McNeese State University - Log Yearbook (Lake Charles, LA)

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RACHAEL-LIN POOLE, Susan Chenet and Monica Bellon gaze in wonderment at the unusual behavior of Daisy in the park. WONDERING WHERE THEY went wrong as parents, John Prince and Rachael-Lin Poole think it over while sipping a little cold duck. NANNY, PLAYED BY Colleen Hogen, reminds Daisy, Norman Ward, that he she seems to be missing the appropriate feminine traits. COLLEEN HOGAN shows Miss Pringle, Monique Sigur, how to stay on top of her “E’’’'s and shoes. JANE L. PATTERSON, technical director, works carefully on a standing saw to create just the right scenes. cNeese Theatre’s production of Christopher Durang’s Baby With the Bathwater was a painfully hi- larious, unbelievably convincing farce about the pains and problems of both par- ent and child in the modern world. The haunting production, directed by Dan Plato, was a participant in the Amer- ican College Theatre Festival, where it won a nomination for participation in the re- gional competitions in Lubbock, Texas. John Prince and Rachael-Lin Poole played the troubled and terribly naive par- ents, John and Helen. Norman Ward played 58 Theatre @) the role of the baby in question, one lad erroneously named Daisy. Both Prince and Ward were honored at the Louisiana Col- lege Theatre Festival. (ECTF) with nom- inations to compete in fegional compe- tition. ¥ ge : Wee Susan Chenet, who also wentsto the re- gional competition in: Lubbock, played the double role of Kate and Susan. Other dou- ble role. players, were Colleen Hogan, the diabolical Nanny and militaristic Principal; Monique Sigur, Cynthia and the instructor Miss Pringle; and Monica Bellon, Angela and the most-professional Psychiatrist. Designers included Susan E. Kelso, tistic design coordinator; Jane L. Patt son, technical director lighting design; ronica Olivarez, scenic design; Gg Stratton, sound design stage manac¢! Theresa Mancuso, costume desil Rhonda Babin, make-up design; Josept- Frazier, property design; and Angela Luc master electrician. Veronica Olivarez and Greg Strat were recognized at the LCTF for their wi in set design and sound design orig@! music, the ‘“‘Baby’s Theme,’’ respective:

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Diverse interests f one word could be used to describe the College of Liberal Arts, it would be “diversity.’’ According to Dr. Millard Jones, Dean of the College of Liberal Arts, this college provides ‘‘17 undergraduate and four graduate programs,’’ ranging from theatre to criminal justice. Dr. Jones holds that its pur- pose is to “‘provide intellectual and cultural leadership to the community.”’ According to Dr. Jones, the College strives to teach “basic skills’’ and ‘‘sophisticated techniques of analysis and expression, from curricula preparing students for specialized vocations to programs that focus on general patterns of human experience and expres- sion. FACULTY: Department of Communication and Theatre: Dr. Charles V. Roberts, (head); Dr. Leonard Barchak, Dr. Peter Dart, William Dickerson, Dr. Susuan Kelso, Dan Plato, Dr. Maurice Pullig, David Rigney and Dr. Larry Vinson. Department of History: Dr. Daniel Sutherland, (head); Dr. Carolyn Delatte, Dr. Michael Enright, Dr. Thomas Fox, Dr. Ilda Pope and Dr. Thomas Watson. Department of Languages: Dr. Joseph Cash, (head); Hugh S. Brown, Dr. Maria T. Bustillo, Robert O. Butler, Dr. Clifford Byrne, Robert Cooper, Dr. David Eakin, Dr. Louis Galford, Dr. Elizabeth Hait, Dr. Kim Bowman, Dr. Russel E, Marshall, Dr. Monique Nagem, Curtis S. Nelson, Dr. Stella Nesanovich, Dr. Richey Novak, Sigrid Novak-Scholtz, Dr. Judy Savoie, Dr. Cheryl Ware, Dr. Carol Wood and Dr. John Wood. Department of Music: Dr. Fred G. Sahlmann, head; Barbara Belew, Ronald Bumby, Patricia Bulber, Richard Condit, Jeffrey Bell-Hanson, Dr. Michael Ewald, Susan Gaston, Keith Gates, Dr. William Groves, Melissa Johnson, Larry Lang, Dr. Terrence Mahady, Michele Martin, James McLeland, William Rose and Robert Tucker. Department of Social Sciences: Dr. John R. Vile, (head); Dr. Gary Freedom, Dr. William Greenlee, Judith Haydel, William Heck, Dr. Pamela Jenkins, Dr. Robin McNeely, Raymond LeBlanc, Dr. Jo Richardson, Dr. Henry Singo, Dr. Charles TeKippe and Dr. Billy Turner. Department of Visual Arts: Dr. Bill Iles, (head); Dr. Samuel Carleton, Dr, Marty Bee, Dr. Heather Kelicy, Gary Porter, Dr. Larry Schuh, Lewis Temple, Todd Turek and Gerry Wubben. () College of Liberal Arts 57

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cNeese’s most unique production of Macbeth was certainly unprec- edented in style and imagination, ‘it the underlying themes of greed and (rruption were as dark and daring this jar as they were 400 years ago. | Charlie McNeely was in award-winning Hy | | fm as Macbeth, the ill-fated king torn. [tween obsessive ambition and weakened Hpral convictions. Anita Platt portrayed it vile, vindictive Lady Macbeth. Gloria (Coir, Janna Grubbs, Celeste Fruge’ and ‘Etty Doucet were in top form as the sexy, Tinipulative and evil Weird Sisters. ’ Chris Ferguson held four roles, doing equally well as Banquo, Seton, a Murderer and the ever-popular drunken Porter. Mi- chael Alleman gave a wrenching perfor- mance as the valiant Macduff. Peter Dart played both Duncan, the fallen king, and Siward, opposite of Tony Ryan’s role as Malcolm, Duncan's son. Other company members included Wade Chaney as Fleance; Rob Hermann as Young Macduff and Young Siward; Ty Kopp as Ross, Doctor and Donaldbain; Cheryl Mar- tin as Leanox; Elizabeth R. Trahan as Lady Macduff, Angus and a Murderer; Mary THEE MiP aleliNiG Weird Sisters, Celeste Fruge’ (back), Gloria Giroir, Janna Grubbs and Betty Doucet, proved to be the ruin of many a man. LADY MACBETH, Nita Platt, tries desparately under an eerie light to wash Duncan's incriminat- ing blood from her hands. AS DUNCAN, Peter Dart, greets his son, Ty Kopp (left), Chris Ferguson as Banquo is bewildered at the strange happenings in the night. Trahan as Caithness, the Gentlewoman and Old Woman; and Robert Vige as Menteith and a Murderer. Multi-talented costume, lighting, sound and choreography designers contributed greatly to the authenticity and believabilty of the production. Dan Plato served as costume designer; Jane Patterson coordi- nated all lighting effects and Chris Fer- guson served as sound designer. Keith Manning’s choreography, combined with the contributions of everyone involved, served to complement and intensify the work of Kelso and Shakespeare alike. () Theatre 59