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Page 30 text:
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For the 2001 fall semester, Communications Threatre presented two plays instead of the usual one With its production of Li sistrnta, the Department of Communications Theatre demonstrated that ancient need not mean dull or boring. Li sistrata is an ancient comedy that makes fun of political and social issues and figures of its time, but it is timeless in its depiction of certain aspects of the human condition. The last Greek play we did was a tragedy, so it ' s time for a come- dy. This is probably the most famous of the Greek comedies, said Dr. David Ruebhausen, director and assistant professor of theater. In Lysistrnta the Athenian women are tired of losing their hus- bands to the battlefields of the Peloponnesian War. In the lead role of Lysistrata, Rachel Scanlon of Muscle Shoals leads the women in a revolt, using sexual abstinence as the weapon until peace is made with the Spartans. Lysistrata (Scanlon) convinces the women that forced abstinence is the only way the men will return home and make no more war. The other women are reluctant at first, but finally agree to her strategy. The women hide within the walls of the city, take control of the trea- sury, and refuse to return home for anything. In turn, ihe men come anci beg for the women to come home, even if just for a short time. The men are o ' crpowered and made fools of by the women. Li sistrata was presented on the thrust stage, a type of staging used in ancient Greece, the original setting of the play. The stage juts into and IS surrounded on three sides by the audience. Cast members entered and exited the stage from various corners of the audience. The cast and crew who work on a thrust stage are more mar- ketable. Thev improve their resume bv learning how to work on all types of stages, said Ruebhausen. Other cast members were: Amanda Hughes, as Lampito; Amber Kennedy, as Myrrhine; Melissa Braswell, as Calonike; Abby Holmes, a Mycenean; Monica Hooper, a Pisan; April Tinman, a Corinthian; Rachel Williams, a Boetian; Kenny Davis, a Spartan soldier; Courtney Wilson, the female chorus leader; com- pleting the female chorus were Laura Holt, Jackie Hufham, Kristy McCutcheon, Kelly Nash, Tammy Olive, and Carrie Sumner. J.C. Hester, of Tuscumbia played the male chorus leader. Completing the male chorus were: Chris Bedwell, Matt Braddick, Dwayne Kit Minor, Chris Pelton, Matt Swan, and Ryan Talor. Ruebhausen ' s Theater 100 class designed the set. Matt Swan designed the graphic for promo- tional material. Daryl Crittendon and Zac Lawson, of Florence, were student technical directors. - Amy Zimmerman 26 m iV) Hey, Sylvia barks, as her master ' s wife enters the sky rise apartment in New York City. Hey! Hey! So began the Communication and Theatre Department ' s production of A.R. Gurney ' s Sylvia. Dubbed a canine comedy, the production holds a story that runs much deeper than the glimpse into the life of the title role; it is a tale of the hardships that occur in all marriages and the struggles to keep them together. Sylvia, superbly played by newcomer to the theatre department Amanda Maddox, is a dog that bursts into the 22-year-old marriage of Greg and Kate. She is the final block that makes the semmingly stable tower of the cou- ple ' s marriage begin to fall. The concept is a great one, but this reviewer thought play itself could have been written with just as much skill and wit without using so many words to reach the point. To clarify: depsite his magnificent performance, Daniel Tracy ' s character Greg tended to ram- ble on and on about his affection for Sylvia. However, despite its verbosity, the play was beautiful- ly delivered by the quartet of Maddox, Tracy, Anna Brooks, and Marc Mitchell. Tracy and Brooks ' on-stage chemistry as the married Greg and Kate was palpable, as was that of Tracy and Maddox ' s Greg and Sylvia. Also, of note was Mitchell ' s triad of characters, scoring many laughs from the audience. —Ben Rock
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Page 29 text:
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[tody suit, the ravages of Sfnmunit ' equally divid- not typical stage tare at the iiiiversUv of North Alabama. ' DirectoBohn McCaslin-Doyle chose thB 2001 spring play for that verj|reason. Epic style, the versatileillu on of a set and the makeup of the ensemble cast set the play apart from past produc- tions. Communications and Theatre presented The Caucasian Chalk Circle, by Bertolt Brecht, to the campus and the general pub- lic March 15-18. Brecht wrote the play in the 1940s and set it in Soviet Georgia near the end of World War II. Brecht ' s epic stvle moans each scene stands on its own and tells its own story. The Caucasian Clialk Circle is actuailv two stories — the first being that of a dominant female protagonist named Grusha (played by Whitney Segraves) and the sec- ond that of a mischievous judge, A dak (played by J.C. Hester) — that come together in the end. Brecht purposely designed his plays so that the audience would feel detached from the actors on stage and conscious of watching a performance. In Tlw Caucasian Cluilk Circle, Brecht succeeds in his goal. The beginning is structured to cap- tivate the audience to prepare themselves to watch a play within a play that stems ivom a heated debate between two groups of peasants. The conceptuality of the play is cap- tured by the illusion of the set. There is not a bad seat in the house. A ramp, used for the actors ' entrances and exits, extend- ed from the center of the stage and direct- ly into the auditorium. Thus the actors were able to meander among and interact with the audience. Audience members who sat up close caught a glimpse of actors backstage preparing themselves to go back onstage and assume their roles. This technique was used to remind mem- bers of the audience that they were watching a performance. The student- designed set and costumes were flexible and the actors were extremeh ' energetic. The pla ' was performed by an acting ensemble in which the actors played sev- eral different characters. Children were featured in the play, which added a touch of innocence to the adult dramatic scenes dealing with motherhood, tiie ravages of war, and the judicial system. The play did contain some adult language and con- tent. J.C. Hester of Tuscumbia, who played Azdak and six other characters, became interested in Brecht when he performed another of his works, ilic ' I ' hrccPoiuy Opera. This spring ' s production, he said, was different from any other he ' d ever participated in. It brings elements of theater to the stage that people here have never seen before. Although this play was written in the mid ' 40s, some of its content is still pertinent today. Many different phases go into per- forming a play. The magic happens when those phases come together and gel after weeks of rehearsal. Caucasian Chalk Circle was McCaslin-Doyle ' s third play at Norton Auditorium. He directed Skin oj Our Teeth in the Fall of 1999 and Pot of Gold in Summer of 2000. He left the uni- versity after a summer 2001 production of As You Like It. — Sarah Nobles AGE OF INNOCENCE. The children who partici- pated in The Caiicnslan Chalk Circle struck a bal- ance with some of the harsher scenes. ' PLEASE SIR! ' K.C. Wood implores of Daniel Tracy from the stage floor. 25
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Page 31 text:
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BRING IT ON. Rachel Will- iams threatens some of the local men who surround her, played by J.C. Hester, Rvan Taylor, Chris Bedwell, and Chris I ' elton. ON HANDS AND KNEES. Anna Brooks and Amanda Maddox take up positions at the feet of Daniel Tracy in the production of Sylvia. I BEG OF THEE! Scott Long (bcloic) entreats his wife, playeci by Amber Kennedy, in the sexually intense production of l.yfistrnln. photo by Tommy Rowe L.
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