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Page 15 text:
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The dunking booth mokes o big splosh or Spring Fling. Srudenrs become immersed in rhe Qcriviries of rhis week-long evenr sponsored by Residence Council.
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Page 16 text:
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The odvenr of summer means more rhon jusr vocorions or summer classes or Lo Salle. The sounds of music drifr from rhe doors of rhe College Union os cos- rumes, furnirure, ond pieces of scenery - are carried pasr rhem. The Dan Rodden Theorre is a hive of ocriviry, and rhe Snack Bar dining room has been ren- omed The Carousel Room. Ir ' s oil for one reason — La Salle Music Theatre is abour ro begin onorher season of sum- mer enrerroinmenr. Ir ' s been going strong for 23 seasons this year, and ir shows no signs of quirring. Ir does, however, show rhe signs of change. The economic and socio! realities of the 80 ' s ore leaving their mark on every aspect of life, and the Music The- atre, with the rest of the entertainment world, is no exception. It is the challenge of the Music Theotre today to answer those realities and still maintain the excel- lent reputation it has earned during rhe course of 23 summers. Brother Gene Graham, F.S.C., has been both producer and director of the Music Theatre since 1978, and he is the man largely responsible for bringing it into the 80 ' s. He chooses the shows to be done each summer ond runs the open audi- tions. The latter ore basically the some every year: on odvertisement is placed in the locol newspapers, and alumni and members of the community, as well as students, try out. Choosing o show, how- ever, presents difficulties. Designedly, no show has ever been repeated. In addi- tion, some shows ore too doted for on 80 ' s audience. And others simply aren ' t the stuff of which summer music theatre is made. Our audience wonts to be en- tertained, not challenged, Brother Graham explains. Upbeat, lilting pro- ductions like South Pacific ore very populor, while bold, dramatic trage- dies like West Side Story are less so. A choice must be made according- ly. Finally, the rising cost of produc- tion has led the Music Theatre to odopt the practice of doing one major show rather than two. In place of the second show, o revue is done, spotlighting the work of a major musical composer or team. Brothet Graham spends hours lis- tening to songs, ond tries, in the final selection, to mix the famous with the forgotten. The combination of major show and musicol revue keeps produc- tions costs (as well as tid et prices) down, but finondol economies are not the only ones practiced today. Econ- omy of time is important, too. Shows thot lasted three hours in the 50 ' s hove been streamlined to two hours for on 80 ' s au- dience by cutting the padding that fills many of them. More time is saved by allowing the audience to see the sets being moved os a scene ends, on ac- cepted theotricol practice now. In the end, judidous timesoving keeps the pro- duction moving without any deodness and the audience ' s thoughts stay with the story. The Music Theatre serves several pur- poses today. Its founder, the late Don Rodden, viewed it os a troining ground in musical comedy for young people, ond through the years, it has utilized the tal- ents of hundreds of young performers. It was their vitality and enthusiasm that first won rave reviews for the Music Theatre and conrributed to the excellent reputa- tion it still enjoys. On onother level. Broth- er Graham believes that it is on impor- tant public relorions vehicle that brings hundreds of community members onto compus every summer. Mony come ev- ery year, and they leave with o good impression of the College. In addition, stu-
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