Los Angeles Valley College - Crown Yearbook (Valley Glen, CA)

 - Class of 1974

Page 64 of 120

 

Los Angeles Valley College - Crown Yearbook (Valley Glen, CA) online yearbook collection, 1974 Edition, Page 64 of 120
Page 64 of 120



Los Angeles Valley College - Crown Yearbook (Valley Glen, CA) online yearbook collection, 1974 Edition, Page 63
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Los Angeles Valley College - Crown Yearbook (Valley Glen, CA) online yearbook collection, 1974 Edition, Page 65
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Page 64 text:

ake-up -.7 ui .. .Kg if 4? J. 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. I u -:E v Tn:

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 the theater. "There are no holidays in the theater - just small actors." - David Arias V 59



Page 65 text:

Metamorphosis 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 makeup. 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 to fireworks. 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 internal personality. 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- ter. 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. 61

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Los Angeles Valley College - Crown Yearbook (Valley Glen, CA) online yearbook collection, 1974 Edition, Page 35

1974, pg 35

Los Angeles Valley College - Crown Yearbook (Valley Glen, CA) online yearbook collection, 1974 Edition, Page 6

1974, pg 6

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