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

 - Class of 1974

Page 70 of 120

 

Los Angeles Valley College - Crown Yearbook (Valley Glen, CA) online yearbook collection, 1974 Edition, Page 70 of 120
Page 70 of 120



Los Angeles Valley College - Crown Yearbook (Valley Glen, CA) online yearbook collection, 1974 Edition, Page 69
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Los Angeles Valley College - Crown Yearbook (Valley Glen, CA) online yearbook collection, 1974 Edition, Page 71
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Page 70 text:

and David Arisa lleltl and Chuck Shapiro represented the "Guys" during the T A. Department's only musical production of the year. Chris Norris sings, "I Love You, a Bushel and a Peck," during the "Guys and Dolls" musical extravaganza. lt's lor certain that audiences viewing the performance hoped she meant what she said. By Vanessa Finan Illustrated by Robert Lachman and john Rosenfield Fred Astaire has a reputation for tap dancing down the aisles of Macy's department store, doing kick turns against counters and taking extreme care to softshoe through the ladies lingerie section . . . Gene Kelly was the object of a suspicious bypasser or two as he danced through city gutters "Singing in the Rain' '... and a young group of thespians have matched these talents in both song and dance, leaving audiences thinking they were a lot more than just ordinary "Guys and Dolls." Woe to the student who missed the Theater Arts Departments musical extravaganza which was awarded an XC rating-X-tremely C-ood. Under the musical direction of Irving Pope and the theatrical direction of john Larson, theater arts students gave a performance that would shake the dust off reels of motion picture's greatest musicals. The -thespians cast a spell over their audiences, drugging them with song and dance in the ambitious setting of New York's nightclubs and floating crap games. Valley's all-star cast supported an intoxicating performance by Christopher Norris, 'with lohn Walker nightcapping the show. Versatile David Arias contributed his expertise to the production, along with the help of main stage- newcomer Chuck Shapiro. Adison Roudall won the audience over with his theatrics, while Theresa Candido gave a saintly performance. Combined with the competent performances from leading cast members was a strong chorus back- bone. jill Freeman snapped herself into one character

Page 69 text:

am thinking about it constantly," said Contreras. O'Neill's use of brogue was a constant reminder that, unlike her daughter and husband, Nora was of uneducated peasant stock. Conrad reflected his upbringing through the lack of the peasant class brogue. "This lack represents a well-educated and gentlemanly station in life," said Read. lt was Conrad's awareness of his Hgentlemanly station" that caused him to separate himself from the surrounding "Yankee" commoners. "He labors under the pretense that he is a great gentleman, but, in the end, he hammers it into the ground," said Read. Conrad strode through O'Neill's play spouting Byron and recalling his glorious role in the Battle of Talavara under Wellington. He was consequently scorned by many towns- people. "ln the end he is beaten and he starts to speak in the brogue," said Read. Read's realization that Conrad could only survive if he conducted himself as a commoner, must have been very painful for Conrad, in Read's estimation. "When he starts speaking the brogue, he insists that it is the way that he really should have been all those years-the way he was born," he said, liarbarick used the Irish dialect only on a few occasions. O'Neill inserted the brogue into the dialogue of Sarah's charac- ter mainly to antagonize her father. "Sarah can talk without a brogue when it is of use to her," said Barbarick, Learning and effectively applying the brogue in "Poet" presented a variety of considerations. "There are so many different types of brogue," said Contreras. "lt's the same with Puerto Rican, Mexican, and Spanish accents, they all have Latin premises, but there are certain words that are different," she said. "We try only to use a mild brogue,'f said Barbarick. "lf we used a heavy brogue it would be too hard to understand, and it would detract from the play itself." "Touch of the Poet" brought complex excellence' to the Valley stage. Hopefully, its touch of blarney served as a tonic to the eaters and sleepers of the world. Eve Mortensen spurns Conrad's attentions during a short visit to the Melody home. David Wall and Ned Gill escort Patrick Kelly outside after he tries to deliver a bribe to drunken Conrad Melody. Dave Read goes through the motions of threatening his daughter, Debbie Barbarick, with his dueling pistol as his wife, Linda Contrares, tries to stop him. B5



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and unzipped herself out of another, sharing her identity crisis with other chorus members. Miss Freeman, a theater arts major, said through her experience with the show she has learned that chorus members must primarily develop their body movements as opposed to a leading actor's need to construct a strong characterization. The cast religiously performed warm-up exercises, sacrificing 30-minutes to offer their body muscles and vocal cords flexibility which was essential in determining the production's success. Habitual daily rehearsals began with the show's spotlighted dancer Tara Sitser, leading the cast in body warming exercises. From there the group went "Ha-ha-ha-ha-haing," and "Nee-nay-nee-nay-nee- ing," under the direction of Hank Fellin, in prepara- tion of the evening's four-hour rehearsal. "It's a good feeling to learn," said Chuck Shapiro, explaining he had come close to passing out during beginning rehearsals when song and dance were incorporated. "Music has always been a really important part of my life," he said. Pianos, flutes, saxophones and organs have all felt his adroit fingers stroking their keys, and guitar strings have experienced his strum- ming. He said that the first time a full orchestra accom- panied the rehearsals, a surging motivation en- hanced his characterization, making him truly one of the "Guys" "The movements have to be really tight," said Shapiro, and Miss Freeman agreed, pointing out that even when you have the dance routine down pat, there's still the area of costuming to contend with. "During the Havana night club dance, the girls have these big headdresses, and we wear a strapless bra top," she said. "If you lean back too far, the hat falls off and chokes you while you're dancing, then, at the same time, your blouse falls off and you step on your skirt-it's really crazy." Whatever preliminary loose ends the "Guys and Dolls" had to tailor to perfection, their production was tight and closely bound to perfection. Always willing to venture a gamble, Addison Roudall llettl and John Walker debate the color of his tie. Going to all lengths to win a bet, Addison Roudall introduces Theresa Candida Ueftl to the broad spectrum of physical pleasures as Tara Sitser trightl taunts Roudall's gambling instincts. Always a main attraction at the neighbor- hood night club, Chris Norris attracts . x?i. a sizable audience. In search of an ideal location, the "Guys" rally in support of continuing the floating crap game. 67

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