Miami University - Recensio Yearbook (Oxford, OH)

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DRAMATICS esting among the pine groves of the East Quad was famous Fisher Hall. An ear to those hallowed wooden doors would bring an unsuspecting freshman confirmation of campus rumors . . . yes, Virginia, Fisher is haunted- every day by Miami students interested in many aspects of the theater and the stage. Once a dorm, then a gymnasium, Fisher Hall was finally reconstructed and painted to assume the character of a small country playhouse. Those almost formidable doors opened to a long foyer that branched into a complex of parlor-like rooms. These formed the offices for Dr. Homer Abegglen, Ye Merrie Players, Dr. Ronald Kern and the Miami University Theater group. The foyer, whose walls were covered with candid pictures from former productions, then led into a central room divided into various stage areas. It was here that the Miami actor-to-be read his first lines at tryouts, rehearsed his Character portrayal before Dr. Abegglen or Dr. Kern and assumed the full responsi- bility of a college thespian by performing for the student body. Behind-the-sceners found downstairs Fisher more suited to their needs. Once-empty rooms thaunted, of coursel became useful theater accessory rooms. Costumes were piled high in the east wing-accoutrements suited for almost any station in life, from businessman to pioneer, could be found here . . . stage drops for every mood and occasion leaned against the adjacent wall as properties filled the voids- chairs, sofas, pictures, vases, even a bear rug was stored away . . . lighting and sound equipment also found a resting place. Fisher Hall was truly an actorls testing ground and theater storage area for many MU productions. 30 Actors and crew members worked at Fisher up to the night before dress rehearsal. At this time, the entire troupe moved to Benton Halletheir final practice arena and performance hall. Acoustics were not the best and stage facilities iiwere sorely inadequateli, said past advisor Dr. Homer Abegglen . . . but all knew the show must go on. Opening night came to the Miami University Theater in a flurry. The stage was assembled for the evening per- formance. Nervous actors walked out their lines alone, quietly; the lighting crew experimented from the wings. The traditional 8:15 PM. show time had arrived . . . curtain time was near. Chairs in the audience shuffled as the lights grew dimmer . . . the velvet curtains moved and a hush came over everyone . . . make-up people applied the finishing touches, prop men Cleared the stage, lighting and sound scripts were given a quick, last glance . . . Miami University Theater actors disengaged themselves from stiff positions and four weeks of intense work was put into real action. Meanwhile, in the pit, MUT director Dr. Ronald Kern might be seen taking notes or nodding approvingly at a particular scene. This was the man behind the play-the man who waded through three days of tryouts and spent at least two hundred hours reviewing the script and its possibilities. But, most important, he was the man who gave the Miami actor an insight, a sharing experience with the character he was to portray. And, if the actor could not communicate this idea effectively, Dr. Kern developed some means to compensate for his weakness. This great understanding of people led a former student to say, iiDoctor Kernis personality is an inspiration to all he meets esurely a genius in balance? The Miami University Theater group is one of the few remaining campus activities that is financially self-sufl'icient. It is subsidized by its own box oHice and therefore the group operates on a profit and loss basis. Ah Wilderness, presented over Dadls Day Weekend, brought great profit to MUT. And no wondereover 1,500 students, dads, faculty and guests attended this performance of OiNeillls only comedy. Many termed MUTis production as lithe most solid play that Miami has put on in years? Mother Courage, produced by Dan Cashman, and Richard III, produced by Ronald Kern followed later in the year, each drawing almost as great a crowd. In total, audience partici- pation was greater than any previous year-a good sign for the future of Miami University Theater.

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n opening night the curtains drew back at the O scheduled time . . . a Chorus overcame nervous tension and put three weeks of practice into action. As the band began to play familiar melodies from twelve Broadway shows, make-up girls applied final touches to cast mem- bers. When the applause ended and the audience left the auditorium, tired, relieved freshmen sighed in memory of the lldays of oldf, Changed from their costumes and hur- ried off to an unforgettable cast party. The Christmas spirit drifted onto Miamfs campus early as students began preparations for their approaching win- ter recess. clDeck the Hallsil lilted through shops uptown and Santals helpers scurried back to their bedecked resi- dence halls, laden with last-minute gifts for roommates and friends. In contrast to the lighthearted festivities of the season was the impressive presentation of HandePs llMessiahY, For this program, the combined University choruses were joined by the Cincinnati Symphony Orchestra, directed by Max Rudolph. lX'Iembers of A Cappella, V'Vomenls Choral Society and Menls Glee Club had practiced most of the fall semester for this performance. The VVomenls Choral Society recognized new leader- ship in September of 1964 when John VVabriCk assumed the title of director. He was quite pleased with the en- thusiasm and responsiveness of the group, whose repertoire ranged from Negro spirituals to show tunes. A unique requirement for a unique group: the A Cap- pella singers were judged during auditions not only for the quality and range of their voices but also their ability to sight read a musical number. The eighty students com- prising this organization were under the direction of Dean George Barron of the Fine Arts Department and assisted by Paul Vanderkoy, a graduate in Music Education. Throughout the year they presented a series of concerts and programs, particularly in the fall and spring and at commencement. Prior to their appearance as part of the combined choruses for the glMessiahj, the choir had sung in the Cleveland area. Miami can be proud of its symphony orchestra, whose members are not salaried musicians, but rather students who offer their time and talents as individuals desiring improvement of their musical abilities, to interpret the great masterpieces of the past and present. NIr. Otto Frohlich, conductor of the lVIiami University Symphony Orchestra, rehearsed three times a week with its members. Before being accepted as part of the sym- phony, each student had an audition to prove that his musical background met the required artistic standards of excellence. Three or four concerts were presented each year, as well as tours and the annual Charter Day program in February, which included Frohlich,s original composi- tion of llHomage to Miami? Programs presented by the orchestra featured selections from wide-ranging periods of music history. On the fall 1964 list were pieces by Mozart, Rossini and Tschaikowsky, and Beethovenls Piano Concerto $61. A spring concert was composed of incidental music, a type usually played in preparation for the main part of a program. This unusual performance included ccThe Egmont Overturell by Beet- hoven, llPeer Gyntll by Greig and chncidental Music to LlArlesiennell by Bizet. With artist-in-residence David Bean giving lessons in addition to his recitals, Rliami students had a variety of talent in their midst. One could participate in the sym- phony, Choral groups or other musical activities. llThe success of musical efforts on campus depended not only upon members of the organizations and music majors but upon each and every student? His presence at the program featuring Jacques Klein or a ticket to the F ine Arts Folk Festival was a contribution toward this goal. 7-9

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Although MUT,s One-Act plays did not have as great a turnout, the troupe was not dismayed. Unlike the larger productions, the One-Act plays were not dependent on the audience for financial assistance. Instead, the University treasury became the sole guardian angel . . . and for a grand cause. The One-Act plays provided more than a chance to just exhibit acting ability. They gave interested student thespians a chance llto take the chair,, in casting, directing and producing. llExperimentll was the key word for these drama enthusiasts . . . in One-Act, anything went. Stagnant parts were changed to suit the director in charge; an eccentric, long-suppressed actor was asked to take the lead in a slow-moving play; props were reduced to the minimum of Richard Burtonls H amlet, or enlarged to the scale of Liz Taylorls Cleopatra. These thespians were game for anything, but their attitude was somewhat more serious. There was no room for mediocrity; no time to waste. Each member had a responsibility to himself and the supporting University. llIt was this attitudeih said one MUT member, llthat brought great success to Foursome, Maid to Marry and Portrait of Madonna, three of the seasonls One-Acts. Recognition for this quality of performance was given to MUT members through llYe Merrie Players? This society was formed to recognize the big time-spenders in the theater, the energetics-the people who showed up at noon to finish off a stage-drop, who spent Saturday morn- ings making a much needed platform, who rehearsed four to five hours a day for the sake of excellence. Founded in 1917, llYe Merrie Playersl, was the hrst of Miamils many honoraries. Under the auspices of Dr. Homer Abegglen, it has continued to honor the theater workers. And what better man should direct honor thespians on their llmerriell way? Dr. Abegglen, a veritable Miami monument, has been on campus for thirty-six years. During that time, he estimated, he has directed over one hundred plays and numerous one-acts. There is general agreement that MUTls rise in power and force on Miami,s campus was due to Dr. Abegglenls early, steady efforts. Now he takes the rightful, llmore restful Ml l, Chair as advisor, lead- ing this surely-zealous group on to bigger and better times. It was he who suggested that this yearls llPlayersl, organize as a social group-a casual, relaxed clique, a definite change from the serious, rushed life on stage. Such events as a Halloween picnic, Thanksgiving dinner and Christmas party headed monthly agendas. Actors and technical workers somehow found time to attend at least one of these honor gatherings. F un was in the making, but there would be work enough for all tomorrow. And work it was. The entrancing world of the stage had many demands. The necessity of establishing a rapport between actor and actor, between actor and audience, between actor and self, was no easy Chore. All worked together to establish a vital, central communication. Props, lighting and makeup all offered their support. Whether it be to portray the ruthless, vicious, avaricious Richard III, to entertain with the Omar Khayyam declamation of Ah Wildernessis lead, to relate the destruc- tion in Mother Couragels materialistic society, all must work to divorce the stage action from present time and space. Each manls work must become an art and no less. Each audience member must become a casual listener. Each actor must forget that he is an actor. At that time, and at no other, may success be proclaimed. 31