University of Idaho - Gem of the Mountains Yearbook (Moscow, ID)

Page 31 text:

Behind the scenes. Although Roberta Davis didn’t step out on the stage. she played a major role in “The Elephant Man.” Davis, a Paul junior. spent hours planning and designing the costumes. (photo by M. Touhey) Before the curtain to help people. Angie Wheeler, a St. Maries senior, has devoted many hours to the theater and has been a stage manager for several UI pro- ductions. When asked what a stage manager does, she laughed and said, “Everything under the sun. You act as a secretary, nursemaid, organizer, disciplinarian and scapegoat. You make sure everything is in its proper place at the proper time. You must think quicker than the director — be one step ahead of him and keep your cool at all times. Believe me, it's dif- ficult sometimes.” Roy Fluhrer, chairman of the theater department and a veteran director and actor, believes that much of the “magic” of the theater depends on what happens backstage, “There's magic within most theatrical groups,” he ex- plains. “And, within the audience. That of the group comes from, I hope, every member of the cast risk- ing himself by opening up to his fellow actors. If this goes on behind the stage as well, then it will become one of those special evenings that are memorable. If we can get the audience to broaden their view of the world — then the magic is real- ly there. It takes an awful lot of peo- ple to make this real.” To create an exchange between the actors and the stage crew, UI'S theater program teaches its majors about all aspects of production with classes in lighting, stagecraft, make- up, and costume design. “We believe,” explains Fluhrer, “that it is important for an actor to know what happens backstage. He’s not the only contributor to a production. If the props, lighting, costumes, make-up, sound and set people don't do their job, the play will not be that successful. That's why we have the actor, along with the stage continued crew, strike the set after the final performance. It gives the group a community feeling — the circle.” And the circle is an important metaphor of the theater. Before most performances, the director calls together the actor and stage crews in the Green Room (a term used to describe the room offstage where the members of a production gather during the performance). Before each performance of “The Elephant Man” Fluhrer called together his crew and actors to talk with them. “All right gang,” he said before “The Elephant Man's” opening per- formance, “Here we are, wailing for what you've worked so hard for to begin. If you can’t take pride in this production if this doesn’t make your heart pound — your blood flow — if you don’t feel this, then you don't belong here. Why do you think I leave my family at home while I spend every night here with you? It's the theater that brings me here and us together. And, we couldn't do this without all of you. We're at- tached — umbilical to umbilical. If we can touch one person, that’s the difference. Do this for yourself, all of you...I love you. Following Fluhrer’s speech, the crowd dispersed. Actors dashed to the make-up room for that last touch of rouge or that last squirt of hair spray. Some sought a quiet corner where they could draw into themselves and their roles. The prop people rushed backstage to wait for their cues. The stagemanager and the sound and lighting crew quick- ly ran upstairs to man the boards. The rest sprawled out in chairs or on the floor to wait for that moment when they must move the set. Everyone had a task to perform and sometimes this task included just waiting. Nicolette Carrell L) Giving it all. Even though it was just a rehersal, Mary Io Blumenshein and other actors worked as if it were opening night. Blumenshein, who played Mrs. Kendall in The Elephant Man” traveled to Washington D.C. with John Morgan to comepte for the Ireane Ryan Drama Award. which Morgan won. (photo by M. Touhey) Behind the Scenes — Drama 27

Page 30 text:

Sea Here we are waiting for what you’ve worked so hard for to begin. If you can’t take pride in this production, if this doesn’t make your heart pound — your blood flow — if you don't feel this, then you don’t belong here. Do this for yourself, all of you ... I love you. ai - = Making-up. The make-up room is as important to an ac- tor as shoulder pads are to a football player. Before a performance actors spent several hours putting on their stage make- up. (photo by M. Touhey) Behind the curtain. Dancers as well as actors needed to reherse for their parts. However dancers like Mindy Lyons also had to spend time stretching out before they could begin their rehersal. (photo by M. Touhey) A cosmetic transformation. Before the curtain rises on the opening night. Sandy Hoffenber begins the process of changing herself from a young to an old woman. (photo by M. Touhey) 26 Drama — Behind the Scenes

Page 32 text:

28 t was not just another I year. Even though there was no big name entertain- ment, there was a dazzling array of talented artists that overwhelmed and enter- tained the students at Idaho in a celebration of sight and sound. Although there were no big names, eight miles away at the Beaseley Performing Arts Coliseum on the Washington State University campus things were different. Washington State started out the year in September with Kenny Rogers, who had just completed a new album and his latest movie “Six Pack.” Though in Pullman, the con- cert drew many students from Idaho to a spectacular show as Rogers serenaded the crowd while the con- cert goers viewed clips from his three hit movies. Rogers ended his show in a burst of color as rainbow lasers flashed about the stage, Entertainment NTERTAINMEN Actors, dancers, singers, speakers and musicians entertained stu- dents in a dazzling celebration of sight and sound. his ‘82 tour and Fogelberg made sure it was one that would not soon be forgotten. Gordon Lightfoot rounded out the 1982 concert season with a ) was the last concert on “greatest hits” type con- silhouetting the singer. Then in October, the Manhatten Transfer dazzled the 1900 fans who turned out for their concert. “Artistically, I think Manhatten Transfer was one of the best con- certs we've had in the house,” said James Crow, director of the Coliseum. Later that month, Palouse students were treated to another outstanding talent in a solo perfor- mance by Dan Fogelberg. Fogelberg created a unique one-to- one atmosphere with his sit down style, playing guitar and piano with an intensity not possible with a large band. The Pullman performance cert where he laughed and joked with the 1900 fans. But above all, Lightfoot sang, and sang, all the old favorites that the fans had come to hear, as well as some of his newer material. continued Country celebration. The Charlie Daniels’ Band entertained students, at thelr February concert with their well known songs and rich instrumen- tals. Despite their fine performance, the concert proved to be a financial loss for both WSU and ASUI Programs, who joint- ly sponsored the show. (photo by S. Spiker) Clowning around. A member of the Royal Lichtenstein Quarter Ring Sidewalk Circus entertained students and Moscow residents as they per- formed in Friendship Square in downtown Moscow. (photo by D. Fredericks)