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

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f With its cast of thotisands Camelot was the biggest production T.C.S. has put on in the last few years. There were so tnany in the play that some of us wondered who was going to watch it. But as it happened the gym was booked for the three nights solid. As the producer and director the Rev wanted to get aw ay frotn the sterility of the new gym and he did this and more. With the addition of a second stage and moving the fighting to the aisles the Rev brought the audience right into the play. The play would have got nowhere if it were not for Nlr. Prower. As the music director Mr. Provver was excellent and helped greatly. The key to the play's success was Winky Thomas whose beautiful voice made many an hour joyful. Leslie Peer was King Arther and as his first major role he did very well. Gus Grant was superb as Lancelot and few will forget his 'C'est Moi. But it appeared to us that Gus was singing this even before he was in the play. The play was held together by the chorus who put in tnany hours of hard work in order to reach the perfection they attained. The ladies were led by Mrs. Campbell who sang conservatively and Nlrs. Campbell was led by the bass chorus which as everyone knew, was the backbone of the play. How ever, the chorus owes a lot to Mrs. Montgomery for her excellent costumes and for keeping us on the ball. All in all Camelot w as a great success. tfotkntvu Irmtr fwfr left: L 'est Nlotf' The creating of the Round Table. Noting Sit Tom is ordered to tell the world of the one btiet shining moment ol glory that Xhis Camclotg No one can :hc chorus tluln't Stick out: l.tncelot sitiglc-liatidedly takes on Xloztltcti and his cronies in l'lls escape to france 24 q.'P 'T APRS'

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war, TB The opening play this year was the Spaidal-directed The King's English, which did surprisingly start on time. The setting for the play is the yard of the home of a language-conscious Irishman, Ripley O'Rannigan, who is the king of the western shores ofthe tropical island of Karra Wanga. Kawa Loo, the refined cannibal king of the east shores, has just captured ten survivors of a shipwreck - all stereotypes. One of the survivors is to take the lovely Loola as bride while the other nine are to form an essential part of a native feast. O'Rannigan decides that proficiency at English will be the main criterion for selecting his future son-in-law. The play was loaded with hackneyed jokes and local colour - often at the expense of the English department- which no doubt helped it to win the audience vote, but it lacked the maturity, cohesion, and technical excellence necessary for serious consideration by the adjudicators. There was no exceptional acting in the play, but some of the prisoners, most notably David Fisher as Mike Hargraft look-alike, Silas Q. Pudkins, were very amusing. Bethune house presented Curse You, Jack Dalton, a hero and villain story with a humourous touch to it. The play contained all the expected cliches: a love between an eligible young gentleman and a housemaid which social pressure makes impossible, a fraud of a young woman also seeking the hero's hand, the maid really being of good background but having been robbed by a villain, and the villain, in disguise, seducing yet another woman, the hero's homely sisterg and it somewhat resembled a cross between a Dickens novel and a soap opera. The characterization was the play's strong point, with Tedeschini playing a very clean-cut hero well, Stephenson twho also directedl playing the snoddish mother, Slaughter playing what must surely be the homeliest-looking girl in the history of theatre, Snowdon playing the unfortunate maid sincerely and Havlicek putting on a con- vincing performance as the arch-villain. Although the play was well acted, the general interpretation was too serious for a parody, which must be obviously overacted if the playwright's message is to be understood. The performance also had a few rough edges. i ng!