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Page 135 text:
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v 1 XL I 4 I N N4 AND IT'S 1, 2, 3 - GET GOING!
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Page 134 text:
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.ALL THE LIVELONG DAY Getting a musical into gear is a task appreciated by few but definite- ly worthy of praise. A cast and direc- tors put untold hours into preparing for a show. The preliminary step, learning the music, requires a firm loyalty to the show: music rehearsal tends to be slighted for other ac- tivities. Things start to take shape when movement enhances the music. Little by little, results of hard work become evident. A month of Sundays are reserved for long rehearsals. Inherent benefits come from being in a musical. Many friendships form and new talents in theater emerge. These friendships tend to last longer than the show and can spark other people's interest in trying out for the next play. Only a handful of audience members realize exactly how much time it takes to get a musical together. The dances, monologues, lights, set, costumes, and publicity all require energy, money, and time. When things are down, it doesn't seem worth all the work. The payoff comes one hundred times over, though, when a cast member hears applause, a certain song goes especially well, or when an audience member feels that special tingle that only comes from seeing an O'G musical. PAGE 130: TOP: Phil Mancus, the pacifist, plots revenge on his co-workers. MIDDLE LEFT: Jenny Gries states that she is no longer a typist. MIDDLE RIGHT: Karla Bartscher and Jenny Gries repeat one of the standard phrases that an operator uses. BOTTOM LEFT: Tom Auld, Renae Timmer, and Lars Nilsson tell waitress Ruth Osthus about a fly in their soup. BOTTOM RIGHT: Jenny Waggoner dances in the opening song. PAGE 131: TOP LEFT: Ruth Grieger makes a better life for her daughter. TOP RIGHT: Pat Obele, as Al, doesn't move anybody's seat when he parks a car. MIDDLE LEFT: Mark Curley explains how he has a good time with his friends. MID- DLE CENTER: Mollie Krum, Laura Tam, Al Kunkel, Jeff Clapper, Christa Plimpton, and Carrie Hurley describe their jobs in the finale. MIDDLE RIGHT: Tom Auld demonstrates how neat it is to be a newsboy. BOTTOM LEFT: Lisa Fischer teaches her third graders a patriotic tune. BOTTOM RIGHT: Pat Obele, Renae Timmer, Lisa Fischer, Mike Gengler, Katie Randall, Yoli Zepeda, Jenny Waggoner, and Dave Schuster point to the building that they built.
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Page 136 text:
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ssl TH EsPlANs All the World's a Stage . . - Shakespeare Long ago and far away, in the days of mythology lin Greece to be exactl there lived a Greek poet named Thespis, who had ideas that could turn the theatrical world acutely around. In those days, all dialogue was sung by actors and actresses, similar to modern musical produc- tions. Thespis believed speaking, in- stead of singing the parts would pro- duce a clearer sound that would be easier for people to hear and unders- tand as well as relate to. At a festival, Thespis had an actor go onto the stage and speak the dialogue before an audience. One source says that it was Thespis himself that went before the crowd to present this new type of acting. The people liked this new idea and from this beginning evolved the spoken plays and movies that we en- joy today. Also resulting from this change, Thespis was named Father of Tragedy. Tragedy in this case be- ing an act, or a theory of acting, com- posing such drama. Thespians are mainly the backbone of the Drama Department and support drama at O'Gorman by various activities such as, fund rais- ing. The Thespians take trips to other cities and hold meetings as a group to discuss any problems that arise within their various drama depart- ments. Mary McGreevy, President, and Mark Curley, Vice President, are the leaders of this group with each individual member acting as separate vertebra that comprise the backbone of the Drama Department, whether it be in Greek plays in the 1900's, or today, Thespians help drama be what it can be to its full potential. 11 3,3 ESQ. .Q - 41 ,s,,.-. -, iv with X' 'T mfg . Q9 H Ty I T, EQ j yy and Marie nser scuss I V ., . I Mapes,:Nlary MoGreevy and Steve Clemetson, Lisa 0 S 5 H
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