University of Texas Austin - Cactus Yearbook (Austin, TX)

 - Class of 1985

Page 69 of 756


University of Texas Austin - Cactus Yearbook (Austin, TX) online yearbook collection, 1985 Edition, Page 69 of 756
Page 69 of 756

University of Texas Austin - Cactus Yearbook (Austin, TX) online yearbook collection, 1985 Edition, Page 68
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University of Texas Austin - Cactus Yearbook (Austin, TX) online yearbook collection, 1985 Edition, Page 70
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Page 69 text:

ving the three people in mind for each lead role from previous things I have seen them in, " she said. Sept. 20, 1984 The directors nar- row their choices for their casts. Call backs are held on this day. Categorizing individual people into " types " for roles, Bergeron said she looked for the per- former ' s creativity, focus and personali- ty. Bergeron has the prospects speak in the language of the play. Bergeron also wanted to see how they fit in musically by analyzing the singing ability of each. When asked about call backs, Christi Carafano, acting senior cast said, " They ask to see you again and you hope to God they just want you. " Bergeron and two other directors begin to cast the department ' s fall pro- ductions. Performers are required to act out two contrasting monologues. Sept. 24, 1984 The cast is listed and production work begins Oct. 8. Rehearsals are held from 7 to 11 p.m. Sunday through Friday. Carafano remembered the hard work and the constant stopping of scenes at the " hold please " calls from Bergeron. Carafano said that " through directing and choreography, Ann cultivated every aspect of the production, creating the ideal atmosphere " in which to work. Bergeron realized the importance of establishing a trust between the actors in order to get started working. The result was a special unity in the Cabaret cast. Chorus member Julie Alford, dance junior, said the cast " wouldn ' t be the same if just one person was missing. " Carafano added, " you learn a lot about life and working by being together. We ' re all so close. " Nov. 13, 1984 8:00 p.m. The place: Berlin. The time: 1929, before the rise of the Third Reich. Carafano becomes Sally Bov.L . fpy, carefree cabaret girl. Her .- Hartmen, acting sophon Clifford Bradshaw, the sensitive American writer who fails for Bowies ' charming decadence. Blake Hammond, acting senior, and Terri Easter, acting junior, tie in the subplot of the heart-breaking romance between the elderly grocer, Herr Schultz, and the charming landlady, Fraulein Schneider. Bergeron ' s production exposes the play ' s political conscience-raising theme through her polished direction. As the devilish emcee, Steve Thomas, dance senior, maintains the overriding theme of immorality and decadence throughout the play with his eerie smirking and ethereal omni-presence. Selling out every night, the play became a fitting tribute to the hard The spotlight falls on Christi Carafano as Sally The finale of " Cabaret " signals the coming of the Nazis and the end of halcyon day for the Kit Kt Bowles, bringing her own flair to a role made Klub. famous by Liza Minelli. Cabaret -61

Page 68 text:

For nine months, they sing, dance and act to make a German nightclub a stage reality Life becomes a Cabaret by TOM GRAY and MARIKAY NORRIS Do you sing? Do you dance? Can you act? Are these things you feel you have to do? Those who answered " yes " to these questions and were cast in the Department of Drama ' s 1984 pro- duction of Cabaret learned first-hand that hard work was the key element of the production. The following is a recollection of nine months of work behind the scenes at " Cabaret. " March 1984 Ann Bergeron, master ' s candidate in directing, chooses " Cabaret " for the Master ' s Program in the Department of Drama. She begins intense research by analyzing the script, the language of the period and stories from the era of the play. After seeing 1 1 productions in New York in summer 1983, Bergeron is familiar with the latest stage designs and style innovations. Sept. 17, 1984 Students line up for highly competitive auditions. " There were about 90 auditions just for ' Cabaret, ' " Bergeron said. For the first two hours of the auditions, Bergeron drills the aspiring performers by giving them dance combinations in counts of 12, which increase in difficulty with each count. The less accomplished dancers weed themselves out. The sur- vivors continue for the next two hours. Each performer sings a ballad of his choice, completing the singing and dan- cing phases Bergeron considered the two most important " Cabaret " talents. Sept. 18, 1984 Those who had the moves and could hit the notes come to the second day of auditions. " Some say casting is 90 percent of the work, " said Bergeron. " I had two or The musical details are checked by conductor Steve Bird and director Anne Bergeron. Black and uhite photos by Beu Cotton Observation and patience are two skills crucial to the production process. Vicki Noone, Todd Hinesley and Paula Baker wait their turns. Dirty knees were an occupational hazard for dancers Rebecca Yates and Julie Alford under Bergeron ' s demanding direction. Keeping limber at the ballet bars, Marianne Hyatt stretching. The Kit Kat Girls and emcee Steve Thomas bid Willkommen to their " nightclub " audience at the B. Iden Payne Theater. Color photos by Alan Smith 60 Cabaret

Page 70 text:

Drama department uses metal and plastic in scenery Surrealistic stage sets modernize classic plays byCURTCUKJATI For seven nights starting Sept. 26 at the B. Iden Payne Theatre, the UT Department of Drama transformed the Jacobian period tragedy, " The White Devil, " into a play whose modern ap- peal was achieved through lighting techniques that accentuated the con- temporary costumes, make-up and hairstyles. The White Devil depicted the story of Vittoria (Christi Carafano), a Venetian lady who fell in love with the Duke of Brachiano (David Baker), despite the fact they were both married. Brachiano had the same passion, and thus ar- ranged for the murder of his wife, Isabella, and Vittoria ' s husband. Brachiano ' s brother-in-law, Fran- cisco, defended Vittoria when she was accused of the murders, and conspired with Lodovico to kill Brachiano, whom he believed was responsible for Isabella ' s death. Meanwhile, Flamineo arranged for the wedding of his friend Brachiano, to the widow Vittoria. After the wedding, Lodovico caught Brachiano and murdered him. Brachiano ' s ghost later appeared and coerced his friend Flamineo into a meeting with widow Vittoria. As Vit- toria and her maid met with Flamineo, Lodovico discovered the trio, and left Flamineo and Vittoria to die together. Lodovico, having brutally completed his As Vittoria (Christi Carafano) lies dying, Flamineo (Veryl Hidler) denounces her killer in " The White Devil. " Photos by Alan Smith A ghostly Brachiano (David Baker) persuades Flamineo (Veryl Hidler) to meet with Vittoria (Christi Carafano) in " The White D evil. " The sultry and taunting sphinx, played by Paige Pengra, coyly plots the ruse for her next victim in " The Infernal Machine, " as Anibus (Eric Glenn) quietly listens to her plans. The three-level stage made the actors appear even more godlike on the elevated metal apparatus. 62 Drama

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