High-Resolution, Full Color Images Available Online
Search, Browse, Read, and Print Yearbook Pages
View College, High School, and Military Yearbooks
Browse our digital annual library spanning centuries
Support the Schools in our Program by Subscribing
Page 66 text:
Hector Grillone portrayed the only "human" character
in the "Folderol" cast. As the Mad Hatter, he paid
special attention to create a half-animal, half-human
character, through make-up.
By Vanessa Finan
Illustrated by Ken Hively
and lohn Rosenfield
Super stars have their clothes shredded,
politicians are drained of philosophical
idealisms, and Clara Bella Chicken is
plucked of her feathers.
It is a rare occasion when after a
theatrical performance an audience can
lavish their love upon fabricated charac-
ters and not be disillusioned by the per-
sonality ofthe thespian behind the make-
Theresa Candiclo, Clara Bella Chicken,
was confronted with hugs and adoration
from children who attended Valley Col-
lege's Chilclren's Theater production of
"Electric Folderolf' The cast competently
retained their characters on stage and off
and gave an admirable encore by social-
izing with the audience after their per-
formance-never once breaking the char-
acter illusions they created on stage.
The cost of an extra bag of feathers was
A familiar face in "Folderol" was
Dan Krecelberg's, as Marchibald
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.
Page 67 text:
reimbursed a thousand-fold, and can
materialize itself through the obvious en-
joyment the children experienced through
viewing the performance.
The predominantly animal cast was
infiltrated by one human character, the
Mad Hatter, portrayed by Valley College
Student Hector Grillone.
Costuming and vivacious physical
movement were what Crillone felt to be
the prominent emphasis of Folderol's
finished product. He explained Folderol's
styling as being slapstick, with little free-
dom being allotted to the audience's
imaginative realm. Crillone explained that
this technique is not necessarily a standard
procedure in Children's Theater. He attri-
buted pantomime as being the most effec-
tive and descriptive method for visual
communication, and credits children with
having extraordinarily vivid imaginations.
Working from memory and a previous
character appearance sketch, Ken Barker
Randy Sheriff, Talouse the Labrador Moose, gave
Skllfufll' applies his makeup- an overpowering performance, and Ken Barker won
the chiIdren's hearts with his performance
as Maccabe Bee.
l ii . 'll
When relating his minority experiences
with Folderol, Crillone said, "I felt left out
because everybody elsewas an animal."All
cast characters were held responsible for
compiling individual interpretations of
their animal characters on a physical level.
Grillone found this task to be extremely
difficult, for he attempted to present
himself as part-human and part-animal in
order to stabilize the continuity of the
" It was surprising to see that the adults
enjoyed 'Electric Folderol' more than the
kids," said Crillone.
The boundless fantasy of Children's
Theater reaches not only the adolescent
mind but succeeds in tackling the intellec-
tual and realistic mind. Perhaps you were
among the gathering group of children
and, as a result of social training, you
forced yourself to go home without asking
for one of Clara Bella Chicken's feathers.
Suggestions in the Los Angeles Valley College - Crown Yearbook (Valley Glen, CA) collection:
Are you trying to find old school friends, old classmates, fellow servicemen or shipmates? Do you want to see past girlfriends or boyfriends? Relive homecoming, prom, graduation, and other moments on campus captured in yearbook pictures. Revisit your fraternity or sorority and see familiar places. See members of old school clubs and relive old times. Start your search today!
Looking for old family members and relatives? Do you want to find pictures of parents or grandparents when they were in school? Want to find out what hairstyle was popular in the 1920s? E-Yearbook.com has a wealth of genealogy information spanning over a century for many schools with full text search. Use our online Genealogy Resource to uncover history quickly!
Are you planning a reunion and need assistance? E-Yearbook.com can help you with scanning and providing access to yearbook images for promotional materials and activities. We can provide you with an electronic version of your yearbook that can assist you with reunion planning. E-Yearbook.com will also publish the yearbook images online for people to share and enjoy.
Material on this website is protected by copyright laws of the United States and international treaties.
No protected images or material on this website may be copied or printed without express authorization.