University of Rhode Island - Renaissance / Grist Yearbook (Kingston, RI)

Page 27 text:

The 74 book came out in September, and flocks of lost lambs came to pick them up. It’s funny — being from the inside and watching. The reactions were varied. Ranging from radiant smiles at seeing one’s own face decently photographed, to screams from an egocentric photographer who didn ' t get his nudes published in the book, we were appalled at the silver and black book. It enclosed our work, our sweat, our deadlines and our headaches. And for the few people we saw who appreciated it, it made it worth it for us to do it again. Hint would you like to lee in thii ymn’t Yearbook? w.u b.tturc.

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B. Fuesz

Page 28 text:

FALL THEATRE by Stephen Andrade Something about the seeming independence of the theater is shattered when I realize that no matter how good or bad a play is, the script is just a piece of literature, and the Drama Company means people who act. Neither stand on their own, they balance. But what comes first, the good script or the good actor? The Theater cannot simply rely on a great script. Greek classics which should by now be the most worn out plays in history, make big comebacks. Then new plays, written to express 20th century living and contemporary characters can’t find the inside. (Everybody is a critic, and I always lost true meaning in the interpretation, etc., etc., etc.) This means that even if the company shows a 2,000 year old epic, the actors’ experience on stage is preyed upon. So why is it that in America the unknown actor, artist and playwright are hungry and tired? What happened to the romantic Barrymore myth of drinking all night and rehearsing all day? It’s a culture-starve.