Texas Tech University - La Ventana Yearbook (Lubbock, TX)

Page 33 text:

Panhandle P The University Theatre closed the year with Walter Davis ' Panhandle. Texans could identify with the pro- duction. Davis spent two years in small communities around the Texas Pan- handle, collecting stories from people who had lived through the hard times of the Depression. Professional rights to the play have been purchased, and Panhandle is scheduled to open on Broadway in fall, 1978. Panhandle tells the story of Texans and the ways they found to overcome the dust and depression of the 1930s. The play centers on the struggle of one family against the government, the weather and a cruel society. Life is almost impossible. The only way the family can fight against overwhelming obstacles is with the humor and strength found within their family, their community and their religion. Panhandle captures successfully the flavor of these dusty, windswept days of desolation and helplessness with humor, compassion and even some foot-stompin ' country music. Above left: The Old Woman (Donna Dorselt) glances up to comment on the atmosphere. Above right: Clara (Glynn Ann Miller) sings Frozen Dawn. Left: The Old Man (Scot Purkeypile) sits in the general store, bemoan- rng the Depression.

Page 32 text:

iiic : cnooi For Scandal ( sprightly comedy of courtly man by Richard Brinsley Sheridan ; lie School for Scandal was presenteci at the University Theatre March 10-15 The eighteenth century classic thai first ran in England in 1777 was dir- ected at Tech by Ronald Schultz. The School for Scandal pokes fun at sentimental comedy and shows the comic results of scandalmongering The tone of the play is set by Lad Sneerwell (Janey Burgess) and her unscrupulous band of scandalmong- e rs who gossip and spread rumors about everyone. Central to the plot are Charles Surface (William Carter), the likeable prodigal and his brother Joseph (Doug Cummins), who is held up as a model of prudence and virtue. Both pursue Maria (Laura Clay), the ward of Sir Peter Teazle (Tom Francis) — Charles for her love, Joseph for her money. The real point of the play — the distinction between true virtue and pious remarks — is treated with such humor and sophistication that it ' s more serious aspects never quite come to the fore. Much of the humor of the play results from the way in which the plans and methods of the rascals serve as traps in which they are caught. l.efl: Lady Teazle (Heather Hollingsworlh) ga.sp.s al a tidbit of gcssip from Sir Benjamin Bacltbilc (Sam Thompson). Below: Charles Surface (Bill Carter) gathers with friends for :: rouml of drinks in liis house RS ' W f jr S

Page 34 text:

Entertainment: Music Theatre O Mozart ' s operetic rendition of Beau-marchais ' brilliant social-politi- cal satire. The Marriage of Figaro. was presented by the Tech Music Theatre Jan. 12-15. A synthesis of serious and comic opera, Figaro leans heavily on the quality of Mozart ' s music for vivid characterization. The opera is basically a love chase among all the characters involved. Mistaken identities and misinterpreted wooing add to the hilarity until every- one ' s plots are revealed and the whole cast enjoys a happy ending. Music is the miracle of opera! Paul F. Cutter wrote in the program notes. And The Marriage of Figaro is one of opera ' s greatest miracles. Its magic may elude us at first, and even Mozart was painfully aware of the difficulties an audience would have grasping the delicate shadings and subtle nuances of his musical characterization. But repeated hearing will reveal the secrets of Mozart ' s art, the incredible sophistication and the super-refined subtleties of his music, which, once uncovered, become over- whelming in their effect. No wonder The Marriage of Figaro is today con- sidered to be the most nearly perfect opera ever written. John Gillas was producer and stage director for The Marriage of Figaro. Paul Ellsworth was music director and conductor, and Kyung Wook Shin directed the chorus. Right: Figaro (Terry Cook) sings his first aria in The Marriage of Figaro. Below left: Dr. Bartolo (Gary Eflin) listens to a duet be- tween Susanna (Wendy Davis) and Marcellina (Cindy Garrett). Below right: The Count (Ross Ellis), true to his wandering ways, tries to ar- range a rendezvous with Susanna.