Loyola Academy - Yearbook (Wilmette, IL)

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Teosfhg the crowd Hopper Debbie Burdette nosds me cucu- ence's attention. Photo by Dave Williams. Saying their last goodbyes, Scot! Dawson, Annie Mocclor- oli, John Metre, and Meg Mor- shali wait for the call to service. pl' vs Q ! p s X X RA t H ,

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Wafching as Sieve Johnson re- laTes The sTory of Grover Ma- lone: RusTy Magner, Mike Gille- spie, Brian Travers, Paul lacono, and Dan Baldino culTivaTe Rambler spiriT in Shane Baldino and Mark Moran. Photo by Dave Williams T- . in. My yi, ,l FT TWU T Ty l TTTTWWTTTTTTTTTTTTTT i 'Thr' They praofioeoi and They Sweafeoi, only To find ouT Thaf Boys Wear Makeup ho ever said There is no such Thing as a Time machine? Perhaps There isn'T, buT The magic and aura of The casT of The Third annual Follies gave The effecTs of one as They led The audience Through eighi decades of comic and dramaTic hisTory. Under The producfion of Lawrence ReuTer, S.J., The direcTion of The English De- parTmenT's James Kucienski, and The choreography of Peggy Reynolds, casT mem- bers represenTing Regina, Marillac, Woodlands, and The Academy enTerTained Three TheaTers full of family and friends, The Follies' TiTle, The Spirif of '75 , reflecTed The life and spiriT of The Academy Through iTs seyenTy-five years of rich hisTory. The pro- ducfion began in 49041 wiTh Fafher Dumbach's energeTic plea To Archbishop Quigley for Loyola's esTablishmenT in 24 Follies The NorTh Shore. Before The audience knew iT They were wiTnessing a 4984 senior, RusTy Magner, Take Two pro- specfive freshmen, Mark Moran and Shane Baldino, on a guided Tour of The Ada- demy on Open House nighT. Upon viewing The picfure of The four members of The firsT graduafing class, circa 4944 and FaTher Barlow, S.J., Their senior English Teacher, The Three modern day sTudenTs wiTnessed The rebirTh of The members of The picfure as They sTepped ouT of The phoTo and broke inTo a song. Soon The four 4944 seniors along wiTh FaTher Barlow revealed To The audi- ence ThaT They represenTed The spiriT of Loyola. Through- ouT The play, prospecTive freshman Moran remained opTimisTic abouf The Acade- my, while his peer Baldino re- mained cynical concerning his success aT Loyola. AT The onseT of The journey Through The decades, The audience found iTself in The midsT of World War l. To The Tune of Over There , The scene depicTed The emo- Tional seTTing as The dough- boys were leaving To go off and fighT in The war. Jusf as The audience was being drawn inTo The sad- ness of The war, scenes quickly change and iT found iTself in The flamboyance of The roaring TwenTies. The scene Took place aT Ann O'Day's MalT Shop, a popu- lar hangouf for Loyola sTu- denTs of The era. EnTerTain- menT was provided by flap- pers Debby BurdeTTe, Maura Whalen, KaThy Naninni, Col- leen McCarThy, Angela Cril- ly, KaThy Lee, and Julie Gold- berg, wlTh Their rendiTion of The Charlesfon. To illusTraTe The facf ThaT There was a depression sweeping The counTry, Two solos were performed Thaf Qconfinued on page 265 - T T A T if , L. T

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F oili es Bring Phoios io life for .prospective freshmen. were represenTaTive of The hard Times. Freshman Adel- aui Boue's singing of Buddy, Can You Spare A Dime?and Kelley Menighan's solo of Ten Cenis a Dance cap- Tured The True flavor of The ThirTies. The Follies' viewers were also amused wiTh a humor- ous, saTirical look aT a Typical 4930's LaTln classroom scene. EnTiTled Amo, Amas, Amaf, This scene porTrayed FaTher Sammon, LaTin Teacher, played by junior Graham Hickey, insTilling The fear of God inTo his sTudenTs as he drilled Them in Their verb conjugaTions. As AcT l of The Follies enTered iTs final scene, The Time was 4942. The place was The EdgewaTer Beach l-loTel and The evenT was Loyola's Prom for ThaT year. The prom-go- ers were enTerTained by The AndreTTi sisTers, JeaneTTe Dil- lon, Rachel Broadhead, and ChrlsTine l-loskens, singing Boogie Woogie Bugle Boy, a warTime favoriie. As AcT ll unfolded in The 4950's on American Band- sTand, dancers were danc- ing To Rock Around The Clock wiTh Bill Haley, alias P.T. SmiTh. The colorful decade was well capTured as The four senior graduaTes and FaTher Barlow recalled The necessiTies and fads ThaT swepT The naTion. As The audience viewed The TransiTion inTo The flower child era, The sixTies, iT wiT- nessed four moThers lamenT- ing abouT each of Their own lackadaisical offspring. A True highlighT of The show, This sequence illusTraTed The Tremendous generaTion gap ThaT prevailed during The Tur- bulenT decade. As if hearing his moTher and her friends singing abouT Kids wasn'T bad enough, flower child Graham, porTrayed by Rich Levanhagen, is subjecTed To his Teachers' coaxing for beTTer grades To The cre- aTive song Grades. AT This Time The Two pro- specTives were being ap- proached by FaTher Barlow and asked if They knew whaT jusTice under God means. ln- nocenT guesses as well as pessimisTic auips led inTo Three enTerTaining lug skiTs, courTesy of OperaTion Sac- ramenT. The hisTory of jug was Traced as players re- lived jug experiences of The forTies, sixTies, and eighTies. Melodrama was well por- Trayed as Kennedy's assassi- naTlon was announced To a cafeTeria of noisy sTudenTs. The chorus' enThusiasTlc sing- ing of Hey Jude helped The audience recall The Turmoil of The slxTies. Amerlca's reTurn To The norm of social conducT in The sevenTies, was illusTraTed by a lively Sfayin' Alive disco scene. To parenTs' dellghT. acTors danced To One Sin- gular Sensafion, and sang Julio lglesias' and Willie Nel- son's 4984 hiT, To All The Girls. For The grand finale, The Follies Company remained wiTh TradiTion as seniors emerged in Tuxedoes and The enTire casT sang The Academy's Alma Maier. Paul Iacono assisted by Bob Paras and Elmer Salmo The morhers larnenf abouT UKids. Pholo by Dan Wllllams. 26 Follies