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

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(Counterclockwise from Top Right): Fight in the Havana bar; The Hot Box dancers; Paul Revere - best bet; Adelaide belts it out; smooth talking Sky; Nathan Detroit and his belle; the Mission workers. Guys and Dolls? But where do the dolls come from? was my first reaction on hearing of the Spring Dramatic Production. Fresh from England as an ex- change student, I couldn ' t believe that T.C.S. was going to be flooded with rather flimsily clad females earning their living at a New York City night-club. How wrong I was! Master ' s daughters, local school teachers, high school girls and a brave T.C.S. lady (Mrs. Papp). Well there are the dolls but what about the guys? Gam- blers, small time crooks easy enough to find in any all boys ' school but ones that can sing? No problem; T.C.S. showed me its resour cefulness early — You want singing gamblers? — we ' ve got ' em! Maybe I ' m making it sound all very easy I really shouldn ' t because great effort was put into the show in all fields - especially by the director Mr. Philips who quite literally did not have a free evening between January 9th and March 12th. The show was his baby and it was largely through his nursing that it turned out so bonny. We would all groan when the famihar phrase Give it more energy! wafted up to us, knowing all the time that our beloved director was quite right. Every member of the cast played a character larger than life, and everyone conveyed their pool with expert precision and conviction. Catriona McDonald as Sgt. Sarah Brown (The Mission doll) chilled us with her coldness and then melted us with her later scenes in Havana when a little tipsy! Miss Adelaide, dizzy showgirl with a domesticated streak hved (there ' s no other way of putting it) in Laurie Spencer - Brooklyn accent et al. Sky Masterson in the person of John Warren sang excellently throughout and conveyed to us a converted sinner in progress to a tee. Chris Butler as Good old reliable Nathan Detroit was much more than just that superb in fact. The show would not have been the same without the irrepressible piano playing of Mr. Prower and the drums of Mike Southey. Similarly, sets by Mr. Gregg, lighting by Tom Wells, stagecrew with Mr. Hill, costumes from Mrs. Papp and choreography from Mrs. Pacey and Mrs. McFadden were all first rate and added greatly to the all round effect of the show. So with dice rolling, high kicking, Bible bashing (and a trip downwards and then skywards that I ' ll certainly never forget), Guys and Dolls took to the stage to the delight of all, audience and cast ahke. Jonathon Boardman

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Out of the Flying Pan Pulls It Out of the Fire Far Left, Top to Bottom: Boardman, the communist; Boyd, the capitalist. Immediate Left, Top to Bottom: Fred and Gabby, a beautiful couple; Heyland and Drehsen talk to the obsessive Downs; Bethune shows how to involve everyone and still win. Above, Top to Bottom: Mac and Van Eye; Bethune ' s leaders . As usual, the highlight of Founder ' s Day weekend was the House Play Competition. 1983 seemed to be the year of murder mysteries, Bethune House being the only exception. The quality of the plays was incredibly varied, but top honours went to the polished productions of Bethune and Ketchum Houses. The first night opened with Burns House ' s productions of Shall We Join The Ladies? by J.M. Barrie. It was directed by Rod Macintosh and Peter Ridout, who had the difficult job of also acting the lead role. In the play, Sam Smith (Ridout) cunningly attempted to discover which of his twelve dinner guests was the murderer of his brother. Andrew Pepper ' s portrayal of Lady Jane Raye was extremely amusing. However, the plot lacked suitable emphasis and the ending was very puzzling. Next on the program was The Tell-Tale Heart, produced by Ketchum House. Directed by Emiho Fernandez and Brad Fallon, it was immediately considered to be a contender for Best Play. Jonathan Downs made an excellent portrayal of an obsessed man who is driven to murder and then confession. For this he was awarded the prize for best actor. The award for best supporting actor went to Brad Fallon for his portrayal of the man ' s subconscious self. Bickle House ' s production of Sham was original if nothing else. Not having learned their lines in time for the production, the Bickle crew of Rolston, Carradine, Jewett, Flint and Steel took the stage in the form of a rehearsal. Although the production was unprepared and lacked substance, it was often very funny (especially seeing Psycho fall on his face twice). Bethune House ' s Out Of The Flying Pan was easily the best play of the competition. Andrew Boyd and Jonathan Boardman both acted superbly as the two poHtical leaders, and the rest of the cast, which in- cluded the whole house, added great life to the play while remaining in control. A band, crowds, and a chorus line were all elements which greatly con- tributed to the play ' s success. As everyone had ex- pected, the Bethune play, directed by John Norman and Phil Lawson, won the award for best play. The final play of the competition was Brent House ' s The Potman Spoke Sooth. It was a con- fusing mystery which ended in an argument between actors, director, playwright et al which could only be settled finally by The Voice, played by who else, but Mr. Hargraft. At times it was very humorous, thanks to the acting of Warren, Butler, Jones, and Dawson. But even Brent ' s production was outclassed by Out Of The Flying Pan, which, according to the ad- judicator, had the potential to go on tour.