Park University - Narva Yearbook (Parkville, MO)

Page 31 text:

Susan impersonates Veronica to amuse the only living family member, Veronica’s sister, living in the past and believing that Veronica is indeed alive and angry with her. Once Susan dresses in Veronica’s clothes, she finds herself locked in the role and locked in the room. Or is this really Veronica pretending to be Susan? It’s like being trapped in someone else’s nightmare. “Veronica’s Room” has a impact that is jarring, funny and full of action-packed vintage suspense. The production directed by Park Col¬ lege graduate, Jeffrey Markley, featured Park students, Karen Greene Markley, and Tim Dodds. Act II

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eronica’s Room A Thriller in Two Acts by Ira Levin by Jon Trozzolo special to the Narva “Veronica’s Room,” a fingernail-chewing thriller by the author of Deathrap, Ira Levin, was performed at Park Oct. 9, 10, 17, and 18, 1987 in the Alumni Hall Theatre. “Veronica’s Room” pours out suspense entering a world of fantasy and reality. The story is about Susan Kerner, a young Boston college student and Larry Eastwood, a young lawyer she just met. Kerner is en¬ ticed to a mansion by the Mackeys, a charming elderly couple who are astonished by Susan’s strong resemblance to Veronica, the dead daughter of the family for whom they had worked. Act I THE CAST: The Man.Scott Turley The Woman.K. Kelley Greene The Girl.Erin K. Prestia The Young Man.Tim Dodds Stage Manager.John Roughton

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Kid Gloves by Monica Hutton and Eleanor Sharp by Stephen Cox Special to the Narva It wasn’t Broadway or Hollywood, but the Alumni Hall Theatre where the world premiere new play “Kid Gloves,” written by Kansas Citia ns Eleanor Sharp and Monica Hutton, opened Nov. 14, 15, 21, and 22, 1986. Hutton, who still resides in Kansas City, wrote the play with incidents of her own life in mind. The play is about wife abuse in the 1940s. “Most all of the incidents are composite, with some fiction. Some of the names have been changed,” Sharp explains. Almost every incident has some basis.” Sharp and Hutton, the latter of whom star¬ red in The Man in the Moon Marigolds at Park two years ago, wrote the play three years ago to enter a contest. Then they rewrote. And rewrote. The biggest, or most important change in the play, according to Sharp, is the significance of the title to the story. She asks, “What do most people think of when they hear the title?” “It has to do with treating someone with ‘kid’ gloves,” Sharp says. “Although there have been some alterations, the symbolism p should be realized.” The premiere play attempted to thrill audiences as director marsha m. morgan tied up the loose ends of the drama. Not only that, but she dealt with a new play, new problems, a new set, and new actors. According to morgan, those were not half of the pressures of putting on a play, much less a premiere at Park College. The setbacks started last year. The original production of “Kid Gloves” was slated for last year’s season, however illness prevented morgan from producing the drama. morgan predicted theatre goers would be thrilled by the unusual set design. The set and properties were the display of many hours of creative work. “The show had a lot of set, property and sound requirements. It was a challenge,” she said. “One scene had the actors eating con¬ stantly. It’s a breakfast scene and they had pan¬ cakes, sausage and the nine yards. It was fun.”