Broward Community College - Silver Sands Yearbook (Fort Lauderdale, FL)

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With these words Tevye, the milkman from Anatevka, greets his audience in the Prologue to Act l of Joseph Stein's Fiddler on the Roof. And an ironic greeting it is considering those weeks of rehearsal during Term l before opening night: Fiddler at BCC? If not crazy, then extremely difficult for sure. The decision to produce Fiddler was made last summer. Jimmy O. Woodle, chairman of the Division of Fine Arts, said of BCC President, Dr. Hugh Adams: lf he had not thought it worthwhile, even knowing we probably wouldn't make all that money back, it would never have gotten off the ground. Then it was learned that Parker Playhouse would be unavailable for the production. Considering their respective seating capacities, a weekend run at Parker would have to be replaced by 10 public performances at the Central Campus Lecture Theater, plus a special performance for Dr. Adams and his invited guests. Also, this arrangement would make it uunfeasiblen to contract a name to play Tevye, according to Darlene Williams, director of the Cultural Affairs Office. However, as far as contracting a name, or casting in general goes, few would quarrel with the results of two nights of auditions. Miguel E. Dieppa llvlickeyl gave a portrayal of the 50-ish dairyman that did not belie his 17 years. Mickey is a student of Nova High School. And BCC music major A f H ler on the ooli ,ounds crazy, no? Barb Geller made her acting debut as Golde with a performance that far surpassed respectable. The efforts of all concerned were awarded standing ovations throughout the public run. Tevye's daughters were personified in Christie Dahmen, Pamela Barth, Sandy Jenkins, Dana Jacobs, and Debra Budakiewicz las Tzeitel, Hodel, Chava, Shprintze, Bielke respectively.l For those who thought that the talents of George V. Kovach and Josephine Adragna were confined to music, a special surprise came with their interpretations of their characters lLazar-Wolf, the butcher, and Yente, the matchmakerl. Steve Nlarland was the radical student, Perchik, while Frank E. Johnson, Jr. became the young Russian who Gar Hogan V 4,5 1: marries into the family lbut not I its open armsl. And Maria Nlarrero made a me green Fruma-Sarah. However, Anatevka came alive thro i its villagers, in the persons of ll chorus. For it is through them that story is carried, it is through th spirit, collectively and as indivldu that the related episodes become almost tangible part of life in fl almost real village. lAnd Grandma Tzeitel had alwaysf that two people who deserve a gr deal of credit are Patricia Noel w did the Chaveleh Dance and G Slifka, who had the job of pUShI Granny around stage on her tomb to mention Chuck Urig who hidden under Fruma-Sarhs skirts.l And in mentioning the stage, consi the Lecture Theater lor Lect Theatre, or Little Theater, -rel for moment. It seats 195 legally lbut capacity for 20 more, in the aisle has a ceiling three feet too low allow. flying scenery between scen and has no orchestra pit. This last problem was solved with t help of the staff at Audio-Visual. T orchestra of 20-25 musicians w squeezed backstage and into t workshop area, and was conducted v alternate nights by either Woodle - Thomas J. Cole, head of t department of music. To t conductor's right was a televisi camera set between two closed circu f 's ca ii wi .M i 1 I - ii in i n by Julie Cal d ii il i, li - ii I. l ' Ai . 'l l ' l li . ii .ll l 'i l i ! i l

