Lipscomb University - Backlog Yearbook (Nashville, TN)

Page 22 text:

AN IRATE duchess hurls words of hatred for Thomas Mobray, mut- derer of her husband, at his aged uncle, in Shakespeare’s Richard II. AN ANGRY father disdainfully listens to excuses of foolish youth in Eugene O’Neil’s masterpiece, “Beyond the Horizon.”

Page 21 text:

A DISTRESSED and forsaken Richard awaits his fate while imprisoned in Tower of London. BEFORE LEAVING for roles in a German opera company, Jerry Jennings and brother-in-law Henry Arnold presented impressive Artist Series program. Another Year Reflects Beauty of The Fine Arts Escape from the cacophony of the metropolis lies in the tantalizing strains of “La Traviata,” the commanding finale of Beethoven’s “Fifth Sym- phony,” and the gentle, lilting melody of Dvorak’s “New World Symphony.” The creation of eu- phonious sounds casts the thaumaturgical spell of arts after five. Arias from “Carmen,” “Orfeo,” and “Samson and Delilah” thrilled an appreciative audience at the first Artist Series performance by prima donna Rise Stevens. Marion Cawood’s brilliant interpre- tations of operatic works gave “Lipscombites” spe- cial pride in their recollection of the days when she was a fellow-student. Her studies in music at Lipscomb, Harding College, Sophie Newcomb Col- lege in New Orleans, and Indiana University and with Marjorie Lawrence, noted Wagnerian soprano, were the instrumental preparations behind her moving performance. Melody of cantabile note gave way to the spoken word as Sara Lowrey interpreted classics from the Bible, the theatre, and English and American Lit- erature. The poetical expressions of Tennyson, Byron, Poe, and Wordsworth became more per- sonal through her imaginative verbalization. The curtain closes .. . the melody fades... but our rapturous moments in arts after five linger on. COMBINING EXPERIENCED Jordanaire quality and awakening voice of a talented student, the brothers Walker stage an impressive performance. Ps

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Dramatic Moments...Scenes Never ‘To Be Forgotten Sock and buskin brought tears and laughter to the Lipscomb stage as another year of major pro- ductions spotlighted life beyond the proscenium. Long hours of set construction in the Footlighter lab created a modern home, a simple homestead, and the throne room of an English castle from canvas, wooden skeletons, and paint. Backstage scenes from a play within the play, “The Torchbearers,” treated theatre audiences to a comical view of the play “‘behind” the play. Seri- ous moments were provided by Janet Turner, Larry Menefee, and Ron Pater as the “eternal tri- angle” in Eugene O’Neil’s “Beyond the Horizon.” The tragical story of a poet-king who lost his crown for the lack of moral strength was dra- matically portrayed by 1964 Toddy winner, Mike Finley, in the title role of “Richard II,” Lips- comb’s candle on Shakespeare’s 400th birthday cake. Professional characterizations by student amateurs lent the enchantment of drama to the- atre patrons creating a year of drama at Lipscomb which was long rembered by the audiences. THE VIEW of the stage hands from the cat walks high above the stage floor finds the rehearsal of the Kappa entry in the annual Forensic Tournament. A STUDY in silhouette found above the stage in the sound control room during dramatic performances. Needles move across the face of meters measuring the volume of sound in the auditorium beyond, and dials are adjusted to heighten the effects of drama at Lipscomb. » om » be 3