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

 - Class of 1974

Page 71 of 120


Los Angeles Valley College - Crown Yearbook (Valley Glen, CA) online yearbook collection, 1974 Edition, Page 71 of 120
Page 71 of 120

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

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 72 text:

Blowing his trombone to the tune of "A Bushel and a Peck," Mike Browne contributes to the performance. Featured in silhouette, Renee Carpenter showcases her expertise on the french horn. Pit Orchestra lt'e hate Llp Friont That Counts By Margot A. Meyer Illustrated by Robert Lachman and john Rosenfield Nostalgia is in and chauvanism is out. But even with a title that would enrage any devout woman's liberation advocate, "Guys and Dolls" won the Valley College audience over this spring with its nostalgic '40's music. "There is a revival of nostalgia music that goes back to the turn of the century," said production orchestra member Mike Browne. "Music is going backward so most people are turning back to the big band sound of the '40's." Playing this music was an opportunity for the small group of orchestra members to discover the particular musical styles that the era of tango, rhumba, and samba produced. The production, or pit, orchestra provided a training ground for students who were planning for a musical occupation. "Working in a pit orchestra is one of the greatest experiences that a student can get considering that there are not many outside performances that will hire them," said Browne. He has found that the current music circuit of the Los Angeles area is very self contained. Valley's pit orchestra started to provide the practical experience and training needed for employment last year with "Man of La Mancha." What exactly is a pit orchestra? "It is basically like an augmented dance band with strings," said Conductor Irvin Pope, instructor of music. "The group is much smaller and, unlike the music of a symphony, the pit orchestra music is constantly changing moods, styles, tempo, and rhythm," he added. Locations of production orchestras vary from play to play, but their usual position is in front of the stage in a sunken area or 'pit' ifrom which they receive their second name.J This traditional position facilitates the orchestra's sound and syncronization through the conductor to the actors on stage. This position has not been traditionally placed for the musicians' viewing pleasure. Because the musician is, in effect, buried from sight, the pit orchestra attracts a particular type of devoted musician who does not crave the usual center-stage position that a symphony orchestra provides. "lt takes a certain kind of person who enjoys playing for the pleasure of that kind of music," said Pope. "lt's a different set of responsibilities that a musician doesn't have in a regular performing group. They must be super-musicians." Instrumentation of a pit orchestra creates a major difference in the musicians' duties. "Because they are each playing an individual part, every member has to produce, or that particular

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