Milton Academy - Yearbook (Milton, MA)

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produced. Comedy seemed to be the Min thing this year, as Ms. Banks chose for her winter play Oscar Wilde's Lady Windermere's Fan. An elaborate set and stunning cos- tumes transformed Straus into a glittering spectacle. The rather narrow stage which spanned length- wise across the room was deco- rated by a huge red fan. No expla- nation of the symbolism is neces- sary. The use of areas off-stage was quite well-handled. A porch was devised to the left of the stage, where the timid and forlorn girl, acted by Melinda Gray, was all too often sent by her overpowering mother, portrayed by Tracy Shupp. The upper balconies were put to full use: the members of the cast looked on at the action from above when not in the scene. The cast performed admirably, catch- ing the nuances of Wilde's satire well. Mark Rodgers and Kathy Iackson as Lord and Lady Winder- mere played their roles with great competence, Chris Cabot gave his Lord Darlington a refreshing wit as well as depth. This dimension was also shown in the performances of Tracy Shupp and Melinda Gray who were superbly amusing, yet had the character depth behind the jovial exterior. William Shakespeare is certain- ly not a new playwright to the Mil- ton stageg however, the winter playreading, Macbeth, was a new experience in the traditional. Pro- ducing such a widely-read play is certainly a risk. With nearly every student and faculty member hav- ing read Macbeth, the actors and director had to try to live up to many pre-conceptions and imaginations. Not only does the audience expect a lot from a Shakespeare performance, but also the script itself demands a lot from the actors. To adequately portray Banquo or Lady Macduff or Mac- beth is a formidable task in itself. Despite such potential disadvan- tages, Macbeth was an innovative and well-acted production. Mr. Dregalla's timpani playing pro- vided the atmosphere for the per- formance: announcing the pres- ence of Duncan, foreshadowing impending doom, or creating a frenzied backdrop for the witches. With a cast of experienced actors, the play was marked by perform- ances of extraordinary depth of character. Amy Zilliax, Holly Cates, and Hope Nye were won- derfully wicked as the three witch- es. Clayton Nemrow, Kakie Andrews, and Brad Cover power- fully acted the imposing roses of Macbeth, Lady Macbeth, and Ban- quo respectively, giving the play energy, tension, and unity. The dynamic event of the year, the Class IV play, was, to no one's surprise, an imaginative produc- tion and a great success. This year, Mr. Buono chose Dark ofthe Moon by Howard Richardson and Wil- liam Berney. In a class of so many talented performers, the play appropriately had a large cast, in- cluding the maximum number of students possible. Music, special effects, and fine acting were all present. The set, a huge mountain, was easily transformed into a witchis haunt by eerie blue light- ing and smoke, or a general store by dropping the front of the moun- tain down onto the stage. The en- semble performance was, as usual, superb. Group scenes were realis- tic, full of energy and life, and al- ways had a touch of humor. The actors were always in character, interacting with each other at all times, an obvious result of months of hard work and fine direction. The music both on and off stage gave the play life and atmosphere. Raffi Hermann on the fiddle and Holly Duncan on the guitar as well as the cast's singing various gospel 45

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DRAMA ' : Tradition, Innovation Hold Milton Stage The year in drama proved to be one of both tradition and in- novation. From Schisgal to Shakespeare, Milton heralded per- formances of a broad range and va- riety. Leaving Milton to complete her dissertation, Ms. Carol Banks planned some exciting produc- tions for her final year. The fall play constituted a change from the normal procedure of having one full-length play being performed. Ms. Banks, instead, chose to direct two one-act plays, The Pushcart Peddlers by Murray Schisgal and Hello Out There by William Saroyan. As a refreshing change, 44 studio was used instead of Wigg for the performances, lending a closed-in atmosphere appropriate to the nature of the plays. In both plays, a definite mood was created by the cast and setting, aptly hold- ing the audience's attention with style and flair. Cindy Karter and Ioe Toot in Hello Out There gave notable performances, as did Dave Horowitz and Chris Lemley in The Pushcart Peddlers. Continuing his tradition of directing energetic, well-acted plays and well-attended perfor- mances, Mr. Zilliax produced yet another smash success in the fall playreading, The Matchmaker by Thornton Wilder. With a large and talented cast, the day succeeded in keeping the audience in constant roars of laughter. Imported from the Admissions Office, intern Scott Carneal played a staunch and foreboding Horace Vandergilder. Brad Cover was extremely amus- ing as the nervous clerk Cornelius Hackle, while Hope Nye played the vivacious Dolly Levi with flair. As a whole, the play was full of energy, unity, and an impeccable sense of timing so necessary for a successful comedy. It is truly a marvel how with only eight to ten rehearsals prior to performance, such engaging playreadings can be

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renditions engaged the audience. The off-stage music was mysteri- ous and biting, adding to the magical quality of the play. Angus Walker and Sarah Di Troia were excellent as the conjurman and conjurwoman, both having a dis- turbing mystical quality. Tom Lowenstein drew laughs from the audience as the righteous preacher, while Anthony Austin and Carrie Kaufman as the witch boy and Barbara Allen gave very moving performances. An innova- tive production that was a reflec- tion ofa talented cast, crew, direc- tor, and musicians, Dark of the Moon continued Milton's tradi- tion of dramatic excellence. Look- ing ahead to next year, when Mr. Buono takes over as Head of the Drama Department, one can expect many more plays of such high quality and imagination. 46