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BIKE PATHS CN THE WAY to get to and from work, especially in the large cities that suffer from acute congestion. They have found it a pleasant alternative to the aggravating and expensive automobile commuting ritual. Also, many school children are dependent on the bicycle as a means of transportation. With the increased use of bicycles in Broward County and the rest of the United States, there has been a Surge in accidental injuries and deaths related to their use. Especially vulnerable in a collision because of the lack of protection for the rider, bicycles are not highly visible to the motorists at night, even with lights and typical reflectors on the bicycle. Cyclists, who have as much right to the road as the automobile and its driver, often suffer from the lack of respect given to them by motorists. On the other hand, because many cyclists are young and inexperienced, they are unaware that they must obey all the traffic regulations and signals that motorists must obey. The result is tragic in many cases, with injuries that could be avoided if provision was made for the bicycle within the structure of the city, both in terms of physical facilities and information programs designed to educate the motorist and cyclist to their respective responsibilities. Broward Community College is a stronghold of bicycle transport. Just recently, BCC has constructed an elaborate network of pedestrian or by Debbie Dishman bicycle paths connecting all parts of the campus. However, there are no bike pathways, as of now, along State Road 84 to provide for the college bicyclists a safe passage with minimum conflict to the motorized public. On streets, such as State Road 84, having speed limits in excess of 45 miles an hour, a separate Bicycle Safety Trail facility, adequately protected from motorized vehicles should be provided. These Bicycle Safety Trails must be sufficiently wide so that motorized vehicular traffic can be excluded from the designated lane. A step in this direction is being taken by the Florida Department of Transportation lFDOTl. Under a new project called The State Road 84 Improvement Project, they are extending 84 from University Drive to Andytown into a four-lane highway. The FDOT has decided to include a bicycle path as an integral part of the transportation network. Having reached an agreement with the Central and Southern Florida Flood Control District, they plan on building a bicycle trail along their canal bank that parallels State Road 84, intersecting Markham Park. James B. Earle, an environmental specialist from the FDOT, says that bicycle paths are being constructed in urban areas wherever a bicycle trail is feasible and logical. However, a bike path from Fort Lauderdale to the college would prove to be one of particularly high use.

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Miss Mullikin continued that zoo one of which showed the action age llivell as photographed by era in the light booth. The other ed a close-up of the conductor eason for that little cameral. This :ie image that those on stage saw ie televisions set up under the oam-covered wall at the edge of Jron. There were also two larger n either wing for songs sung off And so it was that the actors to be cued - without an stra pit. and at times manned the box office. And even with a cast of over 40 there was some doubling up of actors and singers. For example, in Act I Joe Accomando was a Jewish son in the Prologue, the high Russian tenor in Scene Four, a Jewish musician in Scene Seven, a Russian soldier in Scene Eight, and a Jewish musician in Scene Four Nine. of the Russian dancers grew in--2, my O. Woodle, chairman of the Division of Fine Arts Mildred B. Mullikin and Mrs. s Ullivarri were dramatic ,ors for Fiddler on the Roof, y O. Woodle and Thomas J. Cole musical directors, and Miss ira Rassel was choreographer. h Cappello lassistant technical :or to Richard M. Rose, ll, and mer choreographeri also helped ge the dance numbers, in Miss l's absence. And that, as anyone led will agree, is an awful lot of 5, even for a Fine Arts Division iction. ne Williams and the Cultural rs Office became involved with roduction when it was decided to cize Fiddler along with the Artist 5 through the mailing list. That 2 handled tickets, some publicity, beards and became Jewish bottle dancers, all in Scenes Five-Eight, Miss Rassel commented that although most of the men were non-dancers, many had atheletic or gymnastic experience and they were very hard working people. They weren't put off by anything, The Russian dances, by the way, were primarily a collection of folk steps, the bottle dance is a Jewish folk dance, and the wedding dance was simply a polka. Mrs. Ullivarri had said that we might have tried to do too much in too little time. lFiddler at BCC rehearsed only six weeks, most professional companies rehearse a musical for several months before opening.i However, both she and Miss Mullikin agree that since a musical does not necessarily afford drama students an opportunity to perform it was necessary to do two productions for Term I. little emphasis is put upon the academic aspect of college theater.She said that there are two main reasons for drama at BCC: to provide a showcase that the public regards as 'Good Theater,' and to teach the little adorable, irascible individuals which provide our purpose for being here, while we're rehearsing, we're teaching. Of course, there were still problems. The orchestra was composed of members of the Broward Symphony Orchestra, many of them nonastudents. Because of conflicting schedules, they were only able to rehearse as a group four times before opening night. And a special word about Irene Horzepa, who not only served as piano accompanist for most of the rehearsals, but was called upon to play the accordion parts of the score throughout the performance run. An electric piano was used which sounded almost like a celeste. As for the play itself, Miss Mullikin considers it a play with music rather than a musical. llt is based on the play Tevia and His Daughters from the short stories of Sholom Aleichem.l Thomas J. Cole said Musically it's a good show, dramatically it's a good show, and added that he disagrees with those critics who say that a community college like BCC should not attempt a large scale musical, like Fiddler on the Roof. But somehow Fiddler did get off the ground, sometimes literally. For example, in Tevye's Dream which was almost a nightmare of accidents: handles broke, tombstones shattered, bedlamps fell, and pearls and purple fingernails flew across stage. lOh well. Crack a wheel, Fruma.l L'Chaim.