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Page 22 text:
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ctivities TIII4: e.xs'l' Ixxn I'll0lll'l l'ION Ml-:N or' Brother Orclricl tho llrlunatic club N eoxsseriox wI'I'II Yisrroics' Div, the Club presented a revival of Leo Brady's lirnilzer Urclvifl, which had been previously presented at the School in 1942. This play lends itself admirably to the aspirations of the Dramatic fllubg its theme is deeply significant, involving' ideas of repentance, dedication, and sell'-sacrifieeg and these ideas are conveyed by highlv dramatic action per- liUI'Ill0lQl by l,'ilZll'ill'll'l'S whose interplay is richly comic. The play is about a ruthless gangster named Ilittle John Sarto who returns to his old haunts i'l'01ll ten years in prison to find that his throne has been usurped and that hc is slated to be taken for a ride . He escapes his would-be murderers and finds I-et'ug'e in the monastery of the Little Brothers of the Flowers who, as he puts it, do nothing but pray and herd posiesu. The Brothers show him a kindness and a wav of life which ne had never encountered before, and he begins his reg'eneration by cliangiiigg' his name to Brother Orchid. BI-otln-r Orchids language and graiigster gauclzierie contrast eornicallv with the gentle innocence of the brothers and their Father Abbotg but what Brother Orchid had sought as a mere hide-out becomes Inore important for hiIn than life itself, and when his former rival threatens the brothers' sole means of livelihood and charity, the erowiiig' and marketing' ol' flowers, he Qives his life to break up the gang' and save the monastery. Eighfeerz
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Page 21 text:
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The moment the kick-off whistle blew, the pent-up tension was re- leased and our nerves calmed as we concentrated on the game with all abstract thoughts discarded. Our confidence was gained on the first play, when we went for a first down. Although we fought hard throughout the first quarter, St. Andrew's managed to capitalize on two of our mistakes, with a touch- down. We fought back dauntlessly, however, and were soon rewarded with a touchdown, thus ending the quarter with a tie score. The second quarter saw more of a wide open ball game. St. Andrewls struck for two consecutive touchdowns, but we held the fort and retaliated with two touchdowns to balance the score. Had it not been for a case of butter fingers , which resulted in a safety touch, putting them ahead by two points, we wouldnit have had an even score at half-time. The Goliaths'i were quite surprised that we Davids should hold them in an even tussle. This was probably the turning point in the game, because even though we had a deficit of two points our spirit and morale were at that same un- surpassed height, while the 'tSaints began to crumble under the pressure. In previous years our teams were usually so far behind that their spirit was killed and the '4Saints rolled on to victory without too much opposition. But not so this year. The two teams returned well rested, but the Saints were uneasy in their minds for their tempers began to flare up resulting in their bickering among themselves, thus driving the thorn in deeper. The quarter ended with us deep in their zone, bruised but still fighting. On the first or second play of the final quarter we plunged over for a touchdown and a convert to end the scoring for the game. The rest of the game continued with our spirit mounting, and our anxiety to maintain the lead probably prevented us fr-om making any serious mistakes, when a Saint was ejected for fighting the game was more or less placed in our hands for sure. The final whistle found us deep in their territory, pressing for another touchdown. This game climaxed for me the best football season in my career. Above all, in my final year of participating for Pickering, I was a member of a team which had the best win-loss record since 1939, and this team, after following in the footsteps of teams from the last nine years, picked up the standard, carried it into enemy territory, planted it there and in doing so ended their supremacy in this annual event. It had been my ambition to conquer those red-men , since first wearing a senior uniform four years ago and at last we did, but it took four years of patience and a rekindling of the desire each fall. -BOB KING Verentecn
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Page 23 text:
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The title role was shared by Philip Nieukirk and Garry Price. The former played his part against the background of Fat Dutchy's bar, and did well in establishing Little John Sarto's initial hardnessg he followed carefully Mr. Price's development of the character in the monastery scenes, and struck a moving and consistent note in his death scene. A similar high point of acting was reached by Mr. Price in his prayer to the Virgin which had great audience appeal and balanced effectively his forthright handling of comedy lines else- where. David Rose 's portrayal of the bar-tender, Fat Dutchy, had steadiness and an assurance evident in voice and movement. The correct air of un- pleasant toughness Was given to the rival gangster, The Gimp, by Tom Van Royen, an air complemented by the nervous tension with which Bill Taylor im- bued Freckles, The Gimp's right-hand man. Brian Purdy's cocky Solomon and Alvin Davids cruel and stolid Dum-Dum, the liatchet-man made up the remainder of the gang. Liveliness and colour were given Dominic Battista by Simon Dew, Dominic was an excitable Italian whom Orchid persuaded to Using . Paul Haines, Brian Blackstock, and Donald Downs each achieved a distinctive characterization as brothers in the monastery under the guidance of Father Abbot, to whom Tom Connor gave great gentleness and dignity. The sets were designed and executed by Tom McCann, together with Nick Ayre, Phil Coupey, Paul Feldman, Harold Laur, John Puddifoot, and Bill Taylor, under the general direction of Mr. Frederick Hagan. The drabness of the Bar, with garish highlights, and the clean simplicity of the monastery, created the appropriate atmosphere. Credit is also due this group of technicians for lighting effects and properties, as well as for a highly organized stage- management necessary for frequent changes of scene in a very limited space. The play was under the direction of Mr. Stewart. march productions wo PLAYS WERE PREsEN'rEo IN NIARCH on a bill with the Glee Club produc- tion of Trial by Jury. Mr. Frisch broke new ground in offering The Madman on the Roof, a Japanese play by Kan Kikuchi. In the post-production words of Ralph Armstrong, who played the title role with disturbing conviction, The moral was that if a person is nuts leave him that way because all con- cerned will be happier ! The action of the play was the effort of a middle- class Japanese family to restore the older son of the house to sanity against the protests of his sympathetic younger brother, played with decision by Tom McCann. Charles Bateman portrayed at stately neighbour who was instrumental in introducing a priestcss to effect a cure. John Brownlee put this lady in and out of trances in startling fashion, matching voice to mood, and incorp- orating into his ritual dances healthy overtones of at North American Indian council ring. Larry NVillis was properly humble as the servant, and Skip Lamont created a worried mother somewhat bewildered by all the goings-on. Ninelcen
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