Boston Latin School - Liber Actorum Yearbook (Boston, MA)

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' f' S Climaxing the season of varied theatrical fare, we joined forces with the Girls, Latin School Athenian Club to present to Standing Room Only audiences on May 2 and May 5, the thrilling mystery drama The Ghost Train . Great credit for his untiring work behind the scenes of the Club shows and especially for creating the thunderously terrifying din and vision of the Ghost Train goes to Francis W. P. Sidlauskas '40, the Club's production mana- ger. The Lord Is My Shepherd . . . Unlike any other society, the Dramatics Club elects no official officers. The importance of any member of the organization is found only in what he contributes in service, enthusiasm, and sincerity. During the year instruction in scenic design, Page Twerzly-eiglal construction, and application, as well as a num- ber of workshop demonstrations were offered by the student directors, Rand Manning and Francis W. P. Sidlauskas. Other members who gained prominence were William Philbrick, in a grand portrayal of a jovial and bewildered Englishman, Richard K. Arnold, for his Earl , the bully of The Key, and his business man of The Ghost Train , and Ralph Caputo, who portrayed the intolerant school master, Mr. Wetherbee, in the first play of the year and sat in judgment at John Brown's Trial. These thespians were abetted on the distaff side by Miss Virginia Egan of Teachers Col- lege as the straight-laced prude, Miss Bourne, who became hilarious as murder occurred at the lonely branch station in Maine, as well as Catherine Nania, Sonia Trabun, and Harriet Freeman of the Girls Latin School Dramatics Club. In the supporting casts of the several plays were George Rosenblatt '40, Michael Touloum- tzis '40, Thomas Casey '40, Edward Wolper '40, Irving Rudman '41, Robert Leahy '40, Bertram Huberman '40, Arnold Feldman '40, and Melvin Kopelman '41. The assistants in production were Julian Palmer '40 and Robert Driscoll '40, electri- cian, Frank Stasulis '41, manager of john Brown's Trial , Stephen Stavro '40, in charge of properties, and Charles Regan '40, stage manager,

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The final debate of the year was the one with the Massachusetts lnstitute of Technology. Charles Ciinsberg, Clhristopher Kennedy, and Milton Clikins advanced really good arguments in opposition to those advanced by their college opponents. The subject was thoroughly devel- oped and with no decision given, it really looked as if there were a tie between the teams. Those particularly worthy of mention in this year's debating were: john Clonnelly, Ciharles Ciinsberg, Christopher Kennedy of CQlass Ig Arthur XXfhite, Eugene Lyne, Milton Cikins. Samuel Perry of Cllass IIQ CQharles Schillp, Wil- liam Dowling of C.lass Ill. Therefore, . . . xx 1 X N. f The school year of 1959-I9-io has been a most outstanding one in the history ot' the Dramatics Cilub. Under the skilled guidance john Brown's Trial Klub of Mr. Mark Ii. Russo, the club director, and the efforts of Dr. Willittni H. Marnell, thc business manager, the members have been able to produce three productions in a single season. The initial drama was The Key, a very 'modern' play written, directed, and designed by Rand Manning. Given at Christmas Assemblies as an experiment in modern stage technique, it proved so popular as to warrant five further showings. February audiences of Classes VI through III saw the second offering -lohn Brown's Trial, in which the club members returned to the con- ventional yet heightened the effect of the court- room scene by artful employment of sound effects and lighting. This second play, like The Key , was written by Rand Manning especially for production by the Dramatics Cllub. Page 'lizlwlli'-it'1't'r

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gm gm P?'t',ffd6'1lf--4CZHARLES j. Risuarsi Vice Pl'l'.l'f4!L'lIfff'ROBERT F, CALLAHAN Serr'e1m'y'fjfJHN j. MURPHY In 1936 the Glee Clulw presented its first Gil- hert and Sullivan operetta, The Mikado, which far surpassed the fondest expectations of all concerned. This success prompted the cluh to adopt the policy of presenting at least one good operetta each year. Thus the next two years brought with them performances of H.M.S. Pinaforeu and Pirates of Penzance . which clearly proved that Latin School hoys could produce these famous operettas with almost professional skill. ln 1939 the clulw was well on the way to reproducing The Mikado when the Glee Cllulws of The Boston Puhlic Schools were in- vited to talze part in a music festival, presented at Symphony Hall, in connection with the East- ern Supervisors' Music Conference held in Boston. Accordingly all the clulfs efforts were if Comes a Train of Little Ladies 1 x X devoted to preparing for this festival, and The Mikado was postponed until 1910. The audience which overflowed the audi- torium on April 5 surely felt that their patience had lween rewarded hy a performance even sur- passing, if that were possilwle. the previous productions. Mr. T. Francis Burke, the pro- ducer and musical director, merits great praise for his untiring effort in preparing the chorus and soloists. The husiness end of the produce tion was very alily handled hy Mr. Klein and Mr. Rosenthal. Mr. Russo expertly directed the dramatic interludes. P.,'g4' if-1t't'1lI1-l,'.'Nc