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Page 70 text:
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
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
Combined with the competent performances from
leading cast members was a strong chorus back-
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-
"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
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
"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.
Page 71 text:
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
"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-
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
Always a main attraction at the neighbor-
hood night club, Chris Norris attracts
a sizable audience.
In search of an ideal location, the "Guys"
rally in support of continuing the floating
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