Trinity College School - Record Yearbook (Port Hope, Ontario Canada)

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Bill Vickers totally succeeded in portraying the difficult role of Charley, giving it warmth and substance, i and George Southey was very convincing as Uncle Ben. Jamie Campbell, Ian Moss, Sarah Prower, Cally Bowen, Cathy Fitzgibbon, and particularly Rod Kirkwood i and Andy Thomas all turned in highly competent jobs in important supporting roles. Finally, the credit should be given to the men behind the scenes — the Stage and House Managers and their assistants, those in charge of lighting and properties, the T.C.S. make-up crew, and the Business Man- ager — without whom any play here could not even be attempted. In general, “Death of a Salesman” demonstrated what a tremendous wealth of acting ability is present at T.C.S. this year. Charles Baker 9

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Death of a Salesman This term, for the first time in several years, the T.C.S. Dramatic Society attempted a serious play Arthur Miller’s classic tragedy “Death of a Salesman Under the able direction of Mr, J D Burns and Evan McCowan the challenging production proved to be a great success. Colin Brown, as Willy Loman, gave a superb performance, ably bringing out Willy’s vastly human and ' complex character. He was able to appear frustrated yet inspiring, pitiful yet princely, and always cherishing! that magnificient dream of a better tomorrow. In order for Willy’s death to constitute a really effective tra- gedy the actor must have the audience identify with him fully as a fellow human being. By the play’s end it was obvious that Colin’s hard work and dedication had accomplished just that. Jane Staunton, in the role of Linda (Willy’s wife) was thoroughly convincing. She played the part with tremendous sincerity, depth of meaning, and warmth — never becoming even remotely bathetic in her con- cern as a mother and as a wife. In short, she portrayed an aging housewife going through the depths of hu-j man suffering, and did it so well that the audience was led through that same emotional journey. Thanks principally to Colin and Mrs. Staunton, “Death of a Salesman” was lifted well above the mundane, “second-rate” level certain high-school productions have often been accused of being. In John Campbell’s Biff we witnessed a fine characterization of a thirty-five year old “boy” wallowing in the midst of lost athleticism, lost ambitions, and lost ideals. John deserves a great deal of credit for such a competent job on such short notice. Chris Grove, in his favourite role as hedonistic philanderer, also gave a highly polished performance. Happy possesses only baser, materialistic aims and Chris effectively portrayed this blind, shallow lack of values. John and Chris both managed to convey fully the intended impression of two men slowly savouring the failure of their lives. 8

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Tijuana Brass Goes Dixie With the many amazing technical advancements achieved in our present day recording equipment, people are now able to put on a set of head- phones and create their own concerts, receiving almost the same sound reproduction as hearing it live. Thus, because it is now easier to stay at home and enjoy, fewer and fewer people are actually turning up to the live con- certs. That is why it was so great to see Massey Halls so full on Monday night, for what it meant was even the equipment freaks hold little respect for our super machines when as great a musician as Herb Alpert is in town. For me personally, I enjoy both, for as I said, it’s great for creating your own particular concert for your own particular mood, yet there is still noth- ing more exciting than going to a fantastic live performance that continually keeps you moving. Most of all, though I still go to concerts in the anticipation of someday finding one that will top all the others, one that will keep me in- volved right to the end. Such was the performance given by Herb Alpert and his newly formed Tijuana Brass. Originally started in 1962, Tijuana Brass over a period of seven years managed to sell close to forty-five million records before they broke up in 1969. Now after about a year’s regrouping Alpert and trombonist Bob Ed- mondson are all that remains of the old group, but with the additional com- bination of seven new talented musicians they’ve created an almost com- pletely new sound, which, although it still maintains the old traditional mar- iachi sound, has suddenly evolved into a very lively Dixieland Jazz. This particular concert, Alpert split into two halves playing smartly the “compulsory ” goldies in the first half and mixing the old with the new in the last. However with this new sound, he also added a pleasing vocal side to the group through his wife Lani Hall, who in her two solo numbers presented a totally different dimension to the Brass, sticking very closely to the nimble arching style she used as lead singer in Sergio Mendes group, “Brazil 66 ! Vince Charles, originally from the West Indies, added as well as a secret sense of humour, a spectacular musical ability on the steel drum, as he de- monstrated in his solo of “Malaguena ”. Then, near the end of the perfor- mance we again switched to a different sound as Dave Frishberg gave what appeared to be a totally improvised version of the old Tijuana Brass hit “Spanish Flea’ , which drifted all the way from jazzed up Gershwin to pure- ly rhythmical Liberace scales. With this said, what else remains except that Herb Alpert remains one of the finest, most rhythmical, most polished musicians alive. Even after four years of separation he has successfully managed to maintain the old standard of tightness, subtlety, and wit, yet he has added much more depth which will no doubt result in many future successes. Hugh McRae 10