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

 - Class of 1974

Page 67 of 120

 

Los Angeles Valley College - Crown Yearbook (Valley Glen, CA) online yearbook collection, 1974 Edition, Page 67 of 120
Page 67 of 120



Los Angeles Valley College - Crown Yearbook (Valley Glen, CA) online yearbook collection, 1974 Edition, Page 66
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Los Angeles Valley College - Crown Yearbook (Valley Glen, CA) online yearbook collection, 1974 Edition, Page 68
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Page 67 text:

Fltillllltl' Ill' Illllll ? 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 way? 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 animal-dominated cast. " 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. 63

Page 66 text:

: qxr, 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. 6 5 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- up. 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 62 Hare.



Page 68 text:

64 Touch, of ill By Margot A. Meyer Illustrated by lohn Rosenfield f'Contentment is a warm sty for eaters and sleepers." -Eugene O'Neill Little Irish-America lent a "touch of blarney" to the Theater Arts Department this spring with the production of Eugene O'Neill's "Touch of the Poet." Known for his revolutionary methods of presenting startling insights into human nature, O'Neill, in "Poet," presented a challenge to the actors as well as to the Valley College audience. Full interpretation was of utmost concern to the case. "lt's a very difficult pIay," said cast member Debbie Barbarick. "With O'Neill you have to have so much experience with life to understand what he is trying to say." Barbarick provided one-half of the outer conflict on which O'Neill based his story of an Irish-American family of 1829. She portrayed Sarah Melody, a young, educated daughter of a tavern owner. The remaining segment of undisguised dispute was in Dave Read's interpetation of Sarah's father, Conrad Melody, a pom- pous and sometimes ludicrous drunkard. But "Poet" went far deeper into the social circumstances and sufferings of the Melody family than was apparent in the father-daughter con- flict, O'Neill used the relationship to illustrate fine points in human suffering and understanding. "For me, this play has been like a puzzle," said Linda Contreras, Conrad's peasant wife. "O'Neill has so many phases in his writing." Even as the play neared completion, cast members were still discovering new facets to many roles. While dissecting an unusually awkward sentence of a female character, they dis- covered that O'Neill had purposely structured the grammar of her speech to indicate an incestuous relationship within her family. "O'Neill never puts one word down unless it has a specific meaning," explained Barbarick. "It's a very subtle but important approach in portraying the part." A major tool used by O'Neill to display the culture of the Melody family was the Irish brogue. "Even some of the words are spelt a little differently in the script," said Read. "lt's just like a flavoring, rather than a fully committed transposition to Irish," he said. The brogue was used by several characters in varying degrees. "For me it's very important to have a very heavy brogue, and I Bruce Burton added atmosphere to the revelations that were uncovered in Conrad Melody's tavern. The occasion was one of many that called for a toast by tavern locals Ned Gill, Bill Marrone, David Wall, and Paul Harvey.

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