aside from experiencing an effective directional
method under which he can work competently,
Arias has developed his own philosophical theory on
"There are no holidays in the theater - just small
- David Arias
Page 65 text:
By Carolyn Ristuccia
Illustrated by Robert Lachman and lohn Rosenfield
The lanky lady is in character. With fluttering lashes and
scarlet lips styled to cosmetic perfection, she studies her
reflection in a nearby mirror.
Backstage, Katie Nutting, one of the leads in Peter Parkin's
November production of "You Can't Take It With You," resettles
herself in a chair. Smoothing out the folds in her knee-length
costume, Katie crosses her long legs and waits for the makeup
man to add the finishing touches to her "aging face."
The process of transforming a graceful 25-year-old into a
flighty menopause victim requires a working knowledge of
human physiognomy and technical facility with theatrical
Metamorphized by the clever fingers of makeup artist Marsha
McGinley, and a battery of bottles, sponges and pencils, Miss
Nutting, playing the part of Penelope Sycamore, emerges as one
affected by the symptoms of acute schizophrenia.
Everything except the posture of her wiry frame appears
rearranged. Nose, mouth, eyes, and chin exude the essence of
middle-age delusion. The character of Mrs. Sycamore, a scatter-
brained author of off-beat plays, comes to life.
"Do you want me to do anything special?" twitters Mrs.
Sycamore in a lisping falsetto. For the benefit of a photographer
and the small group gathered around her, the comical actress
breaks into a rather retarded rendition of "Tea for Two."
Mike Ham, as Paul Sycamore, finds interest in the
"whys and wherefores" of everything from Trotsky
Grandfather Vanderhof, played by Steve Kaye,
delights in the simple pleasures of life, such as snake
hunting and dodging the internal Revenue Service.
While she gives her impromptu performance, a nest of curls
balanced precariously atop her '40's style Marcel fan "updo" of
tortured tendrils lacquered into submissionj sways like a palm
tree from side to side.
Up close, Katie's face is a maze of artificial lines and
shadows. The crow's feet, the deep furrows in her forehead, the
creases around her mouth, do not create her character, they
merely serve to illuminate.
With makeup, the trying task of slipping into character is
made a little easier. Lending itself as a sort of psychological
slingshot, makeup may cement a bond of dramatic intimacy
between the actor and his audience.
Through its use, subtle nuances of character come clear on a
screen of visual realism. Even the simplest gesture provides the
actor with another opportunity to give added insight into his
role. The batting of an eyelid, the drawing back of lips, the
sporadic twitching of muscles are physical manifestations of the
When actor and makeup artist combine talents to blend the
natural with the contrived elements of personality, life is
injected into the veins of an otherwise one-dimensional charac-
Because those on the departmental production staff were
successful in making these professional distinctions, quality
made Valley's presentation of "You Can't Take It With You" one
of the biggest successes of the theatrical year.
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