La Porte High School - El Pe Yearbook (La Porte, IN)

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Madame Bodicr listen» as Rouricn tells Uodicr of the wealthy aristocrats who can be robbed. Popo (Ron Wolf); their romance supplied some comical momencs in the play's tense atmosphere. A more serious courtship was carried on by Trigaud, who charmed Diana with violin music and his flow- ery language. When Francois disappeared, Count Cagliostro hyp- notized Diana so that she could find her brother. Un- seen powers drew her to the haunted fireplace; sud- denly she screamed and fainted, and her brother's body fell to the floor. This strange happening led Trigaud to explore the fireplace, and he discovered a secret door. Suddenly a ragged old man (Kent Oakes) stumbled out brandishing a broken violin. The “ghost from the chimney, drawn out by Trigaud’» violin music, is viewed with surprise by Count Cagliostro. Not only was the mystery of the Demon’' solved, but the sought-after necklace was found hidden in the violin. But the aristocrats' terror was not ended. As Cag- liscro and Trigaud battled for possession of the dia- monds, a band of peasants from a nearby village broke in. The peasants captured the aristocrats, plan- ning murder. Their leader Gauroche (Ben Milligan) seized Cagliostro to force him to tell where the dia- monds were hidden. Trigaud, who had been upstairs when the peasants arrived, . . . used an optical illusion to appear like a ghost, and the terrified vil- lagers fled. Angry peasant» with murderous intention» make the aristocrats cower.

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Everyone anxiously awaits another dancing exhibition from Popo (Ron Wolf) and Charlotte (Shicla Terry). We Presented the Slack Jlawngc The French Revolution provided the background for the fall play, The Black Flamingo , given on No- vember 19 and 21, 1959- Three student directors as- sisted Miss Kellogg; they were: Karen Hunr, Sue Hoehne, and Joyce Guglielmetti. The Black Flamingo , an old inn close to the Austrian Border, was haunted by a demon who lived in its huge fireplace. The demon’s eerie, wailing vio- lin screeches (supplied by Susan Messman) terrified the innkeeper, Felipe Bodier (Tom Malone), his wife Nicole (Llani Gripe), and the housemaid, Clo- tilde (Pat Dunifon). On the first night of the revo- lution Bodiers friend Bourien (Dick Panagos) ar- rived to plot with Bodier the theft of the valuables of the aristocrats headed toward the inn. In the course of the evening the raging storm brought to the inn a young army officer, Francois De Lussac (Mike Feltman), Trigaud (James Miller), a wandering minstrel, and a priest accompanying a group of aristocrats. Count Eugene De Lussac (Tom Holm), and his daughters, Diana (Barb Kaminski) and Charlotte (Sheila Terry) were following Fran- cois, who they believed was helping Marie Antoinette by smuggling her diamond necklace out of France. As the travelers were sitting down for supper the priest (Bob McCarty) disclosed that he was Count Cagliostro, an exiled nobleman. He and Trigaud be- came enemies when it was learned that both men were searching for the queen's diamonds. Clotilde was swept off her feet by an elegant fop, Clotildc, the maul (Pat Dunifon), tempts the appetite of Popo (Ron Wolf) with a sumptuous roast pig.

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CommitteeA an the backbone Mr. Munson tells Gary Decker the type of lighting needed for the first act. Looking behind any scene of the 1959 spring and fall plays revealed many people hurriedly preparing for opening night. Our wo directors, Miss Kellogg and Mr. Munson, spent many hours coaching the actors in the correct way to move, speak, and dress. The student directors were responsible for prompting and generally doing the bidding of the directors and actors alike. The two shows called for different ef- fects. The Happiest Millionaire” required a setting with rich materials and expensive furniture with the actors dressed in fine and elaborate costumes of the early 1900’s. The fall play, on the other hand, needed a setting placed during the time of the French Revolution. In contrast to the spring play, a lively comedy, The Black Flamingo”, had to present a mysterious castle which was old and dirty. Artfully using the correct mixtures of paint and suitable props, our crews perfected very convincing sets. The mem- bers of the properties committees had to beg, borrow, Ruth Hacker and Sharon Hcrzig look over the costume arrangement for the 1959 spring play. 28