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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
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 71 text:
Sensible lor " 8 oft| is friend Vittoria. mineo in to a " Nona. As Vit. ith Flami e ' TO, and left ither. task, committed suicide in the play ' s final act. Kathleen Conlin ' s direction of the play proved to make the adaptation of " The White Devil " successful. An elevated 20-by-20-foot octagonal grill highlighted the play ' s set. Light emit- ting from underneath the grill lighted the actors in a way that allowed the au- dience to easily follow the immediate action of the story. The poetic language and the technical aspects of the lighting and the costumes resulted in an unusual performance. byTOMTRAHAN ( 4 r T he gods exist; that ' s the devil of it, " said Jean Cocteau in a statement quoted in the program for " The Infernal Machine. " The play, by Cocteau, was produced by the Department of Drama in conjunction with the Cocteau festival on the Univer- sity campus in the Theatre Room of the Winship Drama Building in October. The production displayed much of the ambivalence of Cocteau ' s quote. Just as Cocteau adapted the ancient story of Oedipus, the costumes, set and characters in the play superimposed modern styles and themes on older foundations. Though the play followed the story of Sophocles ' Oedipus Trilogy, Cocteau ' s style called for a reformation of the story ' s emphasis. The incestuous rela- tionship between Oedipus and Jocasta, implied by Sophocles, was presented graphically between haughty Jack Rogers and his seductive mother Cam- bron Henderson Cocteau also played up the decision of Antigone, daughter of the fated rela- tionship to accompany her blinded and distraught father-brother Oedipus. More striking in the University ' s pro- duction were the innovative costume and stage designs. Combining old styles with new materials, the costumes show- ed the Sophocles-Cocteau tension. The blind augurer Tiresius, for example, wore aviator sunglasses and walked with a foldable white cane. Oedipus, who later acquired these items, also wore a shiny leather breastplate. The stark metal bars and movable ramps of the set were a skeleton simula- tion of the palace of Jocasta and her kings. Above the set, a suspended sheet was in place to reflect the images of the ghostly characters of the play. The production brought out the feel- ing of Sophocles ' declamations without a formal chorus and effectively presented intimacy without Sophocles ' stiffness. Its strength was in the com- bination, and yet there was less feeling for the characters as expected in a 20th century show and less respect for their monumental strength, a mark of the original Oedipus series. Creon (James Knapp) w atches as .Jocasta (Cambron Henderson) pleads with Oedipus (Jack Rogers) while Tiresius (Gray Eubank) listens. Puzzled by the mystery of the sphinx, Jocasta clings to her husband, Oedipus. Drama 63
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