Miami University - Recensio Yearbook (Oxford, OH)

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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

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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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GOVERN MEN T n organization of the students and for the students A whose purpose was to provide communication and understanding between the students and the Universitye this was Miamils Student Senate. Dave Caputo, president, as well as every officer and committee member, worked successfully this year to create an impounding lot for stu- dents cars, bring about a memorable Homecoming and Dads Day and establish District Representation in the Senate. At the present, womenls hours, the extension of library hours on Saturday nights, and the apartment con- troversy are projects facing the Student Senate and ad- visors Dean Robert Etheridge, Dean William Hollings- worth, and Dean Naomi Brown. Twenty members, Chosen by the students, twelve repre- sentatives from the major organizations, and the four class presidents comprised the Student Senate. Permanent com- mittees such as Publicity, Organizations, Elections and Suggestions added to the already heavy responsibilities of the elected Senators, whose main duty was to keep in close contact with their districts. The Bus Committee, Miami Forum and Miami Chest were Senate agencies with chair- men Rick Thies, Pete Buriski and Andy Price free to choose their own members and expand activities. B ill Stevens, John Baird, Andy Bell and Chip Case, the respective senior, junior, spohomore and freshman Class presidents, led their classes in various activities, projects, dinners, the Junior Prom and, of course, news- letters. Behind every president is a secretary and Sandy Stressenreuter, Mary Margaret Burgess, Mary Hudson and Debbie Nash supported this as well as their classes. The University Senate, presided over by the President of the University, included all administrative officers and the instructional staff. In July the committee system was reorganized and the Faculty Council now acts as the executive committee to take over the functions of the many previously independent committees. This was neces- sary due to the constant growth of Miami. The Menis Disciplinary Board handled all menls in- fractions of rules while the Womenls Disciplinary Board handled only the serious infractions which House Councils and the Dean of Women recommended to them. Faculty members and students composed both boards. Each person brought before the board was given the opportunity to state his views on a situation and each case was kept in strict confidence before and after decisions